Yesterday was one of the best days of my academic career, one that’s generally been pretty high-awesome.  I had the privilege of spending the day with internet ethnography scholar Annette Markham and a group of ASU’s best grad students.

From attending a small workshop and a major talk, I got a sack of intellectual time bombs, and they’ve been going off one by one ever since. One blast comes from threads in her talk, and later audience discussion, about binary concepts of privacy and the decline of the “cyberspace” metaphor. I don’t know of anyone having linked them, but I think the connection’s strong.

One of Markham’s core points was that it’s not useful, methodologically or ethically, to think of information as having a binary state of public/private, but rather of privacy as being situational and contingent (I’d add, negotiated).

A questioner challenged that, saying, if you post a blog and don’t lock it, it’s public, and thus the content is fair game for any use because it’s not private anymore. I countered by mentioning my favorite law journal article, Warren & Brandeis‘s “The Right of Privacy,” from 1890, which is the source of American legal notions of privacy in the (first) age of social media. The example I gave was, I wear my face around in public. That doesn’t give you the right to use my face to sell your cars.

This is obvious, and it’s how we think about ownership generally. My phone is private. But if I lend it to (using examples from the audience) Megan to make a call, that doesn’t give Jeff the right to come over and take it from my bag: my lending it out hasn’t flipped the bit of its binary status from “private” to “public.”

Likewise, that license of use implicitly doesn’t extend to all my ownership rights: I can hit it with a baseball bat if I want, or run out the battery or rack up charges to 900-number sex lines – my license to Megan to borrow it (implicitly) doesn’t include those rights.  If I’ve established a course of dealing of lending it to her, I may be implying a license to her to take it from my bag without asking – but that doesn’t mean the same license terms extend to Annette, because I lent it to her once. Specific negotiation and course of dealing over time are what determine the usage right, not some inherent property of the object.

Most school-age kids have developed an innate sense of this, even if they can’t articulate it in legal language :)

But we think (thought) about digital information differently.

We’ve thought about digital information technologies differently anyway, all along, and it’s William Gibson and Neal Stephenson‘s fault.

There were a number of really interesting cultural/technological issues around the adoption of the telephone, but people never thought of people on the other end of a phone call as somehow not real, or phone numbers as an alternate identity, or of conversations happening in a “phone space” conceptually distinct from, and subject to different rules from, the “real world.”  But we did all those things with respect to the internet, or as it was called till fairly recently, “cyberspace.”  Why? Gibson and Stephenson.

Markham had a series of wonderful slides, of 1990s imaginings, and realities, of internet use: while we pictured avatarized landscapes of digital data in world-like spaces, we were largely interacting with each other via ASCII text on Usenet :D   The disconnect between our concepts and our practices was immense.

“Cyberspace” is as extinct as the penny-farthing bicycle (and with it, frontier-manners socializing with strangers, social equality and solidarity, and immersive virtual worlds: I actually agree with Ted Castronova this time): researchers of the internet and cultural pundits need to recognize that the internet and its goods are no longer distinct from everyday life.

Stealing my shit, whether it’s my phone or a digital mask, or my savings account, is stealing. You don’t get to take my shit and use it for your own purposes without getting permission, and that permission isn’t generalizable. I’m me, but I don’t share everything with everybody (well, I pretty much do, but still).

The death of digital exceptionalism is, as a key quote in science and technology studies has it, “neither good nor bad, nor neutral.” It benefits the powerful at the expense of the powerless sometimes, but not at other times; it may have brought to an end one of the most powerful forces for good and bad in human history (very mostly good in my highly debatable opinion), the European-American escape valve and cultural mainspring of the “frontier.” It does end a godawful lot of silly talk and make laughable a bunch of 1990s sci-fi movies. It’s ended the “public” lives of a number of dear “pseudonymous” friends.

It’s a slap to the back of the head of punditry, scholarship, and particularly institutional ethical and methodological guidelines for studying human interaction involving the internet, some of which has barely started to come to grips with the internet’s existence, let alone with this second phase of its metaphorical conception.

Speaking of which, I’ve got to call out ASU’s anthropology department, the School of Human Evolution and Social Change  (SHESC) that houses it, and the Ethnography Studio I’m a member of, all of which failed to send a single person to Markham’s workshop or talk. Four years ago, a senior administrator associated with SHESC declined an association with me and my work, saying that what I was doing as a first-year researcher was “ten years ahead of our faculty.” Four years later, they’re proving themselves to be still ten years behind the standard of practice. Shame on you all.

And, concomitant kudos to ASU’s English Department, and particularly its Rhetoric and Composition PhD program (and its exceptional students who I count as colleagues and friends), for recognizing that we live in the goddamned future and it matters.

Above all, thanks to Annette Markham for rocking our academic world.

Next Tuesday HASTAC (the Humanities, Arts, Science, and Technology Advanced Collaboratory), will be launching a featured discussion on games studies within (and beyond) the humanities, focusing on teaching, scholarship and (alas) gamification.

