![]() ![]() Communication is usually textual, but real-time voice communication is also possible. ![]() Players create a character who travels between buildings, towns, and worlds to carry out business or leisure activities. Most MMORPGs have real-time actions and communication. Massively multiplayer online games depict a wide range of worlds, including those based on science fiction, the real world, super heroes, sports, horror, and historical milieus. Communication between users can range from text, graphical icons, visual gesture, sound, and rarely, forms using touch, voice command, and balance senses. Example rules are gravity, topography, locomotion, real-time actions, and communication. Such modeled worlds and their rules may draw from reality or fantasy worlds. The user accesses a computer-simulated world which presents perceptual stimuli to the user, who in turn can manipulate elements of the modeled world and thus experience a degree of presence. ![]() These avatars can be textual, graphical representations, or live video avatars with auditory and touch sensations. N.Large-scale, interactive computer-simulated environmentĪ virtual world (also called a virtual space) is a computer-simulated environment which may be populated by many users who can create a personal avatar, and simultaneously and independently explore the virtual world, participate in its activities and communicate with others. Keywords: virtual image, virtual event, optical illusion, stereoscopic vision, perceptual judgment, lived abstraction, philosophy of value, A. The question then becomes, in what way does the abstractness of the virtual come with coming perception? How does it make its active implication in experience felt? What is a virtual image? Is there such a thing as virtual event? If so, in what sense can virtual events be said to have value? The chapter develops throughout a realist account of the virtual as “lived abstraction.” ![]() Although the virtual as such cannot appear in perception, as a factor in constitution of experience it cannot but make itself felt with each perception’s arising. There is a reciprocity between the actual and the virtual that enters actively into the constitution of every act of experience. The virtual is abstract by definition, which means that it cannot be reduced to the empirically present. As understood philosophically, the virtual (or “pure potentiality”) is strictly complementary to the actual, not in opposition or contradiction to it. This chapter examines the status of the virtual in perception. ![]()
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