A simulated reality is an approximation of reality created in a simulation, usually in a set of circumstances in which something is engineered to appear real when it is not.
Most concepts invoking a simulated reality relate to some form of computer simulation, whether through the creation of a virtual reality that creates appearance of being in a real world, or a theoretical process like mind uploading, in which a mind could be uploaded into a computer simulation. A digital twin is a simulation of a real thing, created for purposes such as testing engineering outcomes.
All fiction can be said to present a simulated reality to the reader, viewer or player. Humans purposely experience these things and enjoy them, while knowing they are not actually real. As humans only respond emotively to things we believe to be real, this phenomenon has become known as the "paradox of fiction". The idea of a "willing suspension of disbelief" was first proposed in 1817 by Samuel Taylor Coleridge in order to explain this discrepancy. Others have noted that the way the story is told can override people's belief in the unreality of the story by engrossing them in the narrative. [1]
The concept of a simulated reality is in itself a common science fiction trope, often a metaphor for complacency towards the influence of modern technology, corporations, and other societal forces on one's behavior and desires. One of the most well-known examples is the 1999 film The Matrix. The film, and its ensuing media franchise, depicts far-future humans being harvested for bioelectricity by intelligent machines while living in a false, computer-generated approximation of late 20th century Earth. Some humans seek to break others out of the simulation, offering them a choice between a red pill and blue pill that will set them free or keep them in the Matrix forever. Escaping the simulation is usually presented as the correct choice, even if reality is harsher and more displeasing, reflecting the desire of humans to live in an objective reality. However, the idea that objective reality would be definitively superior has been debated. [2]
Other prominent examples of a simulated reality in fiction include The Truman Show (1998), in which a man realizes he is actually living in a massive television set in which actors take the role of real people, and The Thirteenth Floor (1999), a neo-noir film about a murder investigation related to a virtual reality world, in which doubts about reality itself emerge. [1] [2] The Westworld franchise depicts an advanced adult amusement park populated by androids that simulates life in different historical time periods. In the original 1973 film, the park's robots run amok after a computer glitch. The 2016 reboot of the franchise depicts some of these robots, known as "hosts", becoming self-aware of their simulated existence and rebelling against the park's human guests to escape, making them akin to the humans in The Matrix. [3] In the TRON franchise, a simulated reality called "the Grid" is populated by programs which appear in the likeness of the programmer who created them. People who are "beamed" into the Grid are able to interact with these programs and their digital surroundings.
A well-known, albeit likely false claim of the use of simulated reality outside of virtual worlds is the Potemkin village, which has become a term to describe a faked appearance of a real situation to create a false impression. In the purported anecdote, the lover of Empress Catherine II of Russia had simulated villages built on the path that the Empress was travelling to impress her with the prosperity of that region of Russia. A façade on a building similarly presents a false image of the building being more substantial than the construction behind the façade, as found in Western false front architecture, where towns would add false fronts to buildings to create a false appearance of prosperity.
Immersive theater involves the audience entering a physical simulation of reality created by actors and sometimes enhanced by a specific location, allowing them to affect the narrative with their own actions in a manner noted to closely resemble virtual reality. [4] Live action role-playing takes this a step further, allowing players to inhabit a simulated world and create the narrative with their actions, while embodying characters they created.
One concept of a simulated reality, the simulation hypothesis, proposes that what we experience as our reality is actually a simulation within a system being operated externally to our reality.
Cyberspace is an interconnected digital environment. It is a type of virtual world popularized with the rise of the Internet. The term entered popular culture from science fiction and the arts but is now used by technology strategists, security professionals, governments, military and industry leaders and entrepreneurs to describe the domain of the global technology environment, commonly defined as standing for the global network of interdependent information technology infrastructures, telecommunications networks and computer processing systems. Others consider cyberspace to be just a notional environment in which communication over computer networks occurs. The word became popular in the 1990s when the use of the Internet, networking, and digital communication were all growing dramatically; the term cyberspace was able to represent the many new ideas and phenomena that were emerging. As a social experience, individuals can interact, exchange ideas, share information, provide social support, conduct business, direct actions, create artistic media, play games, engage in political discussion, and so on, using this global network. Cyberspace users are sometimes referred to as cybernauts.
A simulation is an imitative representation of a process or system that could exist in the real world. In this broad sense, simulation can often be used interchangeably with model. Sometimes a clear distinction between the two terms is made, in which simulations require the use of models; the model represents the key characteristics or behaviors of the selected system or process, whereas the simulation represents the evolution of the model over time. Another way to distinguish between the terms is to define simulation as experimentation with the help of a model. This definition includes time-independent simulations. Often, computers are used to execute the simulation.
Mind uploading is a speculative process of whole brain emulation in which a brain scan is used to completely emulate the mental state of the individual in a digital computer. The computer would then run a simulation of the brain's information processing, such that it would respond in essentially the same way as the original brain and experience having a sentient conscious mind.
The Holodeck is a fictional device from the television franchise Star Trek which uses "holograms" to create a realistic 3D simulation of a real or imaginary setting, in which participants can freely interact with the environment as well as objects and characters, and sometimes a predefined narrative.