I’m one of the discussion hosts, and along with organizational work, I’ve been asked to kick the thread off with a comment that will accompany the launch. I can’t release the discussion prompt till Tuesday, but as an introduction to the discussion, and an invitation to my friends, colleagues and students to come over and join in (anyone can comment, and the discussion promises to be vigorous and interesting), here’s my starting response:

I come to HASTAC from a different background from most of the Scholars: I’m in a science and technology studies program where I focus on the user, rather than the designer, experience.  I’ve found STS is a wonderful lens for teaching games studies: where some humanities approaches reify “texts,” STS tends to deconstruct “objects” into networks. One advantage to this approach for undergraduate pedagogy is its ability to refute the opinions, even of avid young gamers, that games are trivial.

We can present the game as not just images on a screen or an object in a box, but as a node in a network of social practices – playing Call of Duty with dorm buddies to World of Warcraft in a Chinese internet café; the economics of gold farming; cross-genre writing about games (we started this semester with articles by a literary journalist, a games designer, and an academic); the construction and performance of identity, including race and gender; a range of technologies; and the divergent disciplinary perspectives of the humanities, social sciences, engineering, programming and law.

The STS approach is inherently trans- or post-disciplinary, which can be a great advantage in teaching students from a broad range of departments, experience and interest. We are able to mobilize rhetorics of design, programming, writing and play; to use music, dance and humor in an integrated and authentic way. Offering students more points of contact with their own interests and backgrounds has enabled great engagement and creative thinking among our students.

Breaking down the boundary of the text (and stomping all over the games-studies concept of the “magic circle,” a legacy of class-ridden Edwardian notions of the amateur and the child), enables us to start from an integrated view of social justice and social responsibility while giving students tools to interrogate critically their relations with technologies, beginning with the familiar and intimate ones of the electronic game.

Studying gender presentation in avatarized spaces is challenging, both from the side of methodology and from theory and analysis. How do you collect data, and then once you have some, how do you find meaning in it? I’ve got great data on the busty community in Second Life: folks are eager to do interviews, and I’ve got tons of great (if not worksafe) photos from events. What I haven’t had is a way to make meaning from it.

I’ve been on a reading binge, trying to find some scholarship to hang onto. I’ve found some good older works (1990s) on non-normative women’s bodies, and I’ve found hints of happening-right-now work on femme identity, which I think is absolutely essential to understanding online gender presentation. Most all of what I’ve found is in blogs and other early-stage work, and I really don’t have a handle on it the way I’d like (please recommend good sources!).

However, I stumbled across an older book that has a schema which fits beautifully onto my data.

Richard Ekins’ Male Femaling, published in 1997 and based on 17 years of research with the UK trans* community is definitely dated, primarily in its use of terminology, which can sound awkward-to-offensive to the contemporary ear (here’s an excellent critical review from within the community). The author states in his conclusion that his work might have taken a very different direction if he’d started in the 1990s rather than the 1970s, and had Butler’s and Bornstein’s theories of performativity to draw on.

For my purposes I’m glad he didn’t: the clarity of his observations and elegance of his analytical structure shine through, and had he followed in the mainstream of 1990s gender research this unique contribution wouldn’t be around to apply to a 20-teens community (I find Julia Serano’s critique of Butler’s view of performance as the basis of gendering, rather than reading of the body, as both generally convincing and critical for avatarized cases).

Ekins also notes in his conclusion that his framework (derived primarily from UK crossdressers) might also be used more broadly: “In my judgement, we urgently need substantive grounded theories of ‘male maling’…’female maling’ and ‘female femaling.’ Then, and only then, will we be in a position to begin the task of generating adequately grounded formal theories of ‘gendering.’” (p.166)

Ekins sees three inter-related but distinct kinds of behavior among female-presenting trans-spectrum folks, what he calls “major modes of femaling – those of ‘body femaling,’ ‘erotic femaling’ and ‘gender femaling.’”  Much of his work focuses on individual progression paths in coming to grips with one’s primary mode of “femaling,” but that’s beyond the scope of what I want to use.

  • Body femaling “refers to the desires and practices of male femalers to ‘female’ their bodies. This might include desired, actual or simulated changes in both primary and secondary characteristics of ‘sex.’” He sub-categorizes by permanence, visibility, progression vs. oscillation and premeditation. I read Serrano as coming from this perspective, along with many who actively transition.
  • Erotic femaling includes what Blanchard classes as autogynephilia, along with “femaling which is deliberately sexual, or has the effect of arousing sexual desire or excitement,” and may be driven by “the behavioral, the emotional, the cognitive or the anatomical.”
  • Gender femaling “refers to the manifold ways in which femalers adopt the behaviors, emotions and cognitions socio-culturally associated with being female,” which may or may not be erotic or stereotyped.

The threefold typology is hugely helpful in fitting together what the folks I’ve been interviewing are telling me (detailed conclusions later, but tl;dr is, body femaling is strongly predominant).

I think that in a virtual environment, we can meaningfully speak of “femaling” without that adverb, as all of sex, sexuality and gender gets constructed  – not onto a blank slate, that fallacy of 1990s techno-utopianists, but out of familiar materials into a new medium in which the tensions between the given and the desired are sublimated, rather than foregrounded as they often are with trans* spectrum individuals in the physical world.

So, we can speak of “femaling,” or “digital femaling,” if you want to be pedantic (and of course of “digital maling” as well, which might be getting interesting to study), and not erase the body and presentation on the other side of he screen, but deal with that which is on the screen as meaningful and complete in itself (this is the tension between Tom Boellstoff’s anthropological approach to SL and Sherry Turkle’s psychological take on early online communications).

