Book review: Real Virtuality: About the Destruction and Multiplication of World (original) (raw)
Related papers
How the true world finally became virtual reality
Filozofski vestnik | Volume XLII | Number 2 | 2021 | 281–303 | doi: 10.3986/fv.42.2.13, 2022
In the chapter “How the ‘true world’ finally became a fable” in Twilight of the Idols, Nietzsche enumerates the steps that led from the belief in the accessibility of the true world beyond the illusory world of appearances to the dismissal of this metaphysical myth. However, Nietzsche deems that the elimination of the “true world” brought about the obliteration of the apparent world as well: “The true world is gone: which world is left? The illusory one, perhaps? ... But no! we got rid of the illusory world along with the true one!” In this paper, I will suggest that the philosophical hypothesis that we might live in a simulation can be considered to be the last and most nihilistic episode in the series of narrations about the true and apparent worlds that Nietzsche sketched.
The Ambiguous Construction of Place and Space
Book chapter in U. Gehmann & M. Reiche (eds). Real Virtuality: About the Destruction and Multiplication of World, pp. 243-272. Transcript Verlag: Germany, 2014
Increasingly, the virtual became reality by hybridization of the world as we knew it: the process that went on in recent years is one of a technically assisted hybridization of both space and self, the »old« world is becoming virtualized and functionalized to a degree never experienced before. For the first time in human history, we have reached a threshold where we have not only to re-assert but to redefine ourselves, as regards our fundamental terms of understanding what the world means for us, our base of existence, and now an assemblage of mixed realities; and connected, what being human means. READ ONLINE: https://www.transcript-verlag.de/chunk\_detail\_seite.php?doi=10.14361/transcript.9783839426081.243
CONCEPTUALITY IN VIRTUAL REALITY.pdf
2016
Abstract Twentieth-century art favors an aesthetic no longer oriented to beauty (which is associated with harmony and unity), but to “sublime”. Immersion by itself is a triumph of the experience the sublime offers over a detached viewpoint of the object-artwork; it mobilizes the entire human body seeking to offer a full experience, which is essential for the artwork to move us; it can fill us, though, with awe and make us weak-willed beings that accept without criticism the value system and the ideological choices inherent in the artwork. Virtual worlds are increasingly seductive, and people immersing in them end up perceiving reality through the lenses of virtual reality; and wanting to create a reality resembling virtual reality. The current paper attempts to investigate how it is possible to achieve a kind of immersion that allows for a full experience not marginalizing thought. It will provide an in-depth analysis of the nature of immersion, and of the means used to achieve it. This will help highlight which kind and which “quantity” of immersion has to be sought for, in order not to provoke adverse and unwanted results, such as the creation of the feeling of uncanny, or create empty signifiers, that make us loose interest in the artwork.
This paper presents part of the work produced for the project "The Architectural Design of a Virtual Environment for a Three-Dimensional Human-Computer Interface" which is sponsored by the Commission of the European Communities under the Human Capital and Mobility Programme and is being supervised by Dr Alan H. Bridges. It argues that one suitable source to refer to when designing virtual environments (VEs) is architectural theory. Its main aim is to inform the design of VEs by providing a background for the consideration of possible design metaphors and it is assumed that this aim can be achieved by establishing an existential conception of space in a VE. In order to achieve this aim, the paper builds on Norberg-Schulz's theory of existential space and attempts to expand it by refering to other relative studies, which follow a phenomenological approach towards analysing the concept of space. These studies all share a common desire for dealing with the nature of the s...
When -ities collide. Virtuality, actuality, reality
2013. In: Cognitive Linguistics in the Making. Ed. Kinga Rudnicka-Szozda and Aleksander Szwedek. 77-87. Frankfurt am Main: Peter Lang. Ronald Langacker’s model of virtuality vs. actuality vs. reality requires a critical approach. Light on the problem can be shed through consideration of science fiction, understood as a language-generated derivative world. The areas subject to further elaboration include (i) the relationship between virtuality and what Langacker calls elaborated reality, (ii) the relationship between basic, immediate and elaborated reality (Langacker’s terms), (iii) the status of reality vis-à-vis actuality and (iv) the (actual or virtual) status of Langacker’s instance plane. It is claimed that benefits are potentially reciprocal: an understanding of science fiction is also enriched through an application of the Cognitive Grammar model for its analysis. Keywords: virtuality; actuality; reality; Cognitive Grammar; science fiction
Virtual Reality - Theodore Grammatas
The problem of the existence or not of a reality, which outside the dimension of the intelligent subject, that is, the relationship of the subjectivity of conscience and the objectivity of the world, comprises an issue lending itself to a multiplicity of approaches and dimensions such as ontology, gnosology, psychology and metaphysics, neurophysiology and sociology. The questions posed and the answers given appear in philosophical and literary texts, scholarly studies and artistic creations, directly or indirectly linked to notions suck as “utopia” and “science fiction”, “temporality” and “reality”, “futurity” and “metaphysics”.