In the context of the question of the extent to which science studies is able to mount an adequate critique of contemporary developments in science and technology, and in view of the proliferating interest in ethics across the social sciences, this article has two aims. Firstly to address some of the implications for ethics of Bruno Latour's, and to a lesser extent Alfred North Whitehead’s, conceptions of reality, both of which have a bearing on the long-standing dichotomy between (...) facts and values. Drawing on Whitehead's work, it also, secondly, seeks to make a positive argument for ethics and to ask again, in the light of this discussion, where the ethical dimensions of Latour's work might be located. Towards the end of the article, I suggest that Latour's concept of exteriority obliges him to pursue a politics of reality which is the special providence of ‘moralists’, rather than a politics of virtual reality in which all entities, human and non-human, are engaged. (shrink)

While social interaction and play in a VR environment are becoming ever more popular, little is known about how social VR games affect users. The purpose of this study was to elucidate the role of several contingent factors in social VR games by modeling the relationships between involvement, well-being, depression, self-esteem, and social connectedness. A conditional process-moderated mediation model of the measured variables was analyzed with 220 pieces of collected data. The result showed that: the direct (...) effect of involvement on well-being was significant, and the index of moderated mediation involving depression, self-esteem, and social connectedness was significant. We conclude that high levels of involvement in social VR games by socially isolated users with low self-esteem can negatively affect their well-being. The findings of this study contribute in several ways to our understanding of the effect of social VR games upon users and provide important practical implications. (shrink)

The rapid evolution of information, communication and entertainment technologies will transform the lives of citizens and ultimately transform society. This paper focuses on ethical issues associated with the likely convergence of virtual realities and social networks, hereafter VRSNs. We examine a scenario in which a significant segment of the world’s population has a presence in a VRSN. Given the pace of technological development and the popularity of these new forms of social interaction, this scenario is plausible. However, (...) it brings with it ethical problems. Two central ethical issues are addressed: those of privacy and those of autonomy. VRSNs pose threats to both privacy and autonomy. The threats to privacy can be broadly categorized as threats to informational privacy, threats to physical privacy, and threats to associational privacy. Each of these threats is further subdivided. The threats to autonomy can be broadly categorized as threats to freedom, to knowledge and to authenticity. Again, these three threats are divided into subcategories. Having categorized the main threats posed by VRSNs, a number of recommendations are provided so that policy-makers, developers, and users can make the best possible use of VRSNs. (shrink)

Recent research suggests an “Internet paradox”—that a communications technology might reduce social involvement and psychological well–being. In this article I examine some of the limitations of current Internet communication, including those of access, medium, presentation, and choice, that bear on the formation and maintenance of social relationships. I also explore issues central to human meaning in a technological culture—those of the history of the self, of individuality, and of human relationships—and suggest that social forces, technological and (...) otherwise, have increasingly eroded our social interconnectedness and even produced psychological fragmentation. Finally, by considering the psychology of privacy, subjectivity, and intimacy, I look at the historical and developmental processes of internalization by which we construct the “virtual interior” of mind. Understanding this link between human meaning and technological culture, in the form and pattern of our virtual interiors, may help us to see opportunities as well as dangers for the growth of our humanity, our ethics, and our spirituality. (shrink)

The history of humankind is full of examples that indicate a constant desire to make human beings more moral. Nowadays, technological breakthroughs might have a significant impact on our moral character and abilities. This is the case of Virtual Reality (VR) technologies. The aim of this paper is to consider the ethical aspects of the use of VR in enhancing empathy. First, we will offer an introduction to VR, explaining its fundamental features, devices and concepts. Then, we (...) will approach the characterization of VR as an “empathy machine,” showing why this medium has aroused so much interest and why, nevertheless, we do not believe it is the ideal way to enhance empathy. As an alternative, we will consider fostering empathy-related abilities through virtual embodiment in avatars. In the conclusion, however, we will, we will examine some of the serious concerns related to the ethical relevance of empathy and will defend the philosophical case for a reason-guided empathy, also suggesting specific guidelines for possible future developments of empathy enhancement projects through VR embodied experiences. (shrink)

