Realitas virtualis

Nautae Classis Civitatum Foederatarum exercitorio decidiculo in realitate virtuali utuntur.

*World Skin* ('Cutis Mundi',1997), interactiva realitatis virtualis artis constructio Mauritii Benayoun.

Realitas virtualis, aliquando multimedia immersiva appellata, est circumiecta per computatrum simulata quae praesentiam physicam in locis in mundo reali vel mundis fictis simulare possunt. Realitas virtualis experientias sensuales recreare potest, inter quas gustatus virtualis, visus, odor, sonus, tactus.

Plurima realitatis virtualis circumiecta hodierna plerumque sunt experientiae oculorum, aut in monitorio aut per praecipuos ostentus stereoscopicos ostenduntur, sed nonnullae simulationes addita data sensoria per megaphona vel headphones comprehendunt. Nonnulla systemata haptica provecta data tactilia nunc comprehendunt, responsa virium generatim appellata, in adhibitionibus medica, lusoria, et militari. Praeterea, realitas virtualis amplectitur remota communicationis circumiecta quae virtualem utentium praesentiam praebent, cum notionibus telepraesentiae et telexistentiae vel artefactum virtuale, aut per usum initus normativi artificiorum sicut claviatura et mus, aut per instrumenta multimodalia sicut digitabulum filis praeditum et molae calcatae omnidirectionales. Circumiecta mundi realis similia simulari possunt ut experientia vitae similis generentur—exempli gratia, in simulationibus ad exercendos gubernatores aeroplanorum vel militum, vel a realitate magnopere discrepare potest, ut in ludis realitatis virtualis. Secundum consuetudinem, creare experientiam realitatis virtualis fidelitatis altae nunc difficillimum est, ob circumscriptiones technicas virium rationis, resolutionis imaginum, et amplitudinis fasciae communicationis. Fautores autem huius technologiae sperant tales circumscriptiones superaturas esse cum technologiae processorum, imaginum, et communicationis datorum validiores et emptionis secundae magis magisque fiant.

Realitas virtualis ad describendas varias adhibitones cum circumiectis in dimensionibus tribus immersivis et visum maxime pertinentibus generatim consociatas saepe adhibetur. Progressus designationis per computatra adiutae, accelerationis apparatus computatralis graphicarum, ostentus in capitibus affictorum, digitabulorum datorum, et deminutionisnotionem populo gratum facere adiuverunt. Liber The Metaphysics of Virtual Reality Michaelis R. Heim septem notiones realitatis virtualis subtiliter enumerat: simulatio, interactio, artificialitas, immersio, telepraesentia, immersio omnis corporis, et communicatio interretialis. Vulgus autem realitatem virtualem saepe cum ostentibus in capite affixis et vestimentis datorum comparant.

Pelliculae et programmata televisifica ostentu in capite affixo fortasse spectabuntur et computatralis imaginis moderatio ut spectator intra scaenam videatur, actione undique accidente. Computatrum conspectum praebebit qui cum parte quam homo aspicit congruet, per formulam capitis indagati. Quod aspicientibus sensum dabit eos ad scaenam propria persona adire, contra imagines in monitorio visas. Nomen spatium virtuale aptius pro hac technologia esse propositum est.^[1]

