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A Poetics of Virtuality

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A Poetics of Virtuality CHALMERS UNIVERSITY OF TECHNOLOGY SE-412 96 Gothenburg, Sweden Telephone: +46 (0)31 772 10 00 www.chalmers.se THOMMY ERIKSSON A Poetics of Virtuality A Poetics of Virtuality THOMMY ERIKSSON 2016 Department of Applied IT CHALMERS UNIVERSITY OF TECHNOLOGY Gothenburg, Sweden 2016 THESIS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY A Poetics of Virtuality THOMMY ERIKSSON Department of Applied IT CHALMERS UNIVERSITY OF TECHNOLOGY Gothenburg, Sweden 2016 A Poetics of Virtuality THOMMY ERIKSSON ISBN 978-91-7597-320-3 © THOMMY ERIKSSON, 2016. Doktorsavhandlingar vid Chalmers tekniska högskola Ny serie nr 4001 ISSN 0346-718X Department of Applied IT Chalmers University of Technology SE-412 96 Gothenburg Sweden Telephone + 46 (0)31-772 1000 Cover: Rendition of William Gibson’s cyberspace, created by Thommy Eriksson. Printed by: Chalmers Reproservice Gothenburg, Sweden 2016 A Poetics of Virtuality THOMMY ERIKSSON Department of Applied IT Chalmers University of Technology Abstract How is virtuality represented in fiction, and what does that say about our anticipations and fears about what the virtual is and will be? This text, a poetics of virtuality, explores fictional representations of virtuality, primarily in movies and literature, but also in media productions done by the author. The aim is to study the dream of virtuality. What are we promised? What do we anticipate? What do we fear? This is why the study has focused on fictional virtualities, where the storyteller is somewhat free to represent the virtual, and let cultural ideas emerge, untethered by the technical constraints that govern real-life virtuality technology. The study has two methodological approaches. One is the analysis of a large number of fictional narrative texts representing virtuality, primarily movies but also a few novels and short stories. The other is the study of the author’s own work producing media products involving virtuality. The chosen research design utilizes the author’s position as both an academic and a computer graphic artist. The studied fictional narratives have been analyzed using semiotics, a method to study signs and sign production. A self- and auto-ethnographic approach has been used to observe the author’s media productions. The contribution of this study is a deep and detailed understanding of how virtuality is represented in fiction, presented as a poetics of virtuality. Seven topologies of virtuality are presented: #surrealism, #containment, #engineered space, #artificial light, #immateriality, #control, and #virtual artificial intelligence. In summary, the results show that: • It was advantageous to combine film studies with auto-ethnographic observations, but also highly time consuming • Fictional representations of virtuality are largely based on real-life technology, especially older computer technology • Fictional representations of virtuality are quite highly constrained by production circumstances and storytelling requirements • Volumetric displays are highly anticipated, but the need to use augmented reality to implement the vision might surprise us • Virtuality is often thought of as being in opposition to the real and the natural; it is also often thought of as being a lesser copy of the actual • A major theme is breaking out of the virtual, and this falsely promises that there can be an escape from the virtual, and from technology. Keywords: augmented reality, computer games, computer graphics, movie making, production culture, science fiction, Stephen Baxter, virtual reality, virtual worlds, virtuality, William Gibson For the users Acknowledgements Even though research is a solitary endeavor, it is likewise a continuous collaboration, and my own work have found nurturing soil in a number of team efforts and group environments. It is a pleasure to truthfully give my first big thanks to my supervisors Sven Andersson and Karin Wagner, for eight years of encouragement and guidance. I have not only needed your help, but I have also enjoyed it. Magnus Bergquist helped me truly appreciate ethnography, and Mats Björkin, Lena Israel, Eija Timonen, and Susana Tosca were excellent opponents at the four seminars that were my checkpoints along the way. Thank you for all discussions at the seminars in the Digital Representation research group; Arne Kjell Vikhagen, David Crawford, David McCallum, Magali Ljungar-Chapelon, Marco Muñoz, and my brother in arms Josef Wideström. I would not have been a part of this without Sergei Muchin; thank you for having me back at Chalmers, and for introducing me both to research and production cultures. Even though I have never designed an actual, physical house, I nevertheless have daily use of what I learnt when studying architecture. I might