This article explores four major areas of moral concern regarding virtual reality technologies. First, VR poses potential mental health risks, including Depersonalization/Derealization Disorder. Second, VR technology raises serious concerns related to personal neglect of users’ own actual bodies and real physical environments. Third, VR technologies may be used to record personal data which could be deployed in ways that threaten personal privacy and present a danger related to manipulation of users’ beliefs, emotions, and behaviors. Finally, there are other (...) moral and social risks associated with the way VR blurs the distinction between the real and illusory. These concerns regarding VR naturally raise questions about public policy. The article makes several recommendations for legal regulations of VR that together address each of the above concerns. It is argued that these regulations would not seriously threaten personal liberty but rather would protect and enhance the autonomy of VR consumers. (shrink)

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

Movement abnormalities are prevalent across all stages of schizophrenia contributing to poor social functioning and reduced quality of life. To date, treatments are scarce, often involving pharmacological agents, but none have been shown to improve movement abnormalities effectively. Virtual reality (VR) is a tool used to simulate virtual environments where behavioral performance can be quantified safely across different tasks while exerting control over stimulus delivery, feedback and measurement in real time. Sensory information is transmittedviaa head mounted (...) display allowing users to directly interact with virtual objects and bodies using gestures and body movements in the real world to perform different actions, permitting a sense of immersion in the simulated virtual environment. Although, VR has been widely used for successful motor rehabilitation in a variety of different neurological domains, none have been exploited for motor rehabilitation in schizophrenia. The objectives of this article are to review movement abnormalities specific to schizophrenia, and how VR can be utilized to restore and improve motor functioning in patients with schizophrenia. Constructing VR-mediated motor-cognitive interventions that can help in retaining and transferring the learned outcomes to real life are also discussed. (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 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)

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

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)

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)

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, (...) class='Hi'>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)

This article looks through a critical media lens at mediated effects and ethical concerns of virtual reality applications that explore personal and social issues through embodiment and storytelling. In recent years, the press, immersive media practitioners and researchers have promoted the potential of virtual reality storytelling to foster empathy. This research offers an interdisciplinary narrative review, with an evidence-based approach to challenge the assumptions that VR films elicit empathy in the participant—what I refer to as (...) the VR-empathy model. A review of literature from the fields of psychology, computer science, embodiment, medicine, and virtual reality was carried out to question and counter these claims through case studies of both fiction and non-fiction VR experiences. The results reveal that there is little empirical evidence of a correlation between VR exposure and an increase in empathy that motivates pro-social behavior, and a lack of research covering VR films exposure eliciting empathy. Furthermore, the results show an alarming lack of research into the long-term effects of VR films and other VR immersive experiences. This contribution aims to understand and demystify the current “empathy machine” rhetoric and calls for more rigorous, scientific research that can authenticate future claims and systemize ethical best practices. (shrink)

This chapter examines the similarities and differences between physical, psychological and virtual realities, and challenges some conventional, implicitly dualist assumptions about how these relate to each other. Virtual realities are not easily understood in either dualist or materialist reductive terms, as they exemplify the reflexive nature of perception. The chapter summarises some of the evidence for this “reflexive model”—and examines some of its consequences for the “hard” problem of consciousness. The chapter then goes on to consider how these (...) realities might relate to some grounding reality or thing-itself, and considers some of the personal and social consequences of becoming increasingly immersed in virtual realities. Although this chapter was published in 1998 and develops work published in 1990, it presents a form of “radical externalism” that anticipates many themes in current (2006) internalism versus externalism debates about the nature of mind. It is also relevant to an understanding of virtual reality “presence.”. (shrink)

