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/ /__ / / ____ __ __ __ ___ __ __ ____ / /
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/ ___/ __ / / / __ \ / / / / / //__/ / //_ \ / __ \ / /
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/ /____ / /_/ / / /_/ / / /_/ / / / / / / / / /_/ / / /
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\_____/ \____/ \____/ \____/ /_/ /_/ /_/ \__/_/ /_/
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September, 1993 _EJournal_ Volume 3 Number 2 ISSN 1054-1055
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There are 598 lines in this issue.
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An Electronic Journal concerned with the
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implications of electronic networks and texts.
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3065 Subscribers in 37 Countries
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University at Albany, State University of New York
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EJOURNAL@ALBANY.bitnet
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CONTENTS:
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KNOCKING ON HEAVEN'S DOOR: [ Begins at line 48 ]
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Leibniz, Baudrillard and Virtual Reality
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by C.J. Keep, Queen's University
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The December, 1992, Survey of _EJournal_ Subscribers [ Begins at line 439 ]
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Editorial Comment [ Begins at line 489 ]
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Information about _EJournal_ - [ Begins at line 517 ]
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About Subscriptions and Back Issues
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About Supplements to Previous Texts
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About _EJournal_
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People [ Begins at line 563 ]
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Board of Advisors
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Consulting Editors
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*******************************************************************************
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* This electronic publication and its contents are (c) copyright 1993 by *
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* _EJournal_. Permission is hereby granted to give away the journal and its *
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* contents, but no one may "own" it. Any and all financial interest is hereby*
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* assigned to the acknowledged authors of individual texts. This notification*
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* must accompany all distribution of _EJournal_. *
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*******************************************************************************
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KNOCKING ON HEAVEN'S DOOR:
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Leibniz, Baudrillard and Virtual Reality
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by C.J. Keep
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Queen's University
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Kingston, Ontario Canada K7L 3N6
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KEEPC@QUCDN.QUEENSU.CA
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Early in the eighteenth century, Leibniz envisioned what might
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fairly be called the first reality engine. Central to the argument
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of the _Theodicy_ (1710), is the claim that the mind of God
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comprehends an infinity of possible worlds, each of which exists *in
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potentia*. Of these, only one was brought into being, because only
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one --the actual world in which we live-- fulfils the divine plan for
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creation. For Leibniz, this world is the best of all possible
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worlds precisely because it is the only one which the Almighty chose
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to instantiate. "God must needs have chosen the best," he writes,
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"since he does nothing without acting in accordance with supreme
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reason" (128).
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[l. 67]
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The Theodicy concludes with a journey that anticipates both the
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nature of virtual reality technology and the epistemological
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problems arising from it. Extrapolating on Laurentius Valla's
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_Dialogue on Free Will_, Leibniz tells of Theodorus' dream in which
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the goddess Pallas guides him through an infinitely large pyramid,
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each hall of which contains, "as in a stage presentation" (371), a
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fully realized possible future. The pyramid is a series of tactile,
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three-dimensional, but wholly fictional environments through which
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Theodorus can physically move and experience the full spectrum of
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sensory stimuli --sight, sound, taste, smell and touch. He can,
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moreover, control the degree of representational detail of each
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scene with a wave of his hand. Pointing to a book which appears like
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a pull-down menu in each room, Pallas explains,
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It is the history of this world which we are visiting .
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. . . Put your finger on any line you please . . . and
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you will see represented actually in all its detail that
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which the line broadly indicates. He obeyed, and . . .
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lo! another world, another Sextus [came into view].
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(371-72)
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The sense of depth, of fullness and representational plenitude, that
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Theodorus experiences in the worlds populating the great pyramid --
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and the ability to interact with those worlds-- are the goals of
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virtual reality technology, or VR. Current attempts to realize
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these goals usually require the user to don a headset which
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completely encompasses the field of vision, and one or more other
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items of peripheral hardware such as a glove or a body harness. These
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input devices are equipped with remote sensors which translate the
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body's movements into a stream of digital information. Thus trussed
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up, the modern day Theodorus is connected to the "reality engine,"
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a high-speed graphics-oriented computer. This sends to the headset
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a three-dimensional image of a virtual environment -- a classroom,
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for example, or the surface of the planet Venus. When users,
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completely immersed in "cyberspace," turn their head, walk forward,
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or crouch down, the image moves accordingly. The use of stereo
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sound effects and the ability to pick up or move objects within the
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virtual environment help reinforce a visceral sense of "being
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there."
