Multimodal Technologies and Interaction 2, no. 4 (2018)
ABSTRACT: In some circumstances, immersion in virtual environments with the aid of virtual reality (VR) equipment can create feelings of anxiety in users and be experienced as something “frightening”, “oppressive”, “alienating”, “dehumanizing”, or “dystopian”. Sometimes (e.g., in exposure therapy or VR gaming), a virtual environment is intended to have such psychological impacts on users; however, such effects can also arise unintentionally due to the environment’s poor architectural design. Designers of virtual environments may employ user-centered design (UCD) to incrementally improve a design and generate a user experience more closely resembling the type desired; however, UCD can yield suboptimal results if an initial design relied on an inappropriate architectural approach. This study developed a framework that can facilitate the purposeful selection of the most appropriate architectural approach by drawing on Norberg-Schulz’s established phenomenological account of real-world architectural modes. By considering the unique possibilities for structuring and experiencing space within virtual environments and reinterpreting Norberg-Schulz’s schemas in the context of virtual environment design, a novel framework was formulated that explicates six fundamental “architectural paradigms” available to designers of virtual environments. It was shown that the application of this framework could easily be incorporated as an additional step within the UCD process.
17th Annual Conference of the Polish Phenomenological Association: History, Body, and Life-World – On Patočka and Beyond • Institute of Philosophy and Sociology, Polish Academy of Sciences, Warsaw • December 15, 2017
ABSTRACT: In this work we build on the ontological and aesthetic frameworks formulated by Roman Ingarden to develop a phenomenological analysis of the virtual world as aesthetic object. First, ‘virtual reality technology’ is distinguished from ‘virtual environments’ and ‘virtual worlds.’ The types of immersive, interactive virtual worlds accessed through contemporary VR technologies are further distinguished from the types of ‘virtual worlds’ accessed, e.g., by reading a novel or watching a film. Essential and optional elements of virtual worlds are identified, with special attention given to the (software-enforced) ‘laws of nature’ governing the structure and dynamics of elements in a world, the pseudo-natural origins of apparently ‘natural’ elements like wild animals and geographic formations, and the unique positions of the world’s designer(s) and human visitor(s). The potential ‘incompleteness’ of virtual architectural structures and inability to determine whether one’s social interactions are with human or artificial agents is analyzed in light of Ingarden’s interpretation of Husserl’s phenomenological model of intentionality and the perception of objects. It is shown that a virtual building, e.g., does not display all the features of a real-world building but instead possesses some characteristics found in real-world paintings.
Drawing on Ingarden’s framework, the (physical) ontic basis of a virtual world is distinguished from the (purely intentional) virtual world as a work of art that is grasped through perception and the related aesthetic and cultural objects that may be constituted by a visitor who undergoes the right sort of conscious experience. The stratification of a virtual world as a work of art is also investigated. Building on Ingarden’s critique of Husserl’s concept of the ‘lifeworld’ as the natural world that is simultaneously (a) stripped of modern scientific theory and (b) the world that we live in and manipulate, it is suggested that VR-facilitated virtual worlds (like other highly technologized forms of art) undermine the factual possibility for such a lifeworld to exist. In response, though, Patočka’s notion (influenced by Ingarden) of fictional literary worlds as ‘echoes’ of the lifeworld is noted; we thus close by raising the question of whether certain virtual worlds might potentially be employed to help restore the possibility of (perhaps temporarily) establishing a Husserlian lifeworld.
Volume 02 in the Posthuman Cyberware Sourcebook series • ISBN 978-1-944373-20-7 • Mnemoclave, 2017 • 36 pages
SUMMARY: Whether it’s adding a night-vision cybereye or acquiring a full cyborg body, the process of cyborgization reshapes the way in which an individual relates to the physical environment around her. But how does it transform her ability to dive – or to be pulled – into virtual worlds?
Cyborgization and Virtual Worlds: Portals to Altered Reality is a resource for designing campaigns grounded in near-future hard-SF settings in which synthetic bodies and VR cyberware offer characters entirely new ways of perceiving, interpreting, and manipulating the analog and digital worlds…
Volume 01 in the Posthuman Cyberware Sourcebook series • ISBN 978-1-944373-18-4. Indianapolis: Mnemoclave, 2017 • 40 pages
SUMMARY: What realities lie behind the glimmering advertisements for designer cyberlimbs, combat neuroaugmentations, prosthetic eyes with squalor-suppression filters, and downloadable charisma?
Posthuman Cyberware: Blurring the Boundaries of Mind, Body, and Computer is a resource for designing campaigns set in near-future hard-SF worlds where sensory, cognitive, and motor neuroprostheses are being increasingly employed for human enhancement – and society is tilting ever further toward the dystopian.
Keynote lecture at the Ogólnopolska Konferencja Naukowa “Dyskursy Gier Wideo” • Facta Ficta Research Centre, Kraków • June 6, 2015