Roslynn D. Haynes, From Faust to Strangelove: Representations of the Scientist in Western Literature. Baltimore: Johns Hopkins University Press, 1994. Pp. ix+417. ISBN 0-8018-4801-6, £16.50.George Levine , Realism and Representation: Essays on the Problem of Realism in Relation to Science, Literature and Culture. Madison: University of Wisconsin Press, 1993. Pp. xiii+330. ISBN 0-229-13630-2, £40.00 ; 0-229-13634-5, £19.00 .Sherry Turkle, Life on the Screen: Identity in the Age of the Internet. Cambridge, MA: Simon and Schuster, 1995. Pp. 347. ISBN 0-297-81514-8. No (...) price given.Despite the alarming drop in numbers of students studying science throughout the Western world today there is no more important subject in our time than science broadly construed, and these three books provide some of the reasons. Their diversity indicates the shape of the debates occurring about the scientist in Western culture, science's tortured philosophical realism and representation as troubled categories, and, most predictably, life on the screen in the age of the Internet. (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.

BackgroundAttention deficit hyperactivity disorder is clinically diagnosed; however, quantitative analysis to statistically analyze the symptom severity of children with ADHD via the measurement of head movement is still in progress. Studies focusing on the cues that may influence the attention of children with ADHD in classroom settings, where children spend a considerable amount of time, are relatively scarce. Virtual reality allows real-life simulation of classroom environments and thus provides an opportunity to test a range of theories in a (...) naturalistic and controlled manner. The objective of this study was to investigate the correlation between participants’ head movements and their reports of inattention and hyperactivity, and to investigate how their head movements are affected by different social cues of different sensory modalities.MethodsThirty-seven children and adolescents with and without ADHD were recruited for this study. All participants were assessed for diagnoses, clinical symptoms, and self-reported symptoms. A virtual reality-continuous performance test was conducted under four conditions: control, no-cue, visual cue, and visual/audio cue. A quantitativecomparison of the participants’ head movements was conducted in three dimensions using a head-mounted display in a VR classroom environment. Task-irrelevant head movements were analyzed separately, considering the dimension of movement needed to perform the VR-CPT.ResultsThe magnitude of head movement, especially task-irrelevant head movement, significantly correlated with the current standard of clinical assessment in the ADHD group. Regarding the four conditions, head movement showed changes according to the complexity of social cues in both the ADHD and healthy control groups.ConclusionChildren and adolescents with ADHD showed decreasing task-irrelevant movements in the presence of social stimuli toward the intended orientation. As a proof-of-concept study, this study preliminarily identifies the potential of VR as a tool to understand and investigate the classroom behavior of children with ADHD in a controlled, systematic manner. (shrink)

It is primordial to insist on a continuous education that is open, flexible, and personalized, allowing the individual to update and make his or her knowledge adequate throughout life. The creation of distributed environments for constructivist learning is a challenge. Research in this field is needed for the development of cooperative learning tools able to facilitate and motivate learning. The development of intelligent didactic systems is complex, demanding the support of knowledge coming from different fields. That is why to develop (...) this class of systems a multidisciplinary team is needed, including pedagogues; educational psychologists; specialists in the knowledge domain; and technicians in computer graphics, programming, multimedia, virtual reality, project management, and so forth. Virtual immersion introduces new resources for interindividual communications that deal with reality interpretation. The authors outline the beginning of a long journey on how imagination power can be used for the collective creation of worlds able to improve learning. (shrink)

