Consensual Illusion The Mind In Virtual Reality

This book is inspired by the contemporary fascination with virtual reality and growing presence of this type of technology in everyday life. It explores the ways in which virtual reality evokes illusory transformation responses. The power of virtual reality is in making the mediation by technology in these experiences appear irrelevant to cognitive processes, so much so that it is often assumed that skills acquired in virtual environments are generally transferable to the physical world. However, cognition is affected by virtual reality technology, which is reflected in issues related to virtual embodiment, choice of spatial strategies, differences in neural and electrophysiological patterns associated with movement processing when navigating virtual vs. physical environments, and, at least to some extent, in virtual proxemics. In addition to spatial cognition, the book explores the sense of self in virtual reality, social interaction and virtual togetherness, action and motor cognition, calling to mind debates from philosophy, psychology, and cognitive neuroscience.

Shaun Gallagher offers an account of psychopathologies as disorders of the self. The Self and its Disorders develops an interdisciplinary approach to an 'integrative' perspective in psychiatry. In contrast to some integrative approaches that focus on narrow brain-based conceptions, or on symptomology, this book takes its bearings from embodied and enactive conceptions of human experience. Gallagher offers an understanding of the self as a pattern of processes that include bodily, experiential, affective, cognitive, intersubjective, narrative, ecological and normative factors. He provides a philosophical analysis of the notion of self-pattern; then, drawing on phenomenological, developmental, clinical and experimental evidence, he proposes a method to study the effects of psychopathologies on the self-pattern. The book includes specific discussions of schizophrenia, anxiety disorders, depression, borderline personality disorder, and autism, among other disorders, as well as the effects of torture and solitary confinement. It also explores a variety of issues that relate to therapeutic approaches, including deep brain stimulation, meditation-based interventions, and the use of artificial intelligence and virtual reality.

This is a book that shows, in simple detail, one of the most startling findings of modern science: We don't experience the world as it is, but as virtual reality. And while much of the latest scientific work demonstrates this, as do many of the classical psychological illusions, it is an important meeting point for students of the mind, brain, philosophy and religion because, as we can now see in light of this book, all these disciplines begin at the same place. This is not an abstruse treatise, but part graphic novel and part direct address. It allows the reader a breakthrough understanding of the mind which is not available anywhere else. It is, in part, a summa of Dr. Ornstein's research and writing of the past 35 years (with pieces and references to many of his works) as well as a seminal introduction to new readers.

An overview of the art historical antecedents to virtual reality and the impact of virtual reality on contemporary conceptions of art. Although many people view virtual reality as a totally new phenomenon, it has its foundations in an unrecognized history of immersive images. Indeed, the search for illusionary visual space can be traced back to antiquity. In this book, Oliver Grau shows how virtual art fits into the art history of illusion and immersion. He describes the metamorphosis of the concepts of art and the image and relates those concepts to interactive art, interface design, agents, telepresence, and image evolution. Grau retells art history as media history, helping us to understand the phenomenon of virtual reality beyond the hype. Grau shows how each epoch used the technical means available to produce maximum illusion. He discusses frescoes such as those in the Villa dei Misteri in Pompeii and the gardens of the Villa Livia near Primaporta, Renaissance and Baroque illusion spaces, and panoramas, which were the most developed form of illusion achieved through traditional methods of painting and the mass image medium before film. Through a detailed analysis of perhaps the most important German panorama, Anton von Werner's 1883 The Battle of Sedan, Grau shows how immersion produced emotional responses. He traces immersive cinema through Cinerama, Sensorama, Expanded Cinema, 3-D, Omnimax and IMAX, and the head mounted display with its military origins. He also examines those characteristics of virtual reality that distinguish it from earlier forms of illusionary art. His analysis draws on the work of contemporary artists and groups ART+COM, Maurice Benayoun, Charlotte Davies, Monika Fleischmann, Ken Goldberg, Agnes Hegedues, Eduardo Kac, Knowbotic Research, Laurent Mignonneau, Michael Naimark, Simon Penny, Daniela Plewe, Paul Sermon, Jeffrey Shaw, Karl Sims, Christa Sommerer, and Wolfgang Strauss. Grau offers not just a history of illusionary space but also a theoretical framework for analyzing its phenomenologies, functions, and strategies throughout history and into the future.

This book provides critical commentary on key issues around virtual reality, using media technology as a tool to challenge perspectives for learning and understanding cultural diversities. With a focus on empathy, embodiment and ethics, the book interrogates the use of immersive technologies for formal and informal educational contexts. Taking a critical approach to discourses around emerging technology and learning, the book presents the idea that a new literacy is emerging and an emphasis on media and technology is needed in the context of education to explore and experience cultural diversities. Employing a personal reflexive narrative, the chapters highlight key issues through research and interviews with leading practitioners in the field. Understanding Virtual Reality will be of great interest to academics and students interested in the effects of immersive realities on the education experience, and to anyone keen on exploring the paradigm shift from entertainment to education.

For much of the 20th century, an apparently solid conceptual wall allowed us to separate information and bodies. Information is that which exists between elements; bodies are the elements themselves. One is abstract the other corporeal. One is intricately involved in signs and syntax, the other in cells and organs. Yet in the last few decades, it has become increasingly clear that this conceptual wall leaks--bodies and information will not stay separate from one another. Data have become flesh just as flesh has become data. Semiotic Flesh marks an important contribution to the emerging field of information studies, providing multiple perspectives on the implications of burgeoning information technologies and biotechnologies. The essays and responses in this volume focus on the sites where flesh and information productively intermingle, including the strange connections between LSD and DNA research, the implications of computer-assisted surgery, and the role of the human body in virtual reality installations.