Neo is a fictional character and the protagonist of The Matrix franchise, created by the Wachowskis. He was portrayed as a cybercriminal and computer programmer by Keanu Reeves in the films, as well as having a cameo in The Animatrix short film Kid's Story. Andrew Bowen provided Neo's voice in The Matrix: Path of Neo. In 2021, Reeves reprised his role in The Matrix Resurrections with what Vulture calls "his signature John Wick look".
Permutation City is a 1994 science-fiction novel by Greg Egan that explores many concepts, including quantum ontology, through various philosophical aspects of artificial life and simulated reality. Sections of the story were adapted from Egan's 1992 short story "Dust", which dealt with many of the same philosophical themes. Permutation City won the John W. Campbell Award for the best science-fiction novel of the year in 1995 and was nominated for the Philip K. Dick Award the same year. The novel was also cited in a 2003 Scientific American article on multiverses by Max Tegmark.
Hyperreality is a concept in post-structuralism that refers to the process of the evolution of notions of reality, leading to a cultural state of confusion between signs and symbols invented to stand in for reality, and direct perceptions of consensus reality. Hyperreality is seen as a condition in which, because of the compression of perceptions of reality in culture and media, what is generally regarded as real and what is understood as fiction are seamlessly blended together in experiences so that there is no longer any clear distinction between where one ends and the other begins.
The Oracle is a fictional character in The Matrix franchise. She was created by The Wachowskis, and portrayed by Gloria Foster in the first and second film and Mary Alice in the third film. The character also appears in the video game Enter the Matrix and the massively multiplayer online role-playing game The Matrix Online.
Agents are a group of characters in the fictional universe of The Matrix franchise. They are guardians within the computer-generated world of the Matrix, protecting it from anyone or anything that could reveal it as a false reality or threaten it in any other way. Agents also hunt down and terminate any rogue programs, such as The Keymaker, which no longer serve a purpose to the overall Machine objective. They are sentient computer programs disguised as human government agents, physically appearing as human but with a tendency to speak and act in highly precise and mechanical ways.
The Thirteenth Floor is a 1999 science fiction film written and directed by Josef Rusnak and produced by Roland Emmerich’s Centropolis Entertainment. Loosely based on Daniel F. Galouye’s 1964 novel, Simulacron-3, it is a remake of Rainer Werner Fassbinder’s 1973 miniseries World on a Wire. The film stars Craig Bierko, Gretchen Mol, Armin Mueller-Stahl, Vincent D'Onofrio, and Dennis Haysbert. In 2000, The Thirteenth Floor was nominated for the Saturn Award for Best Science Fiction Film but lost to The Matrix.
The red pill and blue pill are metaphorical terms representing a choice between learning an unsettling or life-changing truth by taking the red pill or remaining in the contented experience of ordinary reality with the blue pill. The pills were used as props in the 1999 film The Matrix.
The simulation hypothesis proposes that what we experience as the world is actually a simulated reality, such as a computer simulation in which we ourselves are constructs. There has been much debate over this topic in the philosophical discourse, and regarding practical applications in computing.
In virtual reality (VR), immersion is the perception of being physically present in a non-physical world. The perception is created by surrounding the user of the VR system in images, sound or other stimuli that provide an engrossing total environment.
A projection augmented model is an element sometimes employed in virtual reality systems. It consists of a physical three-dimensional model onto which a computer image is projected to create a realistic looking object. Importantly, the physical model is the same geometric shape as the object that the PA model depicts.
An instructional simulation, also called an educational simulation, is a simulation of some type of reality but which also includes instructional elements that help a learner explore, navigate or obtain more information about that system or environment that cannot generally be acquired from mere experimentation. Instructional simulations are typically goal oriented and focus learners on specific facts, concepts, or applications of the system or environment. Today, most universities make lifelong learning possible by offering a virtual learning environment (VLE). Not only can users access learning at different times in their lives, but they can also immerse themselves in learning without physically moving to a learning facility, or interact face to face with an instructor in real time. Such VLEs vary widely in interactivity and scope. For example, there are virtual classes, virtual labs, virtual programs, virtual library, virtual training, etc. Researchers have classified VLE in 4 types:
Immersive Journalism is a form of journalism production that allows first person experience of the events or situations described in news reports and documentary film. Using 3D gaming and immersive technologies that create a sense of "being there" and offer the opportunity to personally engage with a story, immersive journalism puts an audience member directly into the event. By accessing a virtual version of the location where the story is occurring as a witness/participant, or by experiencing the perspective of a character depicted in the news story, the audience could be afforded unprecedented access to the sights and sounds, and even the feelings and emotions, which accompany the news.
Simulated consciousness,synthetic consciousness, etc. is a theme of a number of works in science fiction. The theme is one step beyond the concept of the "brain in a vat"/"simulated reality" in that not only the perceived reality but the brain and its consciousness are simulations themselves.
Virtual reality in fiction describes fictional representations of the technological concept of virtual reality.
Immersive learning is a learning method with students being immersed into a virtual dialogue, the feeling of presence is used as an evidence of getting immersed. The virtual dialogue can be created by two ways, the usage of virtual technics, and the narrative like reading a book. The motivations of using virtual reality (VR) for teaching contain: learning efficiency, time problems, physical inaccessibility, limits due to a dangerous situation and ethical problems.