not have been paying as much attention as I should have, but the teachers gave me one lifelong lesson; I fight for the users! The Department of Applied IT at Chalmers University of Technology is a truly cross-disciplinary and exciting work place, thanks to many many people, and I especially think about wonderful colleagues such as Beata Stahre Wästberg, Christian Stöhr, Daniel Sjölie, Dick Stenmark, Elisabeth Saalman, Eva Eriksson, Linda Bradley, Mattias von Feilitzen, Mohammad Obaid, Morten Fjeld, Olof Torgersson, Palle Dahlstedt, Staffan Björk, Sus Lundgren Lyckvi, and Tom Adawi. I am, naively, looking forward to having more time to talk to you now when I close the chapter on my PhD thesis! A very important part of my study of virtuality have been my project clients and co-workers. Thank you for trusting my work and giving me of your time; Alan Chan, Helen Rundgren, Jonathan Westin, Michelle Evans, and Rick Dunbar. A very special project was the Environmental Science Investigation; I am grateful for our time together and for keeping in touch, Bengt Petersson, Cammy Huang- DeVoss, Göran Karlsson, Maria Spante, Maria Sunnerstam, and Michael Axelsson. Another outfit of fun people is the Audiovisual Thinking editorial board; Inge Sørensen, Oranit Klein Shagrir, Petri Kola, and Sanna Marttila. Thank you for a wonderful idea that asked intriguing questions about visual storytelling, and for hunting down hip restaurants in London and Copenhagen. I don’t think we are done yet! Three people stand out, really helping me out during the long last stretch of my doctoral studies. Jonas Landgren, thank you for creating time. Pär Meiling, thank you for sorting out administration. Anthony Norman, thank you for a tremendous and professional work with proof reading. All remaining errors are on me. Pappa and mamma, thank you for everything, I think about you often. Gunilla, thank you for the book that changed my life (hint, it was not the Bible). Maria, Elias, Samuel, Jonathan and Sofia, thank you so very much for being my family. Table of contents On the use of copyright protected images 1 ASKING FOR A POETICS OF VIRTUALITY ........................................................................................................ 3 How is virtuality represented in fiction? 5 Poetics as an exploration of theory and practice 7 Virtuality and the anticipation of transcendence 7 BACKGROUND DESCRIBING THE ORIGIN AND ESSENCE OF VIRTUALITY ............................. 11 THE VIRTUAL EXPLAINED ............................................................................................................................. 13 Almost as if 13 Virtual but with an actual effect 14 The etymological roots of virtual and cyberspace 15 Virtuality – a definition 16 Previous studies of virtuality 17 THE FIRST VIRTUALITIES .............................................................................................................................. 19 A history of illusions – from cave paintings to virtual reality 20 The development of computer graphics 22 The development of virtual reality 24 POPULARIZING CYBERSPACE ..................................................................................................................... 26 Cyberpunk – a dubious movement 29 The end of cyberspace and the future of the Internet 33 CHARACTERISTICS OF TECHNICAL VIRTUALITY ......................................................................................... 37 Immersion and presence 37 Presence and interaction 37 • Immersion and richness 39 • Avatars and the subject/object boundary 40 Worldliness – the virtual as a world to inhabit 41 Virtual as representation or (post-physical) existence 44 Information, space, and place 46 Almost virtual – Baudrillard’s simulacra and simulation 48 Opposing or supplementing the actual 49 The virtual as a lesser copy or beyond the actual 50 Freedom, empowerment and frontier spirit 53 STRUCTURING FICTION, ACTUALITY AND VIRTUALITY .............................................................................. 56 Examples of how virtuality and fiction are structured 59 METHODS FOR INVESTIGATING VIRTUALITY ............................................................................................ 63 Studying media using hermeneutics, semiotics and ethnography 65 Authoring – studying media productions 65 • Reading – studying narratives 65 Analyzing media – production, text and reception 66 HERMENEUTICS – A THEORY OF TEXT INTERPRETATION ........................................................................ 68 The death of the author and her resurrection 68 The author as shaman 69 Managing tradition and the hermeneutic circle 70 A SEMIOTIC APPROACH TO FILM STUDIES ................................................................................................ 72 The semiotic sign 73 Symbol,
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