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[l. 107]
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The verisimilitude offered by current state-of-the-art VR technology
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is somewhat short of that depicted in the 1991 film _The Lawnmower
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Man_. The advanced computer graphics which provide some of the
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film's special effects present alternately glorified and demonized
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images of virtual worlds which are simply beyond the current state
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of the technology. Even the well-funded NASA/Ames project has only
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been able to produce a cartoon-like environment, one lacking the
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texture, detail and gradations of colour necessary to produce a
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truly convincing "reality." But we should not underestimate the
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pace of developments in computing. Not twenty years ago, computers
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filled entire rooms and could still perform only rudimentary tasks.
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Today the same tasks could be performed by the microprocessor in a
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wrist watch. Thus when Michael McGreevey of the NASA/Ames project
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says he will walk on a *virtual* Venus in the next two years, I
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suspect we should believe him.
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The possibility that we will be able to mould and shape our own
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private alternate worlds, that there will exist for each of us a
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means of realizing some personal Platonic ideal behind the mask of a
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stereoscopic LCD display, raises serious issues concerning the
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epistemological status of the real. If the virtual can offer the
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complete range of sensory experiences available in the empirical
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world, and if, as some proponents claim, VR can even optimize those
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experiences such that the real comes to seem a pale shadow of the
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virtual, how will one still differentiate between the sign and the
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referent? Is this the telos of a world in which, as Baudrillard
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claims, the real "is produced from miniaturised units, from
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matrices, memory banks and command models" (3), in which "the very
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definition of the real becomes: that of which it is possible to give
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an equivalent reproduction" (146)?
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[l. 139]
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The virtual gave Leibniz no cause for alarm. On the contrary, the
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Theodicy posits the existence of "an infinitude of possible worlds"
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(128) not in order to volatize the model of a fixed and determinate
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uni-verse, but to reinforce it, to justify the ways of God to men.
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This vision of a multi-verse, all contained in the halls of a giant
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reality engine, concludes with Theodorus' ascent to the very apex of
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the pyramid. There, in the most beautiful of the rooms, he
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discovers the actual world and is overwhelmed by the experience:
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Theodorus, entering this highest hall, became
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entranced in ecstasy; he had to receive succour
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from the Goddess, a drop of divine liquid placed on
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his tongue; he was beside himself for joy. We are
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in the real true world (said the Goddess) and you
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are at the source of happiness. Behold what
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Jupiter makes ready for you, if you continue to
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serve him faithfully. (372)
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The existence of an infinite plurality of alternate schemes for
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creation only serves to renew Leibniz's faith in the one which God
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chose to instantiate.
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Early initiates to the mysteries of cyberspace report a similarly
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epiphanic response. Howard Rheingold claims that many users of VR
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technology undergo what he calls a "conversion experience," a
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moment in which the sense of having moved into a wholly fictional
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reality grips the person with the certainty of a new found faith
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(14). The ecstasy of the VR experience recalls the Greek root of
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the word, ekstasis, meaning to stand outside oneself, to feel your
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sense of self projected to a point outside that occupied by your
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body. Where Theodorus' ecstasy essentially leads him back to
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himself, to the corporeal body that inhabits the actual world, VR
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tends toward an almost religious sense of transcendence. The advent
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of the virtual announces the end of the body, the apocalypse of
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corporeal subjectivity. According to Randal Walser and Eric
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Gullichsen, two of the field's major architects,
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[l. 176]
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In cyberspace, there is no need to move about in a
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body like the one you possess in physical reality.