Once we look at the choice to use prim breasts in SL, we can see community as the result of tension between the meaning ascribed by the user – say, body femaling – and that imposed by external assumption or judgement – typically erotic. Community becomes that which is within the borderlands, or cell membrane, separating shared meaning from antagonistic meaning.

(This implies something that’s very proven up in practice – that community, like in the case of UK transvestites, is “fellow users” primarily, and only marginally “users performing for the male gaze.” This is important, but I need to do some more fieldwork before I can really back up that observation as strongly as I’d like).

It also suggests that prim breast users are just a special case of the construction of avatarized female identity, or “digital femaling” more generally. The next step outward for this work is to look at the use and meaning of the normatively-bodied female avatar. There’s been a lot of work done on gender and avatar choice, but I find much of it theoretically superficial, when theorized at all.

These questions are platform-specific, which is important to bear in mind: the choice of a male avatar or a female avatar in SL means different things from the choice in WoW or in EVE. Answering why and how one makes the male/female choice requires a deep look at the affordances of the platform’s avatar generator (a critical factor for the prim-breast community, and until recently overlooked in “digital maling” as well), the nature and use of the platform, the demographics of the users, and a deep look at their attitudes and expectations around sex, sexuality and gender.

Not all easy answers are wrong, but none of them can be accepted at face value: the main lesson five years in SL has taught me is that humans are vastly more complex than one thinks. Behavior is a much better guide to insight than the rote answer, in part because people lie to outsider-researchers and in part because nobody, not even scholars of this stuff, has a good set of intellectual constructs and vocabulary for critical discussion of it.

Now that we’ve got a theoretical framework and some data, this series is going to get specific. I’ve got several conference presentations coming up, and I’ve talked myself into upgrading this work into a dissertation case, as this framework points me towards saying some meaningful things about the construction of digital identity and community across platforms.

More to come!

This is a continuation of a post from a few days ago, where I set out an interesting issue that came up in teaching RDG440: Computer Games, Literacy and Learning last week. TL;DR version: we had a disconnect between the students, who were “talking about games,” and the instructors, who were “talking about talking about games.” We didn’t seem to be able to bridge the “meta” gap, in part, I think, because our students don’t come from a background of critical textual analysis, but of skills and content teaching, in computer science and design.

Based on a long conversation with technosage, here’s a try at bridging the gap, through a set of analogies.

OK, we’re in art history class now. Here’s this week’s assigned material:

(that’s (1) an anoymous work from the Hagia Sophia, (2) Leonardo da Vinci, (3) Caravaggio and (4) Vincent Barzoni)

These works all have two things in common:

  1. the subject matter of each is Jesus of Nazareth; and
  2. they are all paintings, which create meaning through a diverse range of techniques, to very different cultures and eras.

We’re not talkin’ ’bout Jesus: it’s a fine thing to do, but it’s not the subject of this class.

We’re here (in this art history class) to talk about how paintings make meaning, and how they use techniques to make different meanings appropriate for different places and times.

Likewise, say we’re in one of those classes on the Bible as literature, and the assigned readings were the gospels of Matthew, Mark and Luke (technosage is a medieval art historian, and this is a recreation of a conversation from last Wednesday night – forgive me if I get details wrong, as I’m way out of my specialty here).

Each of them narrates the life of Jesus, but does so differently. If we’d assigned them we wouldn’t be looking for your opinions on whether or not Jesus was divine, or his actions accurately reported: we’d be asking for your opinion on what each gospel author was trying to say, what he meant, by selecting certain stories to tell, by stressing certain events and themes.

Now we’re in a musicology class. This week’s assignment is the following:

Now, one way to write about these is to discuss the chemistry of combustion :D

What we’d be looking for, though, is why and how the three covers are different, what they were trying to say to their respective audiences, who those audiences were, and how the meaning of the same lyrics changed across performers, genres and decades.

Our class is doing what the contest show So You Think You Can Dance does. That show takes young dancers with deep specialist training  and throws them into a broad range of dance styles, to find the best cross-trained dancer who can make meaning using as many different genre-based sets of technique as possible.

You might come in as a krumper: can you handle the precise formalism of Latin ballroom?

http://www.youtube.com/watch?v=vRdcr4WZnOA

(EDIT: that second video has been taken down. here’s another one that might make the point about genre even better)

Now back to games studies. What we’re looking to do in RDG440 is (at least) twofold:

  • to give you the ability to find meaning in writing about games from a broad variety of genres, as broad as the artistic and musical styles above, and
  • to give you the ability to make meaning about games, again in a broad variety of genres. In class we’ll be focusing on short-form persuasive writing, both solo and group-written, but we’re looking for final projects that make meaning about games through academic writing, movies, games and anything else you can convince us is interesting and useful.

To do that we’re going to talk about genre and style in discussing games (not so much in games!).  In our first week we had you read a literary journalist, a game designer and an academic. In week two we had you read three different perspectives from judges (and as we realized, really didn’t prepare you for how to find meaning there!).

