My World

My World!

And Welcome to it!

A Look at the Construction of Social Reality in Virtual Reality

By Paul M. Summitt

INTRODUCTION

In the beginning, there was the spoken word. The spoken word was powerful enough to bring worlds into being and separate the light from the dark (Genesis 1:3). The spoken word was able to create life (Genesis 1:11). Truth itself was in the spoken word for people tied to the oral tradition (Postman, 1985, 21-22). Even during the beginning of the literary tradition "reading" was simply a method of training the student for public speaking (Ong, 1980, 198). The written word slowly engulfed the spoken word (Olson, 1980) and, as de Saussure suggested, the oral tradition was overwhelmed by "the tyranny of writing" (1974, 36). The effects of the literary tradition changed the "structure of language and of thought" (Havelock, 1980, 95). This change in language and thought continued with the transition into the visual tradition (see Postman, 1985, and Boorstin, 1971). The visual image "conquered . . . and received unconditional surrender" (Boorstin, 1971, 22). This idea of "the tools of thought" altering "the processes of thought" (Biocca, 1992, 14) continues today with our transition into what I will call, for lack of a better phrase, the interactive tradition. Arthur C. Clarke suggests that the interactive, as represented by virtual reality, "won't merely replace TV. It will eat it alive" (Rheingold, 1991). No one will be able to "avoid becoming active citizens of cyberspace" (Woolley, 1992, 134). So, just as the literary replaced the oral and the visual "conquered" the literary, the interactive will devour the visual. We are entering the interactive tradition, but as will be seen is this essay, virtual reality may be a continuation of a cyclic function of these traditions represented by the oral, the literary, the visual, and the interactive.

The interactive tradition has at its nucleus a technology known as virtual reality (VR). Most communications scholars know little about VR other than what they've read in the press or perhaps what they've seen in the films Lawnmower Man or Total Recall. Mark Levy suggests that VR is "too important, too wondrous, too powerful, to permit continued disciplinary ignorance" (1992, 3). It is the purpose of this essay to examine how the long-term use of VR could skew "the way individuals think and see the world" (Biocca, 1992, 14). As it is not possible at this point in time to look at any long-term effects on how a VR user thinks or what a VR user thinks about, I will extrapolate the impact on current heavy media users. I will begin by defining several ideas and terms. I will then look at recent press coverage of VR, establish that VR is a medium similar to other technological advances, examine some premises of interactivity, and conclude by examining how the user's social reality may be affected by heavy use of VR.

DEFINING THE TERMS

Cyberspace has a nice buzz to it, it's something that an advertising man might of thought up, and when I got it I knew that it was slick and essentially hollow and that I'd have to fill it up with meaning . . . a consensual hallucination . . . the point at which media [flow] together and around us. It's the ultimate extension of the exclusion of daily life. With cyberspace as I describe it you can literally wrap yourself in media and not have to see what's really going on around you (William Gibson quoted in Woolley, 1992, 122).

As VR has at its core this idea of cyberspace, it is important, at this point, to define the concept. Gibson is credited with creating the term in his 1984 novel Necromancer. Other terminologies used to describe this notion are cyberia, virtual space, virtual worlds, dataspace, the digital domain, the electronic realm, artificial reality, and the information sphere. Woolley refers to cyberspace as the "new final frontier" and virtual reality as the "Enterprise" (1992, 123). Isdale (1993) states that of these terms virtual reality is "the most common and the sexiest," which may be why the term "has caught the attention of the media." Virtual reality, in this line of thinking, has been defined as "a way for humans to visualize, manipulate, and interact with computers and extremely complex data" (Aukstakalnis & Blatner, 1992, 7). To many, the technology is the thing. They are wrapped up in the new toys and are called console cowboys, techno-weenies, and compu-nerds by the masses. John Perry Barlow, quoted in an article for Mondo 2000 suggests

"Cyberspace . . . is presently inhabited almost exclusively by mountain men, desperados and vigilantes, kind of a rough bunch. And, as long as that's the case, it's gonna be the Law of the wild in there" (Gans & Sirius, 1991, 49).

What must be understood is that technology is not the medium of communication (Salomon, 1979). Communication scholars need not worry themselves with studying the technology but how communication takes place within that technology and the effect of that technology on the communication. Each technology is nothing more than a grouping of semiotic codes and systems (Eco, 1976). Yet, many definitions of VR currently used have tended to describe it in terms of technology. Virtual reality is described as "electronic simulations of environments experienced via head-mounted eye goggles and wired clothing enabling the end user to interact in realistic three-dimensional situations" (Choates, 1992). It has also been portrayed as "an alternative world filled with computer-generated images that respond to human movements. These simulated environments are usually visited with the aid of an expensive data suit which features stereophonic video goggles and fiber-optic data gloves" (Greenbaum, 1992, 58). Krueger (1991) suggests that the term "typically refers to three-dimensional realities implemented with stereo viewing goggles and reality gloves" (xiii). The ideas of cyberspace and those of virtual reality are much more that just the technology.