Since literary historian Robert Bone published his seminal essay ‘Richard Wright and the Chicago Renaissance’ in 1986, scholars have created new cartographies of previously unexplored terrain in American cultural history. The earliest studies focused on literature, but more recently attention has turned to other disciplines, including visual arts. Recent publication of The Muse in Bronzeville: African American Creative Expression in Chicago, 1932–1950 (2011) by Robert Bone and Richard A. Courage promises to decisively broaden scholarly understandings of the scope and (...) significance of Chicago-centred cultural production during the Great Depression and post-war years. Of particular relevance to contemporary studies of new media art is the manner in which then-emergent ideas and practices – centring on racialized subject matter, elite and mass audiences, traditional and new mediums of expression, private vs public sponsorship, and passive vs active reception of art objects – converged to create new paradigms and possibilities for visual artists to reshape consciousness in a period of institutional collapse and change. Chicago’s New Negro artists of the 1930s and 1940s, like their counterparts in 1920s Harlem, sought to reframe perceptions of African American life, to re-present the black subject as something other than an object of contempt or amusement beneath the privileged gaze of the white viewer. Just as these artists sought to revise perceptions of racial reality, examination of the wide range of actual images they created and the mediums and styles they explored revises reductive notions about creative expression in this period, which often portray a mere subordination of art to propaganda and an embrace of representational aesthetics and simplistic narratives in a fruitless detour in the evolution from modernism to postmodernism. On the contrary, Andrew Hemingway notes the range of stylistic experiment and characterizes so-called ‘social art’ as ‘a hybrid and unstable mode [which] had to carry the imperative to be an art equal in formal achievement to both the great art of the past and the modern tradition … [and] to suggest a political orientation without becoming overt revolutionary propaganda’ (2002).New media theorist Oliver Grau observes thatIn many quarters, virtual reality is viewed as a totally new phenomenon… but it did not make its first appearance with the technical invention of computer-aided virtual realities. On the contrary, virtual reality forms part of the core of the relationship of humans to images… grounded in art traditions that have receivedscant attention up to now.(2004)In the midst of another period of change, of transformed and transforming ideas and practices in the arts, we have much to learn from the attempts of Chicago’s New (Media) Negro artists to create ‘art for the people’, to immerse broad audiences in such accessible media as mural painting, photography and graphic arts. (shrink)

Though educators often deal with stressful social conflicts, many face them ad hoc without much training. We studied if and how virtual agents can help University staff manage student-teacher conflicts. We explored educators' verbal, behavioral, and physiological reactions to a virtual agent that brought up a student-teacher conflict and held exit-interviews. Our qualitative analysis revealed that virtual agents for conflict training were positively received, but not for conflict mediation with cross-cultural differences. Those with non-Western backgrounds felt (...) that an agent could help “save face,” whereas Westerners preferred to resolve conflicts in person. In line with this, participants with a Western background rated the virtual agent to be less competent compared to those with non-Western backgrounds. While physiological measures only allow for limited conclusions, we found that participants who believed that the agent was controlled by a human had higher normalized hear rate variability than people who thought that the agent was autonomous. We discuss implications for implementing virtual agents for training purposes, the impact of physiological signals, and the need to consider cultural and individual differences. (shrink)

Human beings have been spending a lot of time in front of a screen for many years. Through the computer and other electronic devices, we interact with our friends and colleagues, we maintain contact with our relatives, we carry out part of our work, we study and we carry out leisure activities. Despite the many advantages that all this has brought to our lives, ethical and social problems have also arisen. Although these electronic devices have become increasingly immersive and (...) interactive, virtual reality seems to present a qualitative leap. In this chapter we will analyse how big this jump is, we will review the ethical problems that may appear, we will ask ourselves if they are really new and we will study how and to what extent we can face them. (shrink)

In this book, Grant Tavinor, well known for his influential work on the aesthetics of videogames, offers the first focused study of the aesthetics of virtual reality media. When reading the first pages, one cannot help but notice Tavinor’s enthusiasm about virtual reality (VR) in the vivid descriptions of his explorations of virtual haunted houses, distant planets, and ancient Rome. These descriptions also reveal Tavinor’s refreshing aim to focus on present uses of VR media, instead (...) of the so-called “perfect virtual realities” (virtual realities that are indistinguishable from the actual world) that are often the focus of philosophical discussions. When talking about VR, philosophers indeed often target hypothetical situations in which people are brains in vats, hooked up to experience machines, or living in a world that is, unbeknownst to them, merely a simulated one. Tavinor, however, intends to avoid metaphysical or ontological questions about hypothetical virtual realities, instead focusing on our aesthetic experiences of concrete VR media. With this, he generally refers to “immersive, interactive, and computable VR technologies” (p. 15), such as the HTC Vive, the PlayStation VR, and the Oculus, which depict virtual environments through head mounted displays. Tavinor’s aim is to show how these systems are media that allow for “a technologically fancy kind of picturing” (p. 12), and to contextualize them in the history of representational media alongside of painting, photography, and film. (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)