We’re here to talk about painting genres, about literary genres, about musical genres – not Jesus and fire :D

Yesterday Raph Koster published a blog post, “Narrative is not a game mechanic,” that rocked my world. My response was, “holy cats, this changes everything” – but I wasn’t ready to articulate why. It just felt like suddenly some 24 years of my computer gaming made sense, in a deep, pre-verbal way. Now, here’s the words.

Koster says that narrative isn’t a game mechanic (a term of art he uses with a specific meaning), but “a form of feedback:” in a sense, a reward for executing the mechanic. Games, he says, are a “compound medium,” using film, writing, visual arts and music – primarily in the feedback:

There’s nothing wrong, to my mind, with using narrative as feedback. But we have to keep in mind that all that narrative and visual content is the expensive part of making the game. It is also consumable, whereas a systemically driven game system can provide many many problems to solve and heuristics to develop (and therefore fun to be had), with relatively few rules. Because of this, narrative content is destined to be expensive, short, and over.

There are important caveats to this: one of the insufficiently understood pleasures of narrative is in repetition, as any four-year-old or self-identified fan can tell you. Some stories bear repetition better than others; most all eventually pale. One good treatment of this mechanism is in Stephen Johnson’s Everything Bad Is Good For You, where he explains how the changing economics of television tend to favor the pleasurably-repeatable narrative today, where they favored the blandly one-off a generation ago.

This is relevant to games: I think the core of fandom lies in the pleasure of return. As Richard Bartle said this week in his post about Star Wars: The Old Republic, “once you can treat the virtual world as a place like any other, you return because you like it there, not because you have a purpose there.”

This is the pleasure of rereading/re-viewing: not to “progress” through the narrative, but to enjoy “being there.” The fan’s pleasure isn’t in the “what happens next?” of the first-timer, but in the feeling of wanting to hang out with the crew of the Enterprise or Serenity, in Gotham City or Amber, to work a case with Sherlock Holmes. It’s why fannish objects tend to be serialized: there’s more opportunity for return.

Many games are designed like TV shows used to be: one-offs. Where I’d gloss Koster is in saying that, yes, many of these games are structured to provide heavy narrative reward for minimal game mechanics. But that could be fine, if the narrative invites return – or if you’re explicitly out, for economic or taste reasons, to create a one-off.

This is why post-Cataclysm WoW is so broken, right? It provided more playable narrative than ever, but in a way that penalized return, or wanting to spend time in the world. I played pre-Cata WoW daily for several years for a simple reason: I liked being in Azeroth with my friends.

In Cata, Blizzard broke both halves of that:  by speeding leveling, they made it effectively impossible to experience a zone in a meaningful way while removing any benefit from playing with others, and by the heavy use of instancing they made playing with friends in any but the most structured and scheduled way impossible.

(This leaves aside the endgame, a grindy parody of consumerism that bears little resemblance to what I understand of raiding in the Molten Core era, and one that bears no relationship that I can see to the open-world questing game it’s bolted onto)

Koster’s analysis explains why I’ve played certain games for thousands of hours over many years, and why I can’t bring myself to play the triple-A titles that everybody else does (and that I really need to be familiar with as a games-studies teacher).

I hadn’t been able to explain to myself why I can play old turn-based strategy games forever, even though I love narrative, while I can’t put in more than an hour on the big narrative driven console titles. Now I can: it lies in the use of what Koster calls “feedback” and what I perceive as “reward.”

In the late 1980s, I spent a fortune (well, actually I *cough* billed it to my law firm) on help lines for the Sierra titles: it would drive me insane that some bit of game mechanic was coming between me and my next hit of narrative. A decade later a friend bought me a Playstation to get me hooked on console games: I remember a Christmas week screaming in frustration at Parasite Eve: I wanted more story, not button combos!  I sold the thing off and went back to Civilization, Caesar and Heroes of Might and Magic.

By comparison, I still play Alpha Centauri, primarily for fannish reasons: the faction leaders are old friends and enemies, and I like it on Planet. I picked up Heroes III from GOG.com and put in hundreds of hours last year: it can still kick my ass on hard mode, and I love it.

One is a fannish narrative that invites return, and even though I’ve pretty well mastered the game mechanics, they remain non-trivial. The other has little narrative, but the mechanics remain challenging (and yet, we named two houseplants, which we still have a dozen years later, after two of the heroes, so clearly there was a strong narrative hook there).

With pretty much every triple A title I’ve tried over the past ten years, I’ve felt like I was put in a Skinner box, or given one of those kids’ bath toys with all the levers and buttons and whatnot, and asked to perform stupid but complex mechanical actions, and then thrown a scrap of narrative as a reward.

I resent the fuck out of that, and can’t do it for more than an hour.

Deus Ex: Human Revolution is a perfect example: I was excited to play it, to get past my issues with console games, because I was hugely interested in its themes of human augmentation and socio-technical change. If ever there were a game where the narrative banana pellet would be worth the game-mechanic lever-pushing, this would be it.

An hour.

The depths of my suck at using a controller, and of running, jumping and aiming in games in general, cannot be overstated. I never made it out of the tutorial, and I was pissed that my failures of the physical-level mechanics of controller use barred me from the narrative “rewards.”

I’m playing Mass Effect now, because my dissertation co-chair has sufficiently shamed me into developing controller proficiency, and because we’re going to be teaching ME2 in class, and I have to play through it. ME (I understand, much more than ME2) provides an interactive story more than uses story as reward-pellets for running, jumping and aiming. I can do this.