Communication scholars must look past the machines to the communication that takes place between the users of that technology for the subjects of their research and studies. It is not the interaction with the technological device of the television that should be interesting to a communication scholar just as it is not the interaction with the technological device of the computer or the goggles and glove that should be examined. Steuer (1992) focuses on the actual process of communicating in his definition of virtual reality. "Telepresence is defined as the experience in an environment by means of a communications medium . . . A virtual reality is defined as a real or simulated environment in which a perceiver experiences telepresence" (76). In accepting this definition of VR one realizes that VR "refers to an experience, rather than a machine" (Steuer, 1992, 79) and that this experience is determined across the dimensions of vividness and interactivity.

Vividness can be thought of simply as "the way in which an environment presents information to the senses" (Steuer, 1992, 81). In McLuhan's terms, a "hot" medium would be highly vivid. The vivid medium "extends one single sense in high definition" (McLuhan, 1964, 36). If we add to this the idea that several senses could be presented simultaneously (sensory breadth) and that the definition, or resolution, of that sense can be high or low (sensory depth) the concept of vividness becomes more clear (Steuer, 1992, 81-2).

Interactivity is the degree to which individual "users can participate in modifying the form and content of a mediated environment in real time" (Steuer, 1992, 84). Several researchers have looked into the interaction between individual and the machine (see Heckel, 1991; Laurel, 1986, 1990, 1991; Norman, 1986, 1988; Shneiderman, 1992; Turkle, 1984) but little research has been done on the facilitation of communication in media of high interactivity.

As shown in the above descriptions, most modern media are low in sensory breadth as they rely on one, or at most, two senses. Most modern media are also low in sensory depth. Also, these modern media allow few true forms of interaction. A telephone can be viewed as a form of virtual reality. The person you are communicating with is there but, at the same time, somewhere else. The telephone is high in interactivity but low in vividness due to its low breadth and low depth. Another low-end example would be a letter. Here interactivity is extremely low as is breadth and depth. The higher the level of interactivity and sensory breadth and sensory depth the more real the situation will be to the user. Vividness and interaction are factors that help to determine and influence how real the user believes the situation to be. Understanding these ideas, we can now look at how the media have treated virtual reality.

VIRTUAL REALITY IN THE PRESS

Just as water, gas, and electricity are brought into our houses from far off to satisfy our needs in response to a minimal effort, so we shall be supplied with a visual or auditory images, which will appear and disappear at a simple movement of the hand, hardly more than a sign (Vale'ry, 1964, 226).

The history of virtual reality (VR) is covered extensively in many books that have reached the shelves in the past three years (see Aukstakalnis & Blatner, 1992; Hayward, 1993; Lavroff, 1992; Pimentel & Teixeira, 1993; Rheingold, 1991; and Woolley, 1992). The context of the Vale'ry's statement suggests, however, that the intent of VR is just now being realized. The popular press, in recent months, has presented virtual reality to the public with considerable hype. VR has been called a "wraparound video game" (Matheny, Jan. 30, 1993). It has been hyped with such slogans as "the sky's the limit" (Barnes, Feb. 28, 1993). A new "counterculture" is said to be "surfing the dark edges of the computer age" (Elmer-Dewitt, 1993, 58). "Go anywhere! But don't leave your chair," exclaims the title of one article (Ryan, 1993, 18). "Get more bang for the buck" by training for war in cyberspace is the conclusion of another article (Sterling, 1993, 46). From the coverage of war in cyberspace and coverage of the Dactyl Nightmare video arcade, it's apparent that violence has considerable influence on the direction of this new vehicle. A dominant force in this area is the defense department where VR is seen as a "strategic asset" (Sterling, 1993, 51). The position has been put forward that "war, computing and virtual reality are tightly interconnected, one shaping the other, all impossible as they are currently executed and understood without the other" (Woolley, 1992, 191-2). But violence isn't the only "virus" that has infected this new technology. Sex can be seen as another "virus that almost always infects new technology" (Van Der Leun, 1993, 74). It is just these forms of entertainment that Frederick Brooks believes will be "the fastest growing application in the 1990's" (Rheingold, 1991, 44). The entertainment industry is viewed as becoming "the largest driving force in the future development of VR" (Rheingold, 1991, 46).

