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The focus is to define virtual reality, examine it's components, survey the field, and consider it's impact upon society. Among the definitions included are those from the artist Myron Krueger, the scholar Howard Rheingold, and the novelist William Gibson. The technological components used in virtual reality systems include the following: video display, audio input, tactile response, interactive input, and the computer hardware and software. Although a complete compilation of all the devices involved in this arena are beyond the scope of the paper, a discussion of the general areas of equipment, along with several examples of items and companies involved in the field will be given. Our survey of the virtual reality field will encompass views of past, present and future forms of this medium and based upon the opinions of those using it. By looking at where VR got it's start we shall attempt to understand it's basic attraction. In examining VR in the present we will consider the current state of the art and it's usefulness. Finally, by contemplating the future of VR, we'll be probing the possible benefits that this technology may hold to society. In order for this new form of high technology to enter into the mainstream of common society, it is important to address the social implications involved. We will be addressing two common issues associated with any new technology: new rules of behavior and adverse effects. By showing two of the social implications of this technology, we will be addressing some of the issues that must be confronted if this technology is to be successfully incorporated into our society. INTRODUCTION In this paper, we will address the ways in which entertainment utilizes technology to explore beyond the boundaries of reality. In particular, the medium of virtual reality, "an artificial world that 'feels' real, that responds to your every move much as the real world does (Lavroff 1992, 7)," is examined. To achieve this end we will be looking at the definitions of virtual reality, the technology behind virtual reality, a survey of virtual reality, including it's history, present state, and future forms, and finally the impact of virtual reality on our society. WHAT IS VIRTUAL REALITY? Definitions and Terms There are many varying definitions and terms for virtual reality (VR), all of which could be considered accurate within certain circles of knowledge. Since the technology behind VR is still basically a new field, there are a lot of researchers, authors, and columnists spewing out their own theories behind VR. Naturally, everyone offers a new and "better" definition--from Myron Krueger's terminology which appeals more toward the lay person up to the much more accurate and technical definition by Howard Rheingold. Krueger defines VR as an "artificial reality." His research has an artistic and psychological slant and is thus reflected in the following definition: "An artificial reality perceives a participant's action in terms of the body's relationship to a graphic world and generates responses that maintain the illusion that his actions are taking place within that world" (Krueger 1991, 59). In Krueger's artificial reality, art and science become interrelated, and the viewer interacts with and actually becomes part of the new simulated environment. On the other hand Rheingold dove more into what actually makes up virtual reality. He states: "that the idea of immersion (using stereoscopy, gaze-tracking, and other technologies to create the illusion of being inside a computer generated scene) is one of the two foundations of virtual reality technology. The idea of navigation (creating a computer model of a molecule or a city and enabling the user to move around, as if inside it) is the other fundamental element" (Rheingold 1991, 202). It is important to remember that these definitions are only two authors view points. Artificial Reality is probably the most dated of any definition (it was coined back in the mid- 1970s.) Since that time, specific projects have been started and further terms have been thrown around--virtual worlds, virtual cockpits, virtual environments, and virtual workstations. Finally, in 1989, Jaron Lanier, CEO of VPL Research Inc., coined the term virtual reality to encompass all of the virtual projects under a single phrase. This term refers (in general) to any three- dimensional reality implemented with stereo viewing goggles and "data" gloves. Inspiration On another level, outside of actual research and development atmospheres, a third term was coined by William Gibson, a popular cyberpunk science-fiction writer of the '80s (Churbuck 1990, 154). He used the term cyberspace in his book Neuromancer in 1984 to refer to a single virtual reality that could be experienced simultaneously by people worldwide: "Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts...A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the non-space of the mind, clusters and constellations of data. Like city lights, receding..." (Gibson 1984, 87). THE TECHNOLOGY BEHIND VIRTUAL REALITY Virtual reality is made possible primarily through technologies which address the need to interface a person's natural senses with the computer's representation of reality. Video display devices are used to provide input to the visual senses. Audio output devices are utilized to engage the audial senses. The sense of touch is provided through the use tactile response devices. In order to interact with a virtual environment it is then necessary to combine these devices along with interactive input devices to synthesize the perceptual stimuli into a cohesive representation of reality. This task is performed by the computer and it's software. Video Display Devices Visual perception in Human beings results from combining the information gathered by the eye with the visual cues that are interpreted by the brain (Gleitman 1986, 179). By providing the