Actually, my hatred of the current MMO endgame and my distaste for Skinner-box console games are symptoms of the same problem: I really resent having to do trivial, repetitive (but still hard!) mechanical stuff in return for tiny pellets of story.  Give me a juicy game mechanic like a turn-based strategy game, or give me a non-fiddly choose your own adventure (like SWTOR), but don’t blackmail me into doing a field sobriety test with the promise of banana pellets of narrative.

And, best of all? Build me a world I want to return to, with characters I want to hang out with, even when we’re not saving the world for the first time.

Or, make disposable one-off entertainment. Economics certainly favor it, and there’s plenty of folks who like that stuff just fine. One thing the past five years have shown is that the fannish market for return is powerful, but emphatically not mass.

Clarity about which market you’re in is crucial, and Koster’s provided the tools for achieving it.

Betty Hayes and I just finished teaching our second week of RDG440: Computer Games, Literacy and Learning (here’s the current syllabus), and we’ve come across a fascinating and challenging problem: a chasm between how we-as-academics talk about games and how our students-as-players (and as-designers) do. This is the first of two posts: this one is mostly aimed at academic and teaching colleagues, to sketch out the problem we made for ourselves and invite ideas about solutions. The second will be primarily for our students, to start the skeleton of a bridge across our chasm.

First, as I said to our students Wednesday, this isn’t a “LOL NOOBS” or “bad dog!” issue. Rather, it’s exactly what the class is about: different ways to consume and produce meaning around games.What confounded us was the discovery that our unquestioned assumptions and our students‘ just did not meet up in class this week.

They’re a bright, energetic, highly motivated bunch: discussion the first week was lively, even before class among a bunch of strangers, and they’ve taken to our gameplay eagerly. They’re almost all either from the Digital Cultures or Game Design certificate programs, and most all either avid gamers or professionals in training, or both.

We’re interdisciplinary scholars who don’t do design or programming at all: our interests are in games in various social contexts, and the meaning and use of games. We don’t (primarily) talk about games: we talk about talk about games. And the class is an exploration of talking about games, with a heavy emphasis in the production, more than the consumption, side of games literacy: being able to understand talk about games from a broad range of perspectives and disciplines, but mostly being able to make meaning about games.

For our first week we assigned three readings: a chapter from Tom Bissell’s Extra Lives on Fallout 3, a couple chapters from Raph Koster’s A Theory of Fun primarily about brains, and a post of mine from this blog about my philosophy of teaching games studies. The idea was to show a range of discourses about games, of different language and style, and of focus, from the personal to the scientific to the socio-political. It went well: everybody had good stuff to say, and it looked like we were off to an exciting start.

Monday was a holiday here; the assignment for Wednesday was to read and analyze the arguments in Brown v. EMA, the recent Supreme Court case which held that a California state law banning the sale of violent video games to minors without guardian consent was an unconstitutional restraint on free speech.

I’d established it as a hard read, but an important one, saying that the opinions in the case set out arguments we’d be working with all semester. Since none of our students come from social science majors, I assigned the Wikipedia article on the case as background. Their assignment was to write a question/comment about the arguments in the case. They also had their first weekly blog assignment, to write about the family, school and other messages about games they’d gotten growing up.

All but one of our students’ questions focused not on the arguments of the case but on their own thoughts about children and violent video games. It wasn’t like they willfully blew off the assignment: they said interesting and sophisticated things, just not at all on the topic we thought we’d assigned.

We were astonished and troubled: we weren’t at all interested in kids and violent videogames, and saw that issue as largely unrelated to the subject matter of the class – making and consuming meaning about games. We spent a few hours of lesson planning turning this bug into a feature: we crafted a class session introducing the concept of discourse, presenting a range of examples of “talking about games,” from a jargon-heavy theorycrafting forum post to a selection from the case in dense legalese. Then I did a “reading from within the discourse” of the case, outlining the arguments, why they mattered and how we’ll be coming back to them.

Then we asked what they thought about those arguments…. and we got opinions about kids and violent videogames.

What we saw was that we were talking about the meta level and they weren’t: our subject was “talking about games,” and their subject was “games.”

I puzzled about this extensively, then had a long talk in the evening with technosage, who’s trained as an art historian, legal anthropologist and teacher, and she had a wealth of critical insights.

One: We offered up the case way, way too early in the semester for an undergrad class. In trying to come back and fix our mistake, we said great stuff about how a Supreme Court opinion is like a forum post, with cross talk that cuts out the original poster, side issues coming in and dropping out of the thread, and a specialized language. At week 10 or so, after they’ve read and analyzed forum posts and blog comment threads, that could have been something meaningful. In week 2 it was just noise.

Two: The way we framed the two assignments led to the outcome. Our blog assignment asked for personal experience, and stories about… kids and violent videogames. That established a context for their reading of the case which was the exact opposite of what we wanted. We should have paired it with some readings on the concept of different discourses around a common subject.  Also, even though we were tediously explicit about the Wikipedia article being a booster step into the case, they all chose to interpret it as “there are two readings; write about any one; of course write about the one-page plain-English piece instead of the 90 page stew of strange jargon.”