VIRTUAL REALITY AS A MEDIUM OF COMMUNICATION

Cyberspace worlds that exist only in the electronic ether can be a powerful tool in the hands of architects, engineers, and scientists. They can also be used to boost productivity, improve product design, and provide more cost-effective training. In medicine, VR tools are being used to create 3-D X-rays to help surgeons play procedures or assist in surgery miles away (Hamilton, et al, 1992, 98).

A medium is defined as a means of effecting or conveying something as in the means of transmission of a force or effect or as a channel of communication. Virtual reality is a medium similar in purpose and form to radio, television, film, and the telephone (Steuer, 1992, 73). This view is supported by Krueger's contention that VR is "more akin to film or television than it is to mainframe computers" (1991, xii). According to Dr. Michael McGreevey, the head of NASA's virtual reality program: "Television is like a window. Virtual reality is like a door you can walk through" (Ryan, 1993, 18). Television is not just a window on the world as it has been called in the past, however.

It doesn't just provide representations of events to an audience. Television, or its producers, have "a role in determining what the audience sees and how they make sense of it" (Woolley, 1992, 127). VR, or in its current form, its producers, will also have a determining role in what the user sees and how they make sense of it. Kubey and Csikszentmihalyi (1990) suggest that people spend about seven years of their lives watching television. Biocca (1992) proposes that if people use VR in the same manner they are currently using TV and computers, "some users could spend 20 or more years inside virtual reality" (14). Why do people spend this much of their lives with television and why would they spend considerably more with VR? Bertrand Russell wrote in 1928 that "Machines are worshipped because they are beautiful, and valued because they confer power; they are hated because they are hideous, and loathed because they impose slavery." Shapiro and McDonald (1992) say virtual reality will be "at least as likely to shape our attitudes, beliefs, and behaviors as other forms of mass media" (101). VR, therefore, has more potential for either empowerment or enslavement than television or any other previous medium of communication. Yet, little interactivity research has been done in the communication field (Steuer, 1992, 90). Building on the man-machine interactivity research, current and future communication researchers will be able to examine how these technologies can be used to expand the potential of the user.

THE PREMISES OF INTERACTIVITY

The ultimate display would . . . be a room within which the computer can control the existence of matter. A chair displayed in such a room would be good enough to sit in. Handcuffs displayed in such a room would be confining, and a bullet displayed in such a room would be fatal. With appropriate programming such a display could literally be the Wonderland in which Alice walked" (Sutherland, 1965, 507).

Sutherland is discussing what was described in 1951 in Ray Bradbury's "The veldt" and, to a degree, what is seen almost weekly in Star Trek: The Next Generation's holodeck. But this idea is more than just fiction. According to Littlejohn (1989) meaning and understanding evolves from our communication with others (111). This concept develops from the works of Berger and Luckmann (1966), and Schutz (1970) and is based on four assumptions:

	The world does not present itself objectively to the observer, but is known through human experience, which is largely influenced by language.
	The linguistic categories through which reality is apprehended are situational in that they emerge from the social interaction within a group of people at a particular time and in a particular place.
	How reality is understood at a given moment is determined by the conventions of communications in force at that time. The stability or instability of knowledge, therefore, depends more upon the vicissitudes of social life than on any objective reality outside of human experience.
	Socially constructed understandings of reality shape many other important aspects of life. How we think and behave in ordinary life is largely a matter of how we understand our realities (Littlejohn, 1989, 111-112).

Constructionist theory is critiqued by Cherwitz and Hilkins (1986) arguing that reality is independent of human subjectivity. They use as an example testing the social construction of reality by having someone step "into the path of an on coming locomotive on the assumption that the mind could alter the unpleasant consequences of the ensuing collision" (19). To test this idea everyone involved, both participants and spectators, would have to believe that there would be no "unpleasant consequences." For those that expect the consequences, they will see what they are expecting to see.

In the year 1623 Galileo wrote that:

Philosophy is written in that great book which ever lies before our eyes, I mean the universe, but we cannot understand it if we do not first learn the language and grasp the symbols in which it is written. This book is written in the mathematical language, and the symbols are triangles, circles, and other geometrical figures, without whose help it is humanly impossible to comprehend a single word of it (Quoted in Barrow, 1988, 238).

If everything that exists has at its basis mathematical algorithms then reality itself can be simulated for if the universe is a computation then even life and human intelligence can be simulated. It would then be possible that, given enough information about the condition of:

all forces by which nature is animated and the respective situations of the beings who compose it - an intelligence sufficiently vast to submit these data to analysis - it would embrace in the same formula the movements of the greatest bodies and those of the lightest atom; for it, nothing would be uncertain and the future, as the past, would be present to its eyes (Laplace, 1985, 64).