visual senses with the same type of information containing the desired visual cues, it becomes possible to generate a virtual image that looks real. This is the technique that is employed with today's video display devices which include video monitors and LCD goggles. Currently, today's computers, including those not used in virtual reality, use video monitors to convey visual information to their users. These monitors are technologically no different from the television and rely upon the same basic components of a cathode ray tube and the associated electronic circuitry to display an image. The only difference is that a video monitor does not contain a television tuner and instead receives it's input from a computer that is connected to it. The type of video output device that is used primarily for virtual reality are liquid crystal display goggles, referred to as LCD goggles. These resemble regular optic glasses, but do not use clear glass or plastic lenses and were pioneered by Ivan Sutherland. Instead, these devices are made with lenses that contain the same liquid crystal displays that are used in common calculators. These devices made by companies like 3DTV Corp. in San Rafael, CA, are available for $2,000 to $3,500. Images made using these devices can be very convincing "utilizing lighting, and coloration characteristics, to best maximize the 3D effectiveness of the production (Ostman 1992, 13). Audio Output Devices The audio world also exists in three dimensions. "The inclusion of sound to a virtual reality system adds an extra dimension of reality to the environment" (Lavroff 1992, 28). An example of the sophisticated devices available has been developed by Crystal River Engineering, Inc. in Groveland, CA. Their headphone system called the Convolvotron uses 128+ processors to re-create a true three-dimensional aural environment. This feat is accomplished by omnidirectionally recording music or sounds for replay through the headphone system, thereby accurately reproducing the necessary perceptual cues. Tactile Response Devices One of the newer technologies to be developed for virtual reality has been that of tactile response devices. These are systems which allow information about a virtual environment to be presented through the participant's sense of touch. Tactile response falls into two general categories, tactile feedback and force feedback. Tactile feedback is handled using tactile stimulating devices called tactors. Tactors are small pieces of metal built into the fingers of special gloves and have the capability to change their shape when a current is applied to them. By using tactors, it is possible to simulate the feeling of touching an object with your fingers even though no physical object exists. Xtensory, Inc. in Scotts Valley, CA manufactures gloves of this type. Force feedback devices have been created which are made up of a glove with an exoskeleton. These devices change the amount of resistance applied to the movement of the hand inside and thus can simulate the presence of a solid or semi-solid object present in the hand. This technology is relatively new and to date has not resulted in any commercially available products. Interactive Input Devices Once a virtual environment is presented by the computer to the user, they will undoubtedly wish to interact with it. In order to do this there must also be a way for the user to send information to the computer. Methods being used to this end range from the normal computer keyboard to voice recognition. The computer keyboard has been around for years and functions the same way when being used to interact with a virtual environment. Devices such as computer joysticks, trackballs, and hand gestures are now replacing the keyboard because of the simplified way in which they are operated. An interesting development for use in the three-dimensional world of virtual reality was the three axes trackball. This device is similar to conventional trackballs containing a billiard- sized ball which can be rotated along the x and y axes, but adds the ability to be moved along the z axis. Perhaps the most promising form of interactive input will be the evolution of speech recognition systems. Limited success has been accomplished in this area and continues to be pursued by many companies in hopes of making access to virtual reality as easy as speaking to another person. Devices such as these would consist primarily of a microphone that could easily be incorporated into the headset containing the visual and aural feedback devices. Another advantage to using speech recognition is that it would allow the more awkward keyboards or joysticks to be eliminated altogether, thus allowing a greater degree of freedom of movement. Computers and Software Last, but not least, all of these different input and output systems must be smoothly integrated. This is the job of the computer workstation. Computer workstations used in the virtual reality field today have been specifically designed to meet the enormous task of coordinating, manipulating, and representing the various components mentioned before. Computer application programs written to allow the presentation of graphic, audio, and perceptual information allow the "user" to enter the virtual world. The computer and it's programs must then handle the input from the user in order to realistically simulate their interaction with that artificial reality. The computer hardware and software capable of implementing virtual reality range from home computer systems costing around $5,000 to the high-end Silicon Graphics, Inc. workstations costing over $100,000 (Newquist 1992, 95). Although the price of the computer hardware and software has been one of the major factors prohibiting wide spread availability of virtual reality technology, recent breakthroughs are beginning to promise dramatically lower prices in the near future. THE HISTORY OF VIRTUAL REALITY Virtual Reality in the Past Who first started developing