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You may feel more comfortable, at first, with a
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body like your "own" but as you conduct more of
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your life and affairs in cyberspace your
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conditioned notion of a unique and immutable body
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will give way to a far more liberated notion of
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"body" as something quite disposable . . . . You
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will find that some bodies work best in some
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situations while others work best in others. The
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ability to radically and compellingly change one's
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body-image is bound to have a deep psychological
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effect, calling into question just what you
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consider yourself to be. (quoted in Rheingold,
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191)
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In the ecstatic realm of the virtual, all things become pliable,
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changeable, improvable. We could, for example realize Prufrock's
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dream of living as "a pair of ragged claws / Scuttling across the
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floors of silent seas" ("The Love Song of J. Alfred Prufrock,"
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73-74), or experience the sense of incorporeality, of having no body
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at all. VR shares none of Leibniz's faith in the supreme wisdom of
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God's creation, but rather looks to abandon it, to step outside the
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body in search of as yet unthought combinations, relations, and
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forms.
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The virtual then perhaps offers a way out of the cultural and
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epistemological dead-end of Baudrillard's theory of hyperreality.
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The real ceases to be real for Baudrillard when it comes to resemble
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itself, when the difference between the sign and its referent is
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obliterated and the subtle charm of the trompe-l'oeil gives way to
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the endlessly repeatable perfection of the digital code. The
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hyperreal is the condition in which art, as Andy Warhol recognized,
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is everywhere, and everything, from Campbell's Soup cans to
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reproductions of photos of Marilyn Monroe, is art. The real,
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Baudrillard claims, "has been confused with its image. Reality no
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longer has the time to take on the appearance of reality"
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(_Simulations_, 152).
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[l. 215]
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The crisis of representation derives precisely from this
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catastrophic collapse of difference; when the sign and the referent
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are drawn together in an "implosive madness" (_Simulations_, 147),
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the space that is representation disappears. But it is in this
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space which is no-space, a virtual space, that the virtual is born.
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For some critics, such as Benjamin Wooley, VR is associated with,
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even seen as the apotheosis of, Baudrillard's concept of the
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hyperreal, and in one sense this is justified; VR strives to
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simulate not only the look of the real, but also its feel. For all
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that it leaves the body ecstatically behind, VR valorizes, even
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fetishizes, the five senses in order to produce its visceral sense
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of verisimilitude. In so doing, VR looks forward to a time when its
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simulated worlds will seem more real than the real, when the latter
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will come to have the uncanny sense of appearing similar to the
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virtual.
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The strain of VR technology which tends most dramatically toward the
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dead end of the hyperreal is, not coincidently, the one fostered by
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the American military. The "Super Cockpit" program of the U.S. Air
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Force, slated for completion in 1996, arose from the recognition
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that the technological sophistication of the next generation of
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fighter planes would outstrip the ability of human pilots to monitor
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effectively all of the two hundred various gauges, meters and
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electronic read outs crammed into their cockpits. Placing the
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operator in a virtual environment, however, removes the ergonomic
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obstacles to delivering death at mach three --even as the pilot
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himself disappears behind his headmounted display screen. The
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ecstasy of virtual combat, the unlimited freedom that results from
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the increasingly mediated nature of technological warfare, is
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hungrily anticipated in an article from _Air & Space_ magazine:
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When he climbed into his F-16C, the young fighter
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jock of 1998 simply plugged in his helmet and
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flipped down his visor to activate his Super
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Cockpit system. The virtual world he saw exactly
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mimicked the world outside. Salient terrain
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features were outlined and rendered in three
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dimensions . . . . Once he was airborne, solid
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cloud cover obscured everything outside the canopy.
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But inside the helmet, the pilot "saw" the horizon
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and terrain clearly, as if it were clear day. His
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compass heading was displayed as a large band of
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numbers on the horizon line, his projected flight
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path a shimmering highway leading out toward
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infinity. (Thompson, 75-76)
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[l. 261]
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The Super Cockpit program differs significantly from simple flight
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simulators. In the *hyperreal* Super Cockpit, the work performed in
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the virtual space is also work done in the real world; when the
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"young fighter jock" downs a "bandit" by pushing "a phantom button
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on a virtual display screen," then it is not a virtual person but a
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real person who dies in the bright light of a real air-to-air
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missile.