OK, that was what how we created what we got. The other element we’d not taken into account was that – particularly for design and programming students – most all of their college experience has been being told facts and learning to use tools, and virtually none of the “critically engage with texts” stuff that humanities and social science students do. We never questioned our assumption that they had upper-division level skills in those fields, though we knew their training had actually been radically different.

So we stumbled into a chasm: we merrily went along thinking that Brown v. EMA was obviously a clash of  discourses rooted in the cultural history of entertainment media and moral panics, a cautious STS approach, and experimental psychology, while they quite reasonably thought that a judicial decision about a law on kids and violent videogames was about…. kids and violent videogames.

I’d love thoughts, experience and solutions from other teacher-folk who may have encountered this chasm in their own teaching: please comment! In the next post, I’ll lay out – primarily for our students – some of the approaches technosage and I came up with for building a bridge across that content/analysis chasm.

Next month I’m presenting my work on Second Life’s busty community at the Eastern Sociological Association’s conference in New York – which, I confess, I’d forgotten I’d submitted to, so I’ve been scrambling to return to a project I’d back-burnered for a while.

Now I’m deep into reading to build a theoretical framework for some conclusions. And yet, the most interesting things I’ve come across so far are two recent online articles, one from The Guardian on breast implants and one from IGN on the depiction of women in videogames. Between the two of them, they map the space of aporia this project’s situated in – or, to change metaphors, the cognitive white noise I seem to descend into on trying to think clearly about digital embodiment and the signifying breast (oo, good title for a paper, that!).

The central question of this project is, what’s the connection between SL’s busty community* (*assuming/to the extent that there is a “community” – “network” is probably a better word, and that distinction is interesting in itself, but if I keep digressing, I’m never going to get anywhere) and a narrative of external disapproval/hostility?

The plain-English version is, why is the choice of bustiness for an avatar socially unacceptable in the way other unusual attributes aren’t?

The top-level answer is “because big boobs are porny, dipshit.”

But that really doesn’t hold up at all if you start peeling it back, and you quickly tumble into the space of aporia. I’ve covered the top-level strangeness in earlier posts in this series; here I want to start teasing out the link between this SL community and the active debate over depictions of women in comics and videogames that’s taking place across game industry blogs (particularly Kotaku, which has been rocking this issue for a while) and feminist fan Tumblrs.

But first, the Guardian article, which is a short masterpiece of STS: I’d love to use it for a seminar in technology and society. The author, Kira Cochrane, works through all the received wisdom on gender and body image, acknowledging truth in it, then peeling back another layer: the first breast augmentation surgery was performed by men on a poor woman who was basically manipulated into it, despite her never having had issues with her breast size.

But, Cochrane notes, much of industrial-age beauty/body modification products were developed by women for women, and not forced on them by men seeking to remold women into a particular image (which ties into some really interesting stuff on the design and marketing of dolls in the 19th Century, summarized by Mary Flanagan in Critical Play, but again, I digress).

She claims,

Ninety per cent of all cosmetic surgery operations are performed on women, and Blum [Professor Virginia L. Blum] thinks this is because “women continue to experience their body as more mutable…”

I’d like to see some data on that, but I’ll accept it as true, which is fascinating for those of us interested in cyborgs and transhumanism (obligatory cite to Natasha Vita-More) – and that’s the link to Second Life and video games.

The avatar is the opportunity to craft our bodies as we would have ourselves and others see them, without messy, painful, dangerous and expensive surgery. While avatar choice is constrained by the platform’s engine (for example, there are apparently no blonds in the Star Wars universe, and all human males on Azeroth are moose, even the “dress-wearing” priests), we can look to avatar choice to map out the space of our ideal bodies.

Contrary to a certain strain of internet utopianism, given freedom to imagine the digital body, we haven’t gone to androgyny (let alone disembodied raceless, genderless consciousness), but quite the opposite: people tend to seriously exaggerated sexual dimorphism.

Or did, in the first wave of avatarized spaces. We may be seeing the death of that trend, along with most everything about the “virtual” from the mid-2000s: The Mary Sue notes gamers may be getting tired of “space marines and battle vixens,” and that guys in particular aren’t identifying with the roided-out violent beefcake archetype that still dominates games (and comics).  But – another digression.

So back to breasts. Cochrane’s article ends with the truest thing about the breast that I’ve read in months of study, and I’ll quote it at length:

The popularity of cosmetic breast implants also reflects just how utterly in thrall we are, as a culture, to gender distinctions. The breasts are the biggest physical sign we have of difference, and perhaps, at base, that’s why they’re so enormously popular. “It’s an external symbol of a woman’s gender, and we need and want that affirmation,” says Biggs [a cosmetic surgeon]. He has been involved in more than 8,000 breast implant operations during the course of his career, and says he “began to realise the magnitude of the importance of the breast to a woman, and to how she feels about herself. So people can make jokes that the breast implants are done to attract men, or maybe to make other women envious. And there may be some minimal elements of truth there. But the real truth is that it helps her confirm to herself her own gender.”