Philosophically speaking, a computer with abilities such as this might be known as "God." Mathematics in communication theory, still, is not something new. Shannon and Weaver's model consists of a mathematical approach to communication that tries to explain the information process (Shannon & Weaver, 1949). In this theory, the concept of information is used to denote any communicated message, no matter the intended meaning. Woolley (1992) suggests that this is a significant insight as:

it meant that it was possible to examine the problems of communicating a message, a distinguishing signal (the original message) from noise (interference), without resorting to semantics - what the sender of the message meant, and what the receiver of the message understood by it (69).

It must be kept in mind that Shannon and Weaver's Information theory has nothing to do with meaning and "equates information with uncertainty" (Severin & Tankard, 1979, 44). These two ideas, that of a socially constructed reality and that of a mathematical simulation of reality, form the focus in this portion of this essay.

Anderson (1987) suggests that this thesis of the social construction of reality is the central theme within most qualitative research (242). Quantitative research has at its core mathematics. As cyberspace appears to be a mixture of the concepts of the socially constructed realities and the mathematical construction of realities, I suggest a mixture of the quantitative and the qualitative research methodologies should be used by communication scholars in their research of this medium. Virtual reality exists in the individual user's consciousness (Steuer, 1992, 80), not in the technology.

CONCLUSIONS

Whoever described television as the window on the world failed to point out that the window is small and the world big; there is only so much that can be shown at any one time, which is why there are television producers and directors who select what is included and excluded. A flight simulation is a symbolic artifact, too, to the extent that the landscape it simulates, even if it is based on a real landscape, is the product of human design (Woolley, 1992, 246).

At its current level of existence, virtual reality is mainly hype and hyperreal. Tan (1981) suggests that "an important function of the mass media is to extend our knowledge of the environment beyond people, places, objects, and events that we can directly experience" (253). This is exactly what the various forms of virtual reality do except that in virtual reality the user can "directly experience" and have interaction with simulations of reality. Isdale (1993) broke virtual reality systems into five major categories; window-on-world (WoW) systems, video-mapping systems, immersive systems, telepresence systems, and mixed reality systems. While the WoW systems are probably the most prevalent among active researchers, the immersive systems are those that the media, and therefore the public, are most aware of. The socially constructed reality of virtual reality is that of sex (Virtual Valerie) and violence (Dactyl Nightmare).

Baudrillard (1989) said, "reality itself is hyperrealistic" (147). Einstein suggested that reality is part of the theory one uses to understand the world, not part of the world itself (Woolley, 1992, 223). Timothy Leary (1989) says that "realities are determined by whoever determines them" (54). If these concepts of reality are true then VR is more capable of enslaving the user than television could ever hope to be. Steuer (1992) suggests that the more senses that are engaged by an event, the more real that event will seem to the user, "even if some stimuli are quite low in depth" (84). Add perceptual and cognitive stress and the user will probably accept an experience as real.

Empowerment of the user can come if interactivity is increased. Currently, the question of the user's level of interactivity is a disturbing one. A user can manipulate the world they enter but they cannot create their own worlds. Isdale says:

. . . it is not trivial to create worlds, even with the best of tools. Today's level of world building tools is pretty low. Some systems like VRStudio and VREAM have fairly nice graphical front ends for world editing. Others like Sense8's World Tool Kit and Autodesk's Cyberspace Developers Kit, require at least a proficiency at C or C++ programming. Others like Rend386 are even more crude (J. Isdale, personal communication, April 19, 1993).

So, at present, users are as dependent on programmers for their virtual worlds as they have been in the past for their television programming. Nina Adams, in a discussion of authoring a VR environment said:

We, as designers and developers, need to be responsible in our efforts. VR has the potential of having more impact on people than any other media since the advent of television. We can shape the future. But shaping the future has pitfalls as well as rewards (cited in Hayward, 1993, 175).

It can be seen, therefore, that programmers realize their power to manipulate and enslave VR users. Many hope that, by creating the software that will allow the user to create their own worlds, the user will be empowered rather than enslaved. Mark Pflaging (1993), in his documentation for Solar System World (a virtual reality world accessible using the Rend386 system) stated "The solar system world took me about four days. I will guarantee that I can create ANY world with less than 1000 polygons in five working days or less." It appears that the traditions of oral to literary to visual to interactive have come full circle for Pflaging's last statement in his documentation file is "And on the sixth day I rested . . ."

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For Further Information Contact: e-mail: psummitt@summittnewmedia.com

For Further Information Contact:

e-mail: psummitt@summittnewmedia.com