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The thanatotic impulse of the military's VR programs, I would argue,
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draws out the distinctly masculinist will-to-power inherent in the
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attempt to re-make the world, to finally take on the divine powers
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of creation. The hyperreal can perhaps be seen as the swan song of
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the historical project known as "man": a desperate bid for
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transcendence in the dying days of male hegemony in which the
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masculine subject imagines himself disappearing down a "shimmering
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highway" paved with microchips.
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Paradoxically, however, it is at the point where the virtual most
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completely approximates the physical world, when VR seems to
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collapse the distinction between the sign and the referent, that it
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illuminates difference. At the asymptotic limit of representation,
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VR breaks free of the gravitational pull of the actual and opens a
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new space for the imagination. The difference: Where the
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*hyperreal* is constituted by the play of surfaces, by a paralytic
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fascination with exteriority, the *virtual* offers images with
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depth, images which one can enter, explore, and, perhaps most
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importantly, with which one can interact. The virtual is thoroughly
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interior. Unlike cinema, for example, or the photograph, the
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virtual takes you inside spaces, lets you be surrounded. But its
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depth is not that of the absolute ground which guaranteed the
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sovereignty of the real; VR's depth is self-reflexively fictional,
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tentative, open to change and adaptation.
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[l. 294]
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For Jaron Lanier, a software designer widely considered the "guru"
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of VR, the virtual constitutes a "post-symbolic" order. The empire
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of the sign collapses when one no longer requires words, numbers,
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keyboards, and screens. Extrapolating from his early efforts to
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create a computer language that replaced alpha-numeric strings with
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pictograms, Lanier sees the virtual as a means by which people can
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regain a kind of immediate relation to their work. "Information is
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alienated experience," Lanier claims, but when people are no longer
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divided from their tasks by a screen, and can, in effect, enter into
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the realm where the work is performed, alienation gives way to
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visceral experience. "When you make a program and send it to
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somebody else," Lanier told an interviewer in 1985, "especially if
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that program is an interactive simulation, it as if you are making a
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new world, a fusion of the symbolic and natural elements. Instead
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of communicating symbols like letters, numbers and pictures . . . you
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are creating miniature universes that have their own internal
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mysteries to be discovered" (quoted in Rheingold, 159).
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The interactive nature of VR is at the heart of Lanier's vision of
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post-symbolic communication. Tele-presence, the ability to project
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a virtual body and sense of self to any location connected to a
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telephone line, allows people separated by even the greatest of
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distances to meet and collaborate in a virtual space. Moreover,
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because cyberspace is eminently malleable, the meeting place itself
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may become the means by which we communicate with one another.
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Lanier's company, VPL Research, for example, recently conducted a
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demonstration called "Day Care World." Two architects, one in
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Houston, and the other in San Francisco, donned cyberspace suits,
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sensor-fitted leotards which turn the entire body into a remote
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input device. The architects telecommuted to VPL's headquarters in
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Redwood City, California, where they met inside a computer to design
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a daycare centre with virtual imaging tools. Upon completion, they
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were able to "reduce" their simulated size to that of a child in
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order to better understand the problems the building's future
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occupants might have with their design.
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[l. 330]
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VR returns representation to the body at the very moment that it
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frees us from it. In the realm of the virtual, one communicates
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again with the inflections of voice, the subtleties of facial
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expressions and the dramatics of hand gestures. In offering us
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alternative bodies, it offers us alternative body languages.
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The utopian impulses which atrophied in the age of the hyperreal, in
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the age of our mute transfixion before the sign, are revived in the
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age of the virtual. The literature of its enthusiasts beckons us to
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a land of digital milk and honey:
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Only a tradition bound to the precious object as
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commodity would find problematic the replacement of
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'reality' by a 'simulacra of simulations' . . .