This is the true thing about busty presentation in SL: whatever the physical sex of the person behind the avatar, the large digital breast is a powerful signifier of sex (as in male and female, not as in sexuality), a statement that “I’m very female.” The stereotype is that it’s male overcompensation in cross-sex presentation, and while there’s plenty of crossing, that’s far from the whole truth, as I’ve learned. For a good number of physical-world women, making the digital statement that “I’m very female” is immensely powerful (NSFW link to the art and writing of a friend and great help in this research, Vickie Shan) as well.

Now, the next level of complication comes in the distinction between displaying exaggerated sex identity and exaggerated gendered behavior – which, interestingly, I haven’t particularly seen together in SL’s busty community. The very busty tend not to be very femme, while the very femme tend to be moderately (by SL standards), but not very, busty, using clothes as a signifier much more than body shape. This deserves a lot more exploration, and since it wasn’t an issue I’d noticed in my first round of fieldwork, it means I’m going to have to go back into SL and talk to folks more. In my copious extra research time :D

And there we have the key aporia of this work: if exaggerated sexual dimorphism is the norm, why does this particular manifestation of it get such public criticism, where exaggerated/open displays of sexuality don’t (see for a perfect example this saga (NSFW images) of a woman thrown out of an SL nude beach for being too busty)?

I still don’t have a convincing answer, either in my observations and discussions with folks, or in any gender theory I’ve read, though there’s bits in both the work on body modification and on femme identity that I’m pursuing.

And, being out of both space and time, it looks like the link between self-presentation in avatarized spaces and depictions of the Other in comics and games will have to wait till next time.

Mark Chen‘s new book, Leet Noobs: The Life and Death of An Expert Player Group in World of Warcraft has set a new bar for ethnographies of online communities. Mark is not just a keen observer in the “rich description” ethnographic tradition, nor only a skilled and sophisticated user of theory, but a graceful and highly readable writer (and he did his own cover art!). Few others have combined all three talents at such a consistent and high level. If you only read one 21st Century work in this genre, make it Leet Noobs.

A few disclaimers up front: I’ve been following Mark’s work since I began in games studies, and was privileged to be a beta reader on his dissertation, which formed the core of this book. Though Mark’s an education scholar and I’m some sort of interdisciplinary mutt, we share a core of science and technology studies, and have a number of the same favorite works. We also agree very broadly theoretically. Mark’s also been kind enough to provide a chapter for free to my current games studies class, and will be a guest speaker there in a few weeks.

That said, reading Leet Noobs, beyond the pleasure of reading a truly excellent academic monograph, was also a great help in sharpening the focus of my dissertation work. While covering quite a lot of the same theoretical core, and also working in WoW, I’m doing some quite different things in scope and methodology. I’ll sketch out those distinctions below.

His core chapter, “Assembling to Kill Ragnaros,” applies actor-network theory (ANT) to the enrollment of the add-on KLH Threat Meter in his raiding group. ANT is challenging to use: it’s all too easy to veer into triviality on one side or silliness on the other (I’m looking at you, St. Brieuc scallops!). Here Mark closely observes the changes to the social dynamics of his group wrought by the use of a simple statistical tool, then steps back to explain ANT in a passage I wish I’d been able to read as a first-year grad student struggling with the source material, applying it to generate a number of crucial insights into the interplay between code and culture.

Last year, the Games+Learning+Society conference instituted a “Hall of Failure,” a track to discuss work that didn’t quite go as expected. It included some of the best presentations I’ve ever heard (Sean Duncan delivered a rockstar talk, in particular). Leet Noobs is a wonderful example of learning from unexpected failure. Mark had planned to write about the learning successes of his raiding guild, only to have it fall apart after his first article. He responded by critically examining the failure, and produced some profound insights into the nature of online communities and MMO game design as a result.

This is the good stuff: his analysis of the tensions between the instrumental values of gameplay and the social ties that make MMOs and online communities worth spending time in should be required reading for everyone who plays or designs these platforms. He provides an essential, sophisticated and meticulously documented counter to formalist/structuralist approaches to game analysis, rooting his work in a deep tradition of the study of communities of practice. Leet Noobs deserves to be read and taught alongside game design classics, as a constant reminder that games are played by humans, and humans are profoundly social, even in their interaction with formalist systems.

One great strength of Mark’s work lies in an area where I differ from him. Leet Noobs is written from the core of the ethnographic tradition. It slots into a long shelf of studies of online communities, dating back to late-1980s work on LambdaMOO, placing Mark firmly in a scholarly tradition and active academic community. It does exactly what a dissertation and first book should do, and does it brilliantly.

However.

The conventions of digital ethnography haven’t kept pace with the way we actually use the internet, and are unduly beholden to an anthropological tradition that polices a false dichotomy between participant and observer, between community of scholarship and community of practice. The aca/fan debate is messy, complex and unresolved, but “traditional” online ethnography is being challenged and contested from a range of perspectives.

You wouldn’t know it from Leet Noobs, although Mark clearly does: one paragraph near the end of his final substantive chapter addresses the point, with characteristic grace. He describes the “tension between…stances” of educator, researcher and gamer, concluding that it was “partially based on a mythical image of a social science researcher who has a responsibility to not affect what he or she is studying. This, I realize now, is completely ridiculous and unethical if the changes are beneficial and relevant to the participants.”

