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The term virtual world is commonly used to describe the spaces inhabited by people in computer-mediated environments, in which it is possible to interact with objects and others via text, audio, computer generated images, or film. Visions of virtual worlds occupied the imagination of early social network literary and academic authors. Its origins can be found in literary fiction, such as William Gibson's novel Neuromancer (1984), where cyberspace is imagined as the following:

… a consensual hallucination experienced daily by billions of legitimate operators … a graphic representation of data abstracted from the bank of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights receding.

Gibson's vision of virtual worlds has been articulated in various forms, from the futuristic film The Lawnmower Man (1992) to The Matrix (1999) to Avatar (2009). Each of these visions focuses on the enhanced social networking between people that is achieved by digital technology. Often, this interaction occurs via an avatar, which broadly describes a device that is used to represent the identity of the user, whether or not this identity has any real-world resemblance. The possibility of creating one's identity online has led to a considerable amount of research focusing on how identity is made manifest in virtual worlds and what this might reveal about people. In the last five years, the growth of social networks may be attributed in large part to the growth of new virtual worlds, such as Facebook, Twitter, and Second Life, which command vast audiences and achieve a degree of global—if regionally specific—connectivity between individuals that is unrivaled. The model of the social network within such worlds transforms traditional media formats, where broadcasters control the channels of communication. The social networks of the virtual world provide individual users with the means of communication and even encourage participants to alter the spaces to optimize connectivity.

Historical Context

The history of virtual social networks now spans over three decades, although the principles of virtual interactivity are rooted in other, more long-standing social technologies, such as books, film, music, and so on. To this end, the idea of living in a virtual world may be understood figuratively, where the human capacity to negotiate space as a psychological apparatus, rather than a physical reality, has been a feature of human experience for centuries. From the science of dreams to ancient Greek mythology, the concept of virtuality may be applied to a far wider range of lived experiences than just computer-mediated communities. One may consider digital virtual worlds as an extension of these other, older forms.

Nevertheless, the term virtual world has modern currency in the context of computer environments and draws attention to social experiences that take place outside physical environments. So varied have these experiences become that, over the last 20 years, it has become necessary to distinguish between different eras within the computer revolution. Each of these eras demarcates varying degrees to which the world has been affected by computer culture. This impact is made most explicit by Klaus Mainzer, who argues that the developed, industrial world exists within the second or possibly the third computer age, where it has moved away from the inanimate processors that described the calculating machines of previous decades to a much more interactive computer experience: one where machines learn, become lifelike, and perhaps even autonomous.

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