I'm still not rich enough to shell out for an actual VR HMD of my very own, but, as someone who has long been interested in the metaphysics of virtual reality and simulations in general, I get my hands on the technology in my journalism whenever I have the chance. In 2013, I went to various Triangle universities and played with their toys to write a long story focusing on DiVE, a CAVE at Duke University. In 2016, I went back to Duke to see what they could do with an HMD, and explored a virtual ruins in Brazil. Last week, I got to think through another potential path of VR: visual art, in a story on Tyler Jackson's exhibit at Lump, Before the War. Here's the nut:
"The story of VR began millennia ago, when humans first drew a boundary in space and agreed to imagine that whatever transpired inside it was set apart from the rest of reality—a world within a world. We call this device a frame when it outlines two dimensions, a stage when it outlines three. In the twentieth century, it flattened and deepened into screens that, with a certain inevitability, are becoming permeable in the twenty-first. Now we face the question of whether we'll soon reach the logical conclusion and lock the virtual door behind us."