By W. V. Quine
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Extra info for From a Logical Point of View: Nine Logico-Philosophical Essays
Relation to it (literally) aside, however, [the work of art] remains as mere thing, as supply, as presence potentially at hand and endowed with some abstractly enumerable phenomenal qualities. Conversely, the virtual body emerges as such only in interaction. Therefore, its essence is not simulacral. Nevertheless, by presenting itself it represents and puts at stake a nonimitative sense of mimesis. In order to see how this can happen it will be helpful, before returning to the question of the meaning of mimesis and representation, quickly to examine the question of the simulacrum, and therefore, of the image.
What matters is that a digital schema is completely discontinuous and that its characters are bi-univocally correlated to classes of congruence in an equally discontinuous set. It is also necessary that the system be completely differentiated both syntactically and semantically. Hence the definiteness and repeatability that digital devices can provide. Now, a digital image that is not properly modifiable in an interaction, not exactly interactive, might exemplify a semantic interpretation of a symbolic scheme.
In the virtual environment, the user-body inhabits the space and time that its interaction constructs as specific virtual space and time, and in the interaction it phenomenalizes the virtual body-objects that constitute the environment itself. ”37 It is the power to assimilate otherness into one’s body, making it an expansion and an expression of one’s own time-space so that the body’s perceptual and cognitive activities constitute the very field of presence as a set of meanings. ”38 The other user-body, as virtual, will be, strictly speaking, a hybrid and paradoxical body.