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Moralistic critics of the simulacrum accuse us of
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living in a dream world. We respond with Montaigne
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that to abandon life for a dream is to price it
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exactly at its worth. And anyway, when life is a
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dream there's no need for sleeping. (Youngblood,
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15-16)
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Others, noting VR's relation to the military apparatus and its
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potential as a kind of electronic opiate for the masses, are less
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enthusiastic. Kevin Robins, for example, argues this "cynical
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substitution of simulation for reality can only superficially
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overcome the alienation of our social existence; our pain will
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return to haunt us as nightmares the more we seek refuge in the
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'dream' of virtual reality" (114).
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[l. 359]
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The portentous fears of critics like Robins, or films like
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_The Lawnmower Man_ (in which VR is responsible for transforming an
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innocent simpleton into a Nietzschean *Ubermensch* with homicidal
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tendencies --and a Christ complex to boot) are expressions of a kind
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of panic, a panic arising from loss of the comforting assurance of
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the real, from the desire to return to the certainties of the
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symbolic. What these fears overlook, or attempt to repress, is the
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simple fact that it is too late to go back to some putative "real
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true world"; we already live, and perhaps have always lived, in the
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virtual. When computer graphics programmer Alvy Ray Smith proclaims
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that "reality is 80 million polygons per second" (quoted in
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Rheingold, 168), he is making more than a statement about the amount
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of pictorial information required to simulate the look and feel of a
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physical object. He is telling us something we have always secretly
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suspected: that reality is an effect, a historically, socially, even
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technologically determined means of regulating and representing
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experience.
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Virtual reality technology is already being used to help
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bio-chemists at the University of North Carolina discover new
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molecular combinations. American surgeons can practice on virtual
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cadavers. Japanese consumers can choose their kitchen cabinets in a
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virtual mock-up of their own homes. This past summer, "Virtuality"
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arcade games have shown up in shopping malls, dance clubs and
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exhibitions across North America. For fifty dollars, you can pit
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your wits against a gun-slinging cyborg. And the French consortium
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which now owns Lanier's company, VPL Research, has already announced
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the opening of the first virtual reality theatres.
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The virtual is here. The issue now is whether we allow it to remain
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the province of the techno-military apparatus and the vertically
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integrated entertainment corporations, or whether, like the personal
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computer, it can be appropriated to the task of dismantling the
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structures of "Truth" which would pin us to some "Authorised King
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James Version" of The Real. Leibniz was right: the actual world is
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but one room in the unnumbered halls of the multi-verse. And from
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this crucial insight we must find our own way to the apex, to the
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uppermost hall of the pyramid. There we shall knock on the door and
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wait to see who answers.
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[l. 399]
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Works Cited
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Baudrillard, Jean. Simulations. Trans. Paul Foss et. al. New
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York: Semiotext(e), 1983.
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Eliot, T. S. "The Love Song of J. Alfred Prufrock." _The Waste Land
|
|
and Other Poems_. London: Faber & Faber, 1988. 9-14.
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|
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Leibniz, Gottfried Wilhelm. _Theodicy_. Trans. E.M. Huggard.
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London: Routledge & Kegan Paul, 1952.
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Rheingold, Howard. _Virtual Reality_. New York: Simon & Schuster,
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1992.
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|
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Robins, Kevin. "The Virtual Unconscious in Post-Photography."
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_Science as Culture_. 3, no. 14 (1992): 99-115
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Thompson, Stephen L. "The Big Picture." _Air & Space_. (April/May
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1987): 75-83.
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Wooley, Benjamin. _Virtual Worlds_. Oxford: Blackwell, 1992.
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Youngblood, Gene. "The New Renaissance: Art, Science and the
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Universal Machine." _The Computer Revolution and the Arts_. Ed.
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R.L. Loveless. Tampa: University of Florida Press, 1989.
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8-20.
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-------- C. J. Keep -------
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-------- Queen's University -------
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-------- keepc@qucdn.queensu.ca -------
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---------------------------------------------------------------------------
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This essay in Volume 3 Number 2 of _EJournal_ (September, 1993) is
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(c) copyright _EJournal_. Permission is hereby granted to give it away.
