How hyperreality and space are constructed virtually
Seeing with the mind, thinking with the eye
By Olivia Higgins
(Source: Stock image/Astronomy, 2020)
Virtual spaces exist everywhere. Our online lives are these spaces, the pseudo-self of living a separate reality we co-create with others – second by second. Whether in-game or curating our lives on an Instagram profile, these are the virtual spaces we live in – a place at times even more real to us than actual reality.
The indistinguishable realms of two or more of these spaces is what can be referred to as Hyperreality. The postmodernist term connotes that this effect is the future. Current Virtual Reality (VR) tech innovators aspire towards this as the ultimate goal by virtue of it being the apex of immersion.
An artist’s impression of hyper-reality using Augmented Reality (AR).
(Source: Vimeo/Keichii Matsuda, 2016)
There are many ways to construct a virtual space. French Philosopher Gilles Deleuze, a key pioneer of the philosophy of space, argues that space in itself presents what he refers to as the “structure of the space of possibilities.” The construction of space is then not just one of multiplicity, but out of all its possible dimensions, only one or two are fully actualised, according to Deleuze.
A key step in understanding the construction of virtual space is understanding the core construction of space perceptually and accepting these underlying assumptions we make of external realities. Yet the externalisation (beyond the inner self) of physical space is insufficient in comprehending both the extensive and intensive (depth and breadth) of how we experience multiple virtual realities (e.g. using social media) or sub-realities in actual reality (e.g. the cinema).
Using Deleuze Theory, the construction of space is not mutually exclusive with the experiencing of it. Reality, or rather what one perceives as a primary reality, is experienced with two key components – the inner and outer self. The former are actual mental formations of perceived space, primarily relying on interpretation, decoding and processing based on our schema (we interpret based on our past experiences). The outer self, on the other hand, is the multi-sensory experience of it – one can physically taste, touch, smell, feel and see the primary space. On this basis, the virtual then builds on that existing actual space (e.g. the map on Pokémon GO!) to present several layers to successfully co-create another reality.
The Escherian Stairwell is a symbol of manipulating the time-space realities.
(Source: Unknown, 1960s)
The creation of hyperreality then, or what Deleuze refers to as real virtuality rather than virtual reality, is when the inner and outer self become one. The viewer is now the space, no longer passively experiencing it. When one plays a video game, our avatar is a mere representation or projection of the inner or an alternate self; hyperreality defies this – one is now the character; complete fusion and embodiment.
We already see glimpses of hyperreality in common virtual spaces like on social media or through the use of the mobile phone. Take the example of people gathered round a dining table, each one on their phone yet all participating in the same activity of eating, unaware of being on auto-pilot when grabbing food off shared plates while swiping through Instagram stories. In such a scenario, the inner self is actively fused and transported to these other virtual worlds as people ‘switch off’ in actual reality to live in their own minds.
Except, can we truly say these online spaces are just “virtual”, if they evoke real-life sensory effects or emotions? If the virtual has real-life tangible consequences and impacts on our reality (or perceived primary reality), then doesn’t that start to become reality in and of itself? The virtual then is, arguably, just a tool or bridge to experiencing other realities; other meanings.
The immersive cinema by INTER-LAB.
(Source: INTER-LAB, 2019)
The cinema is a classic example of a virtual reality space that has existed since the Lumière Brothers introduced the first moving picture in 1895. Since then, the overall cinema experience has developed immeasurably through the introduction of multi-sensory devices like DOLBY ATMOS surround sound, IMAX, or even the taste of popcorn. As such, particularly in the years before VR tech such as the Oculus came to fruition, cinema remained a key space where the inner self could experience a temporary suspension of disbelief, thereby enabling the perceptual transportation to an alternate reality.
Theme parks took it a step further with 4-Dimensional (4-D) short films with both 3-D glasses, moving seats or VR rollercoasters to meet the needs of the aforementioned external self. Yet some of these enhancements, 3-D glasses in particular, only went so far – designed to create a more immersive experience, it ended up paradoxically making it more fake instead; a small taste of what immersion actually feels like. Market demand also still seemed deep-rooted in the nostalgic needs of the cinema and as a result, other variations of such enjoyed short-lived success.
The concept of an ‘immersive cinema’ is perhaps the next best solution to retaining the sentimentality we have with the traditional box cinema. The immersive cinema maintains its traditional box structure but intensifies the multi-dimensionality of the space by instead manipulating the visual axis. This multi-dimensional approach aims to perceptually amplify rather than artificially change how the audience watches a film. That means the passive viewer is still able to enjoy movies much like they have historically, but the visual element of the experience is enhanced to such a degree that the viewer is now perceived to be physically in the movie they are watching, as the entire “box” of the cinema communicates with our inner self rather than just from the front.
Come to think of it, surround sound technology is in fact more advanced in introducing such a concept earlier on, now the visual element of the experience just needs to catch up to foster a comprehensive eco-system of immersion. As the market now gears towards immersive cinema, a key determinant of its success is how well it can introduce these new technologies without disrupting the core experience of the cinema as we know it.
Anti-futurists often argue that making technology hyperreal will only ruin our basic functionality as humans, as the virtual is no longer distinguishable from the real. A key rebuttal to such an argument is that reality is already hyperreal, in the sense that hyperreality already exists; in our mobile apps, our workspaces, our gyms, the books we read, or even being out on a date with our partner. These are all instances where you may not notice the world around you, and represents the construction of a space, an alternate reality, and becoming one with it.
Hyperreality overall may have benefits that far outweigh its potential costs. It can present many benefits for problems such as psychological aid in post-traumatic stress disorder (PTSD), medical professions, or social anxiety (e.g. HANSON robotics and VR). In our current pandemic world, physical immersion and the creation of an alternate reality seem to be more urgent now than ever for everyday users.
As we experience Industry 4.0 and make this progression in actively redefining space and what it means for us users– understanding how we construct space remains a poignant driving factor to fully actualise any benefits we can derive from hyperreality or real virtuality.
The Interactive Social Virtual Reality social space.
(Source: Facebook, 2019)
Our innate desire for the emergence of a free, alternate virtual world perhaps stems from the human need to constantly create meaning or seek meaning for one’s own existence. Alternate realities are then the space of exploration where seemingly no real consequences are involved, and so new meanings can be created without inhibitions.
Deleuze’s space of possibilities then takes on a more literal form; users seem to want control over these possibilities, experience more, want more and in turn, create more.
When we embrace these benefits and what drives us deeply as humans, we can finally embrace the virtual – how Deleuze aptly puts it, “Seeing with the mind, thinking with the eye.”
In the next article, we will further explore the distinction between virtual reality and real virtuality and how companies can use immersion to their benefit.
Edited by Jamie R.C.