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

We approach the virtual reality phenomenon by studying its relationship to set theory. This approach offers a characterization of virtual reality in set theoretic terms, and we investigate the case where this is done using the wellfoundedness property. Our hypothesis is that non-wellfounded sets (so-called hypersets) give rise to a different quality of virtual reality than do familiar wellfounded sets. To elaborate this hypothesis, we describe virtual reality through Sommerhoff’s categories of first- (...) and second-order self-awareness; introduced as necessary conditions for consciousness in terms of higher cognitive functions. We then propose a representation of first- and second-order self-awareness through sets, and assume that these sets, which we call events, originally form a collection of wellfounded sets. Strong virtual reality characterizes virtual reality environments which have the limited capacity to create only events associated with wellfounded sets. In contrast, the logically weaker and more general concept of weak virtual reality characterizes collections of virtual reality mediated events altogether forming an entirety larger than any collection of wellfounded sets. By giving reference to Aczel’s hyperset theory we indicate that this definition is not empty because hypersets encompass wellfounded sets already. Moreover, we argue that weak virtual reality could be realized in human history through continued progress in computer technology. Finally, within a more general framework, we use Baltag’s structural theory of sets (STS) to show that within this hyperset theory Sommerhoff’s first- and second-order self-awareness as well as both concepts of virtual reality admit a consistent mathematical representation. To illustrate our ideas, several examples and heuristic arguments are discussed. (shrink)

Body, Soul and Cyberspace explores how recent science-fiction cinema addresses questions about the connections between body and soul, virtuality, and the ways in which we engage with spirituality in the digital age. The book investigates notions of love, life and death, taking an interdisciplinary approach by combining cinematic themes with religious, philosophical and ethical ideas. Magerstädt argues how even the most spectacle-driven mainstream films such as Avatar, The Matrix and Terminator can raise interesting and important questions about the human self (...) and our interaction with the world. Apart from these well-known science fiction epics, her analysis also draws on recent works, such as Inception, The Thirteenth Floor, eXistenZ, Aeon Flux, Total Recall (2012), Transcendence and TRON: Legacy. These films stimulate an engaging discussion on what makes us human, the role memory plays in understanding ourselves, and how virtual realities challenge the moral concepts that govern human relationships. (shrink)

Virtual reality allows the user to be immersed in environments in which they can experience situations and social interactions from different perspectives by means of virtual embodiment. In the context of rehabilitation of violent behaviors, a participant could experience a virtual violent confrontation from different perspectives, including that of the victim and bystanders. This approach and other virtual scenes can be used as a useful tool for the rehabilitation of intimate partner violence perpetrators, through (...) improvement of their empathic skills or for training in non-violent responses. In this perspective, we revise and discuss the use of this tool in a prison environment for the rehabilitation of IPV perpetrators with a particular focus on practical aspects based on our experience. (shrink)

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

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)

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)

One way to think logically about virtual reality systems is to think of them as interactive depictions of possible worlds. Leibniz's "Palace of the Fates" is probably the earliest description of an interactive virtual reality system. Leibniz describes a system for the simulation of possible worlds by a human user in the actual world. He describes a user-interface for interacting multiple possible worlds and their histories.