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_EJournal_ hereby assigns any and all financial interest to the author,
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C.J. Keep. This note must accompany all copies of this text.
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----------------------------------------------------------------------------
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=============================================================================
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THE DECEMBER, 1992, SURVEY OF _EJOURNAL_ SUBSCRIBERS [l. 439]
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Last December's survey produced nothing startling. On the other
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hand, it gives us a few hints about ourselves. Thanks to Peter
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Gorny and his cohorts at Oldenburg who tabulated the 127 responses,
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we can share what we think we have found out.
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It looks as if about 85% of our readers are affiliated with
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not-for-profit organizations. Over half of that 85% say they are at
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universities (spread quite evenly among specialities) or otherwise
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involved in education. Of the other half, the clusters are in
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libraries (15% of *all* readers), in government, and in research,
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international or charitable organizations.
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Of the 15% or so of the total who report working with for-profit
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organizations, half classify their affiliation as computing related;
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the rest are spread out among publishing, engineering,
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manufacturing, research and information-management ventures.
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Of all 127 respondents, one third receive _EJournal_ by way of Unix
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machines, 22% through Vax and 13% via IBM equipment.
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About "platforms" for reading: 36% use Macintosh, 35% DOS, 18% Sun,
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18% "other," 10% dumb terminal and 3% NeXT (there were multiple
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|
answers).
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Less than half of the group print the journal for saving or sharing,
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but 86 people reported filing it electronically (at least
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|
occasionally) for future reference. Of 43 who say they forward
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_EJournal_ to others, four have sent it to entire lists. Twenty
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seven people report having retrieved back issues from our Fileserv;
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|
they appear to account for a small proportion of the more than 1500
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"hits" on the Fileserv in 1992.
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About 100 respondents offered some 300 answers to the question about
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what they hoped the journal would contain. Here are the top 163:
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ownership and copyright- 28
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hypertext - 23
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matrix/ network/ cyberspace - 23
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education and pedagogy - 20
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electronic fiction and poetry - 19
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virtual reality - 18
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text and display - 17
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costs/ benefits of networking - 15
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Three respondents said, incidentally, that they would like less in
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the way of self-regarding or self-centered material, including
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(presumably) questionnaires like this.
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EDITORIAL COMMENT [l. 489]
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The Survey information about readers, meager and unsophisticated as
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it is, leads toward three generalizations. _EJournal_ doesn't serve
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any conventional academic discipline; our readers probably don't all
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|
have late-model, high-end equipment; the equipment each of you uses
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|
is probably not quite the same as any other reader's.
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|
The list of hoped-for subjects isn't surprising --perhaps because
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|
most are from the list of choices we offered. On the other hand,
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the 137 volunteered suggestions did not cluster in a discernible
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pattern, nor did we spot anything startlingly novel among them.
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The inferences we draw aren't startling, either. Most important:
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Our subscribers want to read essays related to any of the areas on
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the list.
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Also significant: It looks as if we should keep on delivering the
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full text of every issue of _EJournal_ --electronic mail
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messages of under 1000 lines in plain-vanilla ASCII-- to all
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subscribers.
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At the same time, anticipating the eventual homogenization of
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digital delivery and display systems, we will try to explore ways of
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"envisioning information" (thanks, E. R. Tufte) that paper-bound
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publishing won't accomodate.
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-------------------------------------------------------------------------------
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------------------------ I N F O R M A T I O N ------------------------------
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-------------------------------------------------------------------------------
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About Subscribing and Sending for Back Issues: [l. 519]
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|
In order to: Send to: This message:
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Subscribe to _EJournal_: LISTSERV@ALBANY.bitnet SUB EJRNL Your Name
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|
|
|
Get Contents/Abstracts
|
|
of previous issues: LISTSERV@ALBANY.bitnet GET EJRNL CONTENTS
|
|
|
|
Get Volume 1 Number 1: LISTSERV@ALBANY.bitnet GET EJRNL V1N1
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|
|
Send mail to our "office": EJOURNAL@ALBANY.bitnet Your message...
|
|
-------------------------------------------------------------------------------
|
|
About "Supplements":
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|
|
|
_EJournal_ is experimenting with ways of revising, responding to, reworking, or
|
|
even retracting the texts we publish. Authors who want to address a subject
|
|
already broached --by others or by themselves-- may send texts for us to
|
|
consider publishing as a Supplement issue. Proposed supplements will not go
|
|
through as thorough an editorial review process as the essays they annotate.
