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This book looks at the origins and the many contemporary meanings of the virtual. Rob Shields shows how the construction of virtual worlds has a long history. He examines the many forms of faith and hysteria that have surrounded computer technologies in recent years. Moving beyond the technologies themselves he shows how the virtual plays a role in our daily lives at every level. The virtual is also an essential concept needed to manage innovation and risk. It is real but not actual, ideal but not abstract. The virtual, he argues, has become one of the key organizing principles of contemporary society in the public realms of politics, business and consumption as well as in our private lives.
We live in a wired world where 24/7 digital connectivity is increasingly the norm. Christian megachurch communities often embrace this reality wholeheartedly while more traditional churches often seem hesitant and overwhelmed by the need for an interactive website, a Facebook page and a twitter feed. This book accepts digital connectivity as our reality, but presents a vision of how faith communities can utilize technology to better be the body of Christ to those who are hurting while also helping followers of Christ think critically about the limits of our digital attachments. This book begins with a conversion story of a non-cell phone owning, non-Facebook using religion professor judgmental of the ability of digital tools to enhance relationships. A stage IV cancer diagnosis later, in the midst of being held up by virtual communities of support, a conversion occurs: this religion professor benefits in embodied ways from virtual sources and wants to convert others to the reality that the body of Christ can and does exist virtually and makes embodied difference in the lives of those who are hurting. The book neither uncritically embraces nor rejects the constant digital connectivity present in our lives. Rather it calls on the church to a) recognize ways in which digital social networks already enact the virtual body of Christ; b) tap into and expand how Christ is being experienced virtually; c) embrace thoughtfully the material effects of our new augmented reality, and c) influence utilization of technology that minimizes distraction and maximizes attentiveness toward God and the world God loves.
Arguing that the virtual body is something new—namely, an entity that from an ontological perspective has only recently entered the world—Roberto Diodato considers the implications of this kind of body for aesthetics. Virtual bodies insert themselves into the space opened up by the famous distinction in Aristotle's Physics between natural and artificial beings—they are both. They are beings that are simultaneously events; they are images that are at once internal and external; they are ontological hybrids that exist only in the interaction between logical-computational text and human bodies endowed with technological prostheses. Pursuing this line of thought, Diodato reconfigures classic aesthetic concepts such as mimesis, representation, the relation between illusion and reality, the nature of images and imagination, and the theory of sensory knowledge.
Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In Parables for the Virtual Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing and assessing William James's radical empiricism and Henri Bergson's philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, Parables for the Virtual tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan's acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument.
From the Renaissance idea of the painting as an open window to the nested windows and multiple images on today's cinema, television, and computer screens: a cultural history of the metaphoric, literal, and virtual window. As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices—"windows" full of moving images, texts, and icons—how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective—Alberti's metaphorical window—has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple 'windows' coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.
A leading philosopher takes a mind-bending journey through virtual worlds, illuminating the nature of reality and our place within it. Virtual reality is genuine reality; that’s the central thesis of Reality+. In a highly original work of “technophilosophy,” David J. Chalmers gives a compelling analysis of our technological future. He argues that virtual worlds are not second-class worlds, and that we can live a meaningful life in virtual reality. We may even be in a virtual world already. Along the way, Chalmers conducts a grand tour of big ideas in philosophy and science. He uses virtual reality technology to offer a new perspective on long-established philosophical questions. How do we know that there’s an external world? Is there a god? What is the nature of reality? What’s the relation between mind and body? How can we lead a good life? All of these questions are illuminated or transformed by Chalmers’ mind-bending analysis. Studded with illustrations that bring philosophical issues to life, Reality+ is a major statement that will shape discussion of philosophy, science, and technology for years to come.
A modern lighthouse keeper tells the fascinating stories of his tenure at a celebrated historic site.
This work argues that the virtual has become one of the key organizing principles of contemporary society for the public realms of politics and business as well as private life from sex to shopping.
Imagine a life of virtual reality -- a childhood contained in a controlled environment, with no human contact or experiences outside of the world of computer-generated images. Corgan has been genetically engineered by the Federation for quick reflexes, high intelligence, and physical superiority. Everything Corgan is, everything he has ever seen or done, was to prepare him for one moment: a bloodless, computer-controlled virtual war. When Corgan meets his two fellow warriors, he begins to question the Federation. Now Corgan must decide where his loyalties lie, what he's willing to fight for, and exactly what he wants in return. His decisions will affect not only these three virtual warriors, but all the people left on earth.
The benefits of using technology to remake government seem almost infinite. The promise of such programs as user-friendly "virtual agencies" and portals where citizens can access all sections of government from a single website has excited international attention. The potential of a digital state cannot be realized, however, unless the rigid structures of the contemporary bureaucratic state change along with the times. Building the Virtual State explains how the American public sector must evolve and adapt to exploit the possibilities of digital governance fully and fairly. The book finds that many issues involved in integrating technology and government have not been adequately debated or even recognized. Drawing from a rich collection of case studies, the book argues that the real challenges lie not in achieving the technical capability of creating a government on the web, but rather in overcoming the entrenched organizational and political divisions within the state. Questions such as who pays for new government websites, which agencies will maintain the sites, and who will ensure that the privacy of citizens is respected reveal the extraordinary obstacles that confront efforts to create a virtual state. These political and structural battles will influence not only how the American state will be remade in the Information Age, but also who will be the winners and losers in a digital society.