virtual realities, and why? The answer to that question takes us outside of computer technology. Computer technologists were not the first people to think of providing realistic artificial experiences. In the mid-1950s, the movie industry went through a period of experimentation that introduced Cinerama and Cinemascope. In 1956, Morton Heilig invented an arcade-style attraction called Sensorama, which still exists today (in Heilig's backyard, under an old ragged tarp.) You sit on a seat, grasp motorcycle handlebars, and hold your head up to two stereo-mounted lenses. The seat and handlebars vibrate as you look at a three-dimensional movie taken at eye level in Manhattan traffic. Wind blows in your face at a velocity corresponding to your movement in the scene. As you travel, the smell of exhaust fumes and the aroma of pizza are present at appropriate moments. The idea behind Sensorama was to make the ultimate film experience, but because it was never intended for interaction, it is not true virtual reality as we define it today. However, because Heilig's idea was to immerse the viewer in a completely synthetic experience it is widely accepted that this was the first commercial attempt to use virtual reality (Welter 1990, 66). If this had been a success, today we would probably have had arcade games that surpassed anything imaginable. In the field of computers, the first research was started in 1966 by Tom Furness at Wright Patterson Air Force Base (Horn 1991, 57). He was experimenting with an alternative for displaying information to a pilot during combat situations. Furness continued development of the heads-up type of display that allowed pilots to see graphic instruments on the inside of their helmet visors. "Traditional" cockpit displays are mounted below eye level, so the pilot must constantly glance down at the instrumentation. During combat this is unacceptable. It occurred to Furness that he could display computer graphic representations of information outside the cockpit using the same type of technology. In effect the first work on high-tech flight simulators was begun. Furness depicted the three-dimensional graphic space through which the pilot was flying. This display rendered graphic objects of enemy missiles and enemy airspace. Pilots could look around in this space by turning their heads. They found this system effective because the visualization of the three-dimensional combat environment, previously gained only through long experience, was now portrayed in a concrete way that they could grasp very quickly (Krueger 1991, 120). Much of this work was classified until 1983, and even then it was unknown to the world for the most part. This technology was limited to the cockpit environment and was far too expensive for general application. In 1969, at the University of Utah, Ivan Sutherland, the father of computer graphics, implemented a head-mounted display that generated two stereoscopic images of a three- dimensional scene (Fisher, Tazelaar 1990, 219). These images were displayed on two tiny monitors, one for each eye. These monitors were mounted on an apparatus suspended from the ceiling and strapped to the viewer's head. As the viewer turned his head, he could look around a three-dimensional graphic room. The movements of his head were detected by the apparatus and were relayed to a computer, which generated an appropriate view--the view that the person would see if he were in the room, looking in that direction. Virtual Reality in the Present At the present time, mentioning VR will bring the movie Lawnmower Man to mind. While the experiences portrayed in this movie are a far cry from current VR technology, the movie does make a very good point: The most exciting work being done in VR is entertainment related. Instead of simply watching television or guiding a tiny animated figure through a computer game, you can become part of the action--fighting opponents as a giant mechanized robot, crashing a car in demolition derby, exploring in a world of checkerboards and pterodactyls, and much more. A new VR entertainment product is just appearing on the market. Developed by Cyberstudio and marketed by Spectrum Holobtye, Virtuality offers VR game simulations that are among the most realistic. These units include headgear and related devices to give you a 3-D VR effect. Battle Sphere, Legend Quest, Total Destruction, HERO, Dactyl Nightmare and EXOREX are among the currently available "simulations." They are becoming more and more common at entertainment centers around the country. This is just one new technology that is incorporating VR. Although, Virtuality has a more "arcade" type of appeal, there are other entertainment related applications of VR that are currently available or, at least, that are on the drawing board. Chicago's Battletech Center is more along the lines of a theme park and is a complete entertainment complex devoted to space warfare (Rheingold 1991, 373). For $7 you can have an experience of a lifetime. You learn how to operate a giant mechanized robot called a Battlemech, which involves responding to terrain changes, adjusting for heat dissipation, and laying out battle strategy. What gives realism and challenge to the Battlemech experience is the fact that you play against living opponents rather than the algorithms of a computer program. Battlemech and Virtuality appear to be only precursors of a flood of VR options. VR theme rides and parks are being planned by Disney and Universal Studios, and similar attractions may soon appear in Japan. Again, remember that VR is still a very young field. The level of sophistication of the systems involved is high, but progress is still being made in the quality of the visual images-- higher resolution, more colors, faster display rates. As soon as the technology arrives, each of us will be like explorers. As Jaron Lanier once said, "Sometimes I think we've uncovered a new planet, but one that we are inventing instead of