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|
-------------------------------------------------------------------------------
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About _EJournal_:
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|
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|
_EJournal_ is an all-electronic, e-mail delivered, peer-reviewed, academic
|
|
periodical. We are particularly interested in theory and practice surrounding
|
|
the creation, transmission, storage, interpretation, alteration and replication
|
|
of electronic text. We are also interested in the broader social,
|
|
psychological, literary, economic and pedagogical implications of computer-
|
|
mediated networks. The journal's essays are delivered free to Bitnet/Internet/
|
|
Usenet addressees. Recipients may make paper copies; _EJournal_ will provide
|
|
authenticated paper copy from our read-only archive for use by academic deans
|
|
or others.
|
|
|
|
Writers who think their texts might be appreciated by _EJournal_'s audience are
|
|
invited to forward files to EJOURNAL@ALBANY.bitnet . If you are wondering
|
|
about starting to write a piece for to us, feel free to ask if it sounds
|
|
appropriate. There are no "styling" guidelines; we try to be a little more
|
|
direct and lively than many paper publications, and considerably less hasty and
|
|
ephemeral than most postings to unreviewed electronic spaces. Essays in the
|
|
vicinity of 5000 words fit our format well. We read ASCII; we look forward to
|
|
experimenting with other transmission and display formats and protocols.
|
|
[l. 561]
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-------------------------------------------------------------------------------
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Board of Advisors:
|
|
Stevan Harnad Princeton University
|
|
Dick Lanham University of California at L. A.
|
|
Ann Okerson Association of Research Libraries
|
|
Joe Raben City University of New York
|
|
Bob Scholes Brown University
|
|
Harry Whitaker University of Quebec at Montreal
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-------------------------------------------------------------------------------
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Consulting Editors - September, 1993
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ahrens@alpha.hanover.bitnet John Ahrens Hanover
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|
ap01@liverpool.ac.uk Stephen Clark Liverpool
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|
dabrent@acs.ucalgary.ca Doug Brent Calgary
|
|
djb85@albany Don Byrd Albany
|
|
donaldson@loyvax Randall Donaldson Loyola College
|
|
ds001451@ndsuvm1 Ray Wheeler North Dakota
|
|
erdtt@pucal Terry Erdt Purdue-Calumet
|
|
fac_askahn@vax1.acs.jmu.edu Arnie Kahn James Madison
|
|
folger@watson.ibm.com Davis Foulger IBM - Watson Center
|
|
george@gacvax1 G. N. Georgacarakos Gustavus Adolphus
|
|
gms@psuvm Gerry Santoro Penn State
|
|
nrcgsh@ritvax Norm Coombs RIT
|
|
pmsgsl@ritvax Patrick M.Scanlon RIT
|
|
r0731@csuohio Nelson Pole Cleveland State
|
|
richardj@surf.sics.bu.oz.au Joanna Richardson Bond
|
|
ryle@urvax Martin Ryle Richmond
|
|
twbatson@gallua Trent Batson Gallaudet
|
|
userlcbk@umichum Bill Condon Michigan
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|
wcooper@vm.ucs.ualberta.ca Wes Cooper Alberta
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-------------------------------------------------------------------------------
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Editor: Ted Jennings, English, University at Albany
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|
Editorial Asssociate: Jerry Hanley, emeritus, University at Albany
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-------------------------------------------------------------------------------
|
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University at Albany Computing Services Center: Ben Chi, Director
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-------------------------------------------------------------------------------
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University at Albany State University of New York Albany, NY 12222 USA
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