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

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)

Two luminaries of 20th century astrophysics were Sir James Jeans and Sir Arthur Eddington. Both took seriously the view that there is more to reality than the physical universe and more to consciousness than simply brain activity. In his Science and the Unseen World Eddington speculated about a spiritual world and that "conscious is not wholly, nor even primarily a device for receiving sense impressions." Jeans also speculated on the existence of a universal mind and a non-mechanical reality, (...) writing in his The Mysterious Universe "the universe begins to look more like a great thought than like a great machine." In his book QED Feynman discusses the situation of photons being partially transmitted and partially reflected by a sheet of glass: reflection amounting to four percent. In other words one out of every 25 photons will be reflected on average, and this holds true even for a "one at a time" flux. The four percent cannot be explained by statistical differences of the photons nor by random variations in the glass. Something is "telling" every 25th photon on average that it should be reflected back instead of being transmitted. Other quantum experiments lead to similar paradoxes. To explain how a single photon in the two-slit experiment can "know" whether there is one slit or two, Hawking and Mlodonow write: In the double-slit experiment Feynman's ideas mean the particles take paths that thread through the first slit, back out though the second slit, and then through the first again; paths that visit the restaurant that serves that great curried shrimp, and then circle Jupiter a few times before heading home; even paths that go across the universe and back. This, in Feynman's view, explains how the particle acquires the information about which slits are openŠ. It is hard to imagine a more absurd physical explanation. We can think of no way to hardwire the behavior of photons in the glass reflection or the two-slit experiments into a physical law. On the other hand, writing a software algorithm that would yield the desired result is really simple. A digital reality whose laws are software is an idea that has started to gain traction in large part thanks to an influential paper in Philosophical Quarterly by Oxford professor Nick Bostrom. Writing in the New York Times John Tierney had this to say: Until I talked to Nick Bostrom, a philosopher at Oxford University it never occurred to me that our universe might be somebody else's hobby. But now it seems quite possible. In fact, if you accept a pretty reasonable assumption of Dr. Bostrom's, it is almost a mathematical certainty that we are living in someone else's computer simulation. An alternate view is that there exists a great consciousness whose mind is the hardware, and whose thoughts are the software creating a virtual universe in which we as beings of consciousness live. Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education in an Age of Virtuality and Post-Truth by Paul WoodfordPanagiotis A. KanellopoulosPaul Woodford, Music Education in an Age of Virtuality and Post-Truth (New York, Routledge, 2018)This book is provocative. And challenging. It is written with passion, aiming to induce controversy. And with good reason. For we live in times when populism professes an illusionary sense of community, invoking a seemingly 'anti-systemic' but highly hypocritical, racist, and (...) sexist discourse;1 in times where "bullshitting"2 has advanced to the highest governmental levels in many countries; in times where "authoritarian neoliberal statism"3 becomes the new status quo, inducing a scandalous increase of economic inequalities, forcing large populations to live precarious lives; in times where privatization of educational services in the context of market-oriented practices impose restrictive and ultimately unjust politics of accountability and performativity;4 in times where instrumentalization of educational ends has taken the lead, assisted by a systematic co-option and misappropriation of notions such as excellence and creativity;5 in times, finally, where spaces that allow for "the sharing (out) of the incalculable,"6 forging unknown potentialities in education, life, and thought, are being destroyed. In such times, Paul Woodford has stepped in, reclaiming his right to speak uncompromisingly.Hannah Arendt has written that "[w]hen men [sic] are deprived of the public space--which is constituted by acting together and then fills of its own accord [End Page 108] with the events and stories that develop into history--they retreat into their freedom of thought."7 Woodford refuses to retreat. He writes as a public intellectual of the highest order, committed to upset and not please those in power. A great service that his latest book performs is that it speaks daringly, stirring a debate that helps us all to do away with fear. For as Bertrand Russell has aptly said quite a long time ago, "[I]f thought is to become the possession of many, not the privilege of the few, we must have done with fear. It is fear that holds men [sic] back."8Resisting the "melancholy of inner exile,"9 but not immune to possible accusations of left melancholy, understood as "a refusal to come to terms with the particular character of the present,"10 the author wrote a book that provokes music educators to actively think beyond their sealed and safe world of convictions that is based on ideology-free conceptions of music teaching. Estelle Jorgensen has long ago brought to our attention the urgency of this task: "in an era in which the mindset and political reality have changed dramatically, … there is an urgent need to revisit the political character of music education and the ways in which it needs to address the cultural issues of our day."11Along this pathway, Woodford's book encourages music educators to live and teach as public intellectuals, forging "a democratic purpose for music education"12 that acts against the "anachronistic and formalist conception of music that reduces music education to supply-side economics as children are conceived as either future professional musicians or consumers and not as citizens to be prepared in schools to participate intelligently in the political life of society."13 Woodford articulates a vision of music education "as preparation for adulthood and democratic and global citizenship."14 He strongly advocates an approach that balances performance and creativity-based experiences with a socio-historical study of the social, ideological, and cultural workings of different musics in a wide variety of contexts. He encourages music educators to teach "how music's structural properties and qualities contribute to the shaping of people's perceptions and understandings of themselves and their world,"15 "asking the who, what, when, where, how, to, with, or for whom, and, most importantly of all, why of music."16 He envisions a music classroom that exercises social criticism "directly and self-consciously"17 both through "learning how to make music"18 and through thinking about music. He sees this approach as a tool for raising students' consciousness. Woodford's ultimate vision of music education is one that casts it as a means for cultivating "a justice-oriented" approach... (shrink)