discovering. ...virtual reality is an adventure worth centuries" (Menzel 1990, 116). Virtual Reality in the Future "Responsive technology will move ever closer to us, becoming the standard interface through which we gain most of our experience" (Krueger 1983, 187). People from different countries could convene for a conference without actually physically going any place. Shut-ins, the handicapped, and the elderly could do things that most people take for granted--taking a stroll through the park or a shopping trip at the mall. Our everyday experiences could include exploring the far side of the moon, learning what life as a dinosaur could have been like, or basking in the sun on the "shores" of mars. Virtual reality offers a higher dimension of exploration to both leisure and learning experiences. THE SOCIAL IMPLICATIONS OF VIRTUAL REALITY Consider the following statement: "It is likely that artificial reality will be the key metaphor of the immediate future-not just in computer technology, but in intellectual discourse as well" (Krueger 1992, 262). Often, when a new trend is introduced into the social order, society integrates it over time at a relatively slow pace. The automobile, telephone, and television, are all examples of new technologies that came into being, but were slow to be accepted. The same can not be said of the newer technologies of integrated circuits and it's offspring the computer. With the discovery of integrated circuits and the vast number of uses for them, society had little choice but to integrate them as quickly as possible. The benefits were simply too large to ignore, the needs of our new ways of life too great. New Rules of Behavior The problem with these new computer based areas of high-technology is that the technology itself is evolving so rapidly that society is not afforded as much time to assimilate as before. Instead new forms of technology are thrust into the everyday lives of people and it becomes almost an afterthought that they must interact with it. Society must therefore learn to adapt faster than ever to an increasingly complex and technologically oriented way of life. New forms of education must be devised that will address the problems of specialization as well as the ever expanding knowledge base. Luckily, the very technology that mandates these changes may also be the means to achieve those lofty goals. Currently, computer based training programs and computerized learning systems are making new inroads into the problems of knowledge acquisition and skill reorientation. Once the methods for further integrating the human senses with the computer's processing capabilities have been developed, these benefits will become the basis for most educational systems. It seems obvious that an improved access path to the human consciousness through the use of computerized mechanisms will surely enable advances in all manners of communication, education, and perception, than ever before. Adverse Effects Accompanying any new method of social interaction, of course, are possible abuses or adverse effects. The advent of the television was heralded by many as the downfall of Man's pursuit of knowledge and his capacity to communicate with others using traditional media. Since it's introduction, however, television has made many things possible that have enriched and enhanced the educational and communication fields. But, this technology was not without it's problems. Many surveys have shown that if improperly regulated, children can become addicted to television and have suffered adverse effects. Based on the fact that VR involves a greater degree of "user" immersion, VR's adverse effects could be equally greater. Consider that overexposure to television has been blamed for causing intellectual degeneration and to some extent even physical problems such as visual impairment. Overexposure to VR could result in similar effects, but to a greater degree. Carried to the extreme, addiction to VR could lead to the inability to distinguish VR from reality. Therefore, safeguards and methods of averting potential ill effects such as these from becoming widespread must be developed. CONCLUSION After examining the components of virtual reality and it's nature, and looking back at where it began, where it is now, and where it appears to be heading, it must be re-emphasized that this is still a relatively young technology. Only after we begin to refine the techniques and experience the possibilities, will we be able to tell what VR means to mankind. But, we are beginning to see glimpses of what can be done with this technology as well as what it may provide to our society. Whether good or bad, this technology is the next step in our societies quest for ever-higher forms of science and methods of expression. It is for these reasons that the technology must be carefully monitored and integrated into our social system, and what better way to start than by using it in entertainment for the enjoyment of all. REFERENCES Churbuck, David 1990. The Ultimate Computer Game. Forbes, 5 February, 154-156. Fisher, Scott S. and Jane M. Tazelaar 1990. Living in a Virtual World. Byte, July, 215- 221. Gleitman, Henry 1986. Psychology. 2nd ed. New York: W. W. Norton & Company, Inc. Horn, Miriam 1991. Science & Society: Seeing the Invisible. U.S. News & World Report, 28 January, 56-58. Krueger, Myron 1983. Artificial Reality. New York: Addison-Wesley Publishing Company, Inc. 1991. Artificial Reality II. New York: Addison-Wesley Publishing Company, Inc. Lavroff, Nicholas 1992. Virtual Reality Playhouse. Corte Madera: Waite Group Press. Menzel, Peter 1990. Interview: Jaron Lanier. Omni, December, 45-46; 116-117. Newquist, Harvey P. 1992. Virtual Reality's Commercial Reality. Computerworld, March 30, 93-95. Ostman, Charles 1992. 3D Video. Midnight Engineering, Nov-Dec, 10-13. Rheingold, Howard 1991. Virtual Reality. New York: Summit Books. Welter, Therese R. 1990. The Artificial Tourist. Industry Week, October 1, 66.