Nomen realitas artificiosa, a Myron W. Krueger Anglice factum, in usu fuit ex decennio post 1970; origo autem nominis realitatis virtualis ab Antonino Artaud, scriptore ludorum, poeta, histrione, et directore Francico repeti potest. Artaud in The Theatre and Its Double (1938), libro seminali, theatrum la réalité virtuelle descripsit, realitatem virtualem in qua, verbis Davisianis, "personae, res, et imagines phantasmagoricam dramatum internorum somniantium alchemiae vim suscipiunt."^[2]^[3] Artaud postulavit "rationem perpetuam ad materias et principium theatri in paene omnibus libris alchemiae inventam intellegi debere adfirmationem identitatis . . . exstans inter mundum in quo personae, imagines, et modo generali omnia quae realitatem virtualem theatri constituunt progrediuntur, et mundum solum fictum fallacemque, in quo symboli alchemiae evolvuntur."^[4]^[5] Nomen etiam in The Judas Mandala adhibitum est, mythistoria scientiae fictae Damienis Broderick anni 1982, ubi contextus ab usu supra definito aliquantulum discrepat. Primus usus ab Oxford English Dictionary citatus in "Virtual Reality," commentario anni 1987, invenitur,^[6] sed commentarius technologiam realitatis virtualis non tractat. Notio realitatis virtualis in mediis massis populo grata a pelliculis sicut Brainstorm et The Lawnmower Man facta est. Incrementum investigationis realitatis virtualis ex decennio post 1990 Virtual Reality, librum non fictum Howardi Rheingold (1991) secutum est.^[7] Qui ad non confundendam rem fuit, quam magis patentem investigatoribus et studiosis minus peritis fecit.

Liber Multimedia: from Wagner to Virtual Reality, a Randall Packer et Ken Jordan editus et primum anno 2001 prolatus, nomen et eius historiam ex conspectu avant-garde indagat. Philosophica notionis realitatis virtualis indicia in libris disceptantur, inter quos Philippi Zhai Get Real: A Philosophical Adventure in Virtual Reality (1998) et Kennethi Hillis Digital Sensations: Space, Identity and Embodiment in Virtual Reality (1999).

↑ Singulatim descripta in commentario "Virtual Space - the movies of the future" in www.virtual-space.org.
↑ Anglice: "characters, objects, and images take on the phantasmagoric force of alchemy's visionary internal dramas."
↑ Erik Davis, Techgnosis: myth, magic and mysticism in the information age (1998).
↑ Anglice: "perpetual allusion to the materials and the principle of the theater found in almost all alchemical books should be understood as the expression of an identity . . . existing between the world in which the characters, images, and in a general way all that constitutes the virtual reality of the theater develops, and the purely fictitious and illusory world in which the symbols of alchemy are evolved."
↑ Antonin Artaud, "The Alchemical Theater,", in The Theater and its Double, conv. Mary Caroline Richards (Novi Eboraci: Grove Press, 1958), p. 49, emphasis in original. Vide etiam Samuel Weber, "'The Virtual Reality of Theater': Antonin Artaud," in Theatricality as Medium (Novi Eboraci: Fordham University Press, 2004), 277–294.
↑ Yaakov Garb, "Virtual Reality," Whole Earth Review 57 (hiems): 118ff.
↑ Howard Rheingold, Virtual Reality (1991, ISBN 0262681218).

[1] Singulatim descripta in commentario "Virtual Space - the movies of the future" in www.virtual-space.org.

[2] Anglice: "characters, objects, and images take on the phantasmagoric force of alchemy's visionary internal dramas."

[3] Erik Davis, Techgnosis: myth, magic and mysticism in the information age (1998).

[4] Anglice: "perpetual allusion to the materials and the principle of the theater found in almost all alchemical books should be understood as the expression of an identity . . . existing between the world in which the characters, images, and in a general way all that constitutes the virtual reality of the theater develops, and the purely fictitious and illusory world in which the symbols of alchemy are evolved."

[5] Antonin Artaud, "The Alchemical Theater,", in The Theater and its Double, conv. Mary Caroline Richards (Novi Eboraci: Grove Press, 1958), p. 49, emphasis in original. Vide etiam Samuel Weber, "'The Virtual Reality of Theater': Antonin Artaud," in Theatricality as Medium (Novi Eboraci: Fordham University Press, 2004), 277–294.

[6] Yaakov Garb, "Virtual Reality," Whole Earth Review 57 (hiems): 118ff.

[Rh-7] Howard Rheingold, Virtual Reality (1991, ISBN 0262681218).

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