Three for the Price of One: The Worlds That Took Us There, Hanging Out in the Virtual Pub and Figures of Fantasy
August 31, 2011 § 1 Comment
(I started this GD post like six thousand years ago and am only now filing my dumb report because I kept forgetting to order the Paasonen)
My Folklore list is a bit of a hodgepodge, in part because I didn’t fully know what I was doing when I put together my exam materials. Also because I HAVE DIVERGENT INTERESTS OK. If I could do it all over, I would have chosen texts that were in direct dialogue with each other. But I can’t so I can’t; consequently my lists are sort of like………oh hey penises, oh hey humor, oh hey tener relationes de sexual. Some selections –obviously the ones dealing with humor– work well together, but mostly it’s just random books and essays that seemed like a good idea at the time. Which is basically an apology for these three internet-related selections, none of which show up on the Digital Culture list. So instead of doing my normal breadth exam thing I’ll briefly summarize the most important points from each book despite the fact that none of this will end up in my exam response, oh well.
Frank Shaap, The Words That Took Us There: Ethnography in a Virtual Reality (2002)
Asks who’s talking in online RPGs, the person playing the game (literally typing the commands) or the character that person is playing (28). Emphasizes the always-already collapsed and continuously collapsing boundary between the virtual and terrestrial worlds (90, 101), which ties into claim that existing power relations and dynamics –especially in regards to gender expectations– are embedded in the code itself, precluding the possibility of ever escaping the so-called real world (105, 109). Research Rundown: was undercover in New Carthage for nearly three years before “outing” himself. Inserts this same self into his own academic narrative pretty much at every turn & through every orifice. Argues for a more postmodern ethnography which apparently includes self-aggrandizing novelistic sections and detailed accounts of his various online sexploits. FRIEND WE DO NOT WANT TO KNOW.
Lori Kendall, Hanging Out in the Virtual Pub: Masculinities and Relationships Online (2002)
Like Shaap, Kendall explores a particular MUD, this one called Blue Sky. Also like Shaap, she emphasizes the interpenetration of online and “real” life, with focus on emotional continuity; her particular group of mudders knew each other irl and therefore expected “authentic” presentations of the virtual self (i.e. not your average control group). Kendall is quick to reject the idea that the virtual world is some sort of “clean slate” not effected by racism, classism and sexism — she argues that, as a reflection of the so-called real world, virtual worlds necessarily contain a trace of the cultures out of which they emerge. Unlike Shaap, she revealed herself as a researcher right away, and had relationships with her informants that extended beyond Blue Sky. Prolly boned that henri guy LOL.
Susanna Paasonen, Figures of Fantasy: Internet, Women and Cyberdiscourse (2005)
The legacy of cyberdiscourse — emphasis on individuality, freedom, disembodiment. Cyberspace (a state-less mindset) is not the Internet (a state-owned something), so sayith John Perry Barlow (sort of?). Both the Internet itself and gender on the Internet are performative. Online figurations of femininity raise questions of (and relationships between) representation, embodiment, and technology; they reproduce conventional gender and behavioral binaries as well as engender new/tweaked versions of existing dialectics. Lightning round: Textualities. T-Shirts. Play. Boobies. Resistence. Cyberdildonics. Home. HTML. THROUGH THE RABBIT HOLE YOU GO, might as well genderfuck while you’re down there rite. Effacement of questions of privilege. It’s only “natural.” “Female experience.” http://www.period.blood. Ideological hailings. You’ve got male. Men are from cyberspace, women are from…I don’t know, earth? Weaving and unweaving. Feminist techno-utopias. Zeroes and ones. The problem with difference and bitches, amen.
Speaking of figures of fantasy, it’s COURTNEY STODDEN’S TWITTER ACCOUNTeverybody! She’s a wordsmith, and looks great doing it!