About forty years ago, when print media were still in their ascendancy, Marshall McLuhan argued that all media are extensions of the senses and that the rational view of the world associated with print is being replaced by a world-view associated with electronic media that stresses feelings and emotions (McLuhan, 1964). In 2003 researchers from the School of Information Management Sciences at Berkeley estimated that five exabytes (five billion gigabytes) of information had been generated in the previous year, equivalent to (...) 37,000 times the holdings of the Library of Congress and that 92.00% of this was on magnetic media, mostly hard disks, while only 0.01% was in print (http://www.sims.berkeley.edu, 2003). This SIMS estimate could be wrong by several orders of magnitude and it would still be clear that the era of the printed word is waning rapidly. We are well-advised to pay attention to McLuhan’s suggestionthat electronic media change how we think and how we feel.Sense of place and virtual reality are both inextricably caught up in this cultural-technological upheaval. I have written about the concept of ‘place’ from a phenomenological perspective for many years and have achieved a reasonable understanding of its subtleties, but I have a limited knowledge of digital virtual reality and its technical attributes. Nevertheless, it seems to me that a mutual interaction is at work between what might be called ‘real’ place and virtual places, that digital virtual reality shares characteristics with other electronic media and that our experiences of real places are being changed those same media. This essay explores these issues particularlyfrom the perspective of the distinction between spirit of place and sense of place. (shrink)

About forty years ago, when print media were still in their ascendancy, Marshall McLuhan argued that all media are extensions of the senses and that the rational view of the world associated with print is being replaced by a world-view associated with electronic media that stresses feelings and emotions. In 2003 researchers from the School of Information Management Sciences at Berkeley estimated that five exabytes of information had been generated in the previous year, equivalent to 37,000 times the holdings of (...) the Library of Congress and that 92.00% of this was on magnetic media, mostly hard disks, while only 0.01% was in print. This SIMS estimate could be wrong by several orders of magnitude and it would still be clear that the era of the printed word is waning rapidly. We are well-advised to pay attention to McLuhan’s suggestionthat electronic media change how we think and how we feel.Sense of place and virtual reality are both inextricably caught up in this cultural-technological upheaval. I have written about the concept of ‘place’ from a phenomenological perspective for many years and have achieved a reasonable understanding of its subtleties, but I have a limited knowledge of digital virtual reality and its technical attributes. Nevertheless, it seems to me that a mutual interaction is at work between what might be called ‘real’ place and virtual places, that digital virtual reality shares characteristics with other electronic media and that our experiences of real places are being changed those same media. This essay explores these issues particularlyfrom the perspective of the distinction between spirit of place and sense of place. (shrink)