Mark’s able to maintain the deep pseudonymity expected of ethnographic work: he fictionalizes guild and character names (and his naming schema is wonderfully convenient and useful). It’s getting harder to do, as the internet anonymity of the mid-2000′s has largely vanished into history. In reading some of the early internet ethnographies, I found the use of fictionalized community names a sort of Victorian delicacy: it was obvious to anyone familiar with the space what the actual communities were. There weren’t very many, and it wasn’t possible to say anything meaningful about them and their provenance without giving the game away. In the modern world of Google and public forums, this sort of pretense stops seeming excessively polite and becomes disingenuous – but scholarly practice and institutional rules haven’t kept pace.

While there are legitimate grounds for this sort of “protection,” it reinforces the privileged position of the researcher (and the reader) over the members of the community at issue: it excludes them from the academic discourse around their own practices. In my work, I’m hoping to break down those barriers (within the limits of enforced research guidelines), by actively involving my “subjects” in the  co-construction of academic narrative. My “Spathic Files” project on the Second Life busty community is open to commentary by both scholars and participants, and my colleagues in the community have taken an active interest in my early theorizing about their experiences. I’m finding the same interest and involvement in my new work in EVE Online.

I’m hoping to use my academic work as a bridge between communities, and carry it through the crafting of my dissertation into my defense: I intend to broadcast it live into the communities I’ve based it on, and invite conversation among my committee and scholarly peers, and community members. Technological tools and socio-technical practice have broken down many of the subject/observer divides; it’s time not just to recognize that but to celebrate it by tearing off academic privilege and acknowledging the equality of communities of scholarship and communities of practice.

Leet Noobs is positioned within the ethnographic tradition in its scope as well: Mark sticks to the data of his raiding experience in the 2006 era. This is the area in which our work most differs: encouraged (to put it mildly) by my dissertation committee, I’m taking a more systems-level perspective. Mark points frequently to the ways in which the changes in his group during the period of his study were a part of larger changes within the WoW community, and to a lesser extent internet culture more generally, but discussing those larger changes is beyond the scope of his work.

I’ve been tasked with an ecological, rather than biological, approach, reflecting in part the difference between our academic homes. Mark writes from education, with a focus on learning communities. I’m writing from an STS program particularly concerned with global complex systems: most of my colleagues are working on huge macro-level issues of energy policy, sustainability and responses to global climate change. I’ve been asked not to do case study chapters, but to use my case studies to illustrate large-scale themes of negotiating socio-technical change.

It’s challenging: there are precious few examples of work bridging the ethnographic and the global, but it needs doing. I just hope I can pull it off with the clarity and grace of Leet Noobs.

Over on Terra Nova, Edward Castronova published a rant yesterday entitled, “Movies Stink.” Now, I’m all for a good rant, and I know well that Castronova and I have fundamentally different views of the world, so despite my initial “somebody is wrong on the internets!” reaction, I gave serious thought to passing on this one, and writing a review of Mark Chen‘s great new book, Leet Noobs, or poking at Leverage‘s interesting game-design-driven episode, “The Gold Job,” or, like, working on my dissertation outline prior to a meeting tomorrow with my committee chair. But I can’t leave well enough alone…

Castronova’s core assertion is that models are more true than stories. Much of the post is grounded in the author’s social discomfort and consistent Augustinian Neoplatonism. If that’s all that were going on, it really wouldn’t need critiquing. But Castronova also draws on a dangerous and pervasive thread of Modernism, and, obviously, the more systems-oriented schools of games studies, and it’s that material that merits critical analysis.

That anyone can seriously assert in 2012 that models are inherently more truthful than narratives is disturbing. My graduate education in STS has largely been a history of this pernicious notion and the damage it did across a century and a half of so. It begins with the systematizing of nature and persons along with the rise of the modern state, in notions of criminality which can be read from bodily measurements, from “idiocy” diagnosed by standardized tests.

Systemization and modeling were at the ideological core of the Modern state, which in one manifestation sought to create the New Soviet Man, a creation not unrelated to Neoplatonism, by systematizing the production of persons, at the expense of the narrative of the immediate, the personal, the local, the specific. Taylorism was another form, the attempt to replace the narrative of the individual worker, with his or her human responses, frailties and needs with the model of the ideal form of industrial production.

The Vietnam war was a quintessential attempt to secure the triumph of  model-based systems thinking over the narrative of history; Iraq was that narrative repeated as farce. Strategic nuclear doctrine, military wargaming as simulation, all attempts to treat the narrative, the social, the human, as reducible to system.

The turn of the century climate debate – as opposed to the current tinfoil-hatted version – was one over modeling, and the extent to which models on the one hand reflected the complexity of global climate and on the other were so complex as to generate incomprehensible second-order effects themselves that skewed analysis.

(My dissertation is an attempt to grapple with the extent to which politico-legal behavior in MMOs is in any meaningful way reflective upon the offline, as opposed to model-generated trivialities)

Gamers sympathetic to this view should, at minimum, reread Perla’s The Art of Wargaming for a sense of the damage done to military culture by the rise of training and analysis systems which replaced the human with the systemic. Similarly, this is why the experimental psychology case against “violent videogames” is wrong: violence and aggression cannot be reduced to the models beloved of experimental research.

This also points up an analogical flaw in Castronova’s argument, one dealt with elegantly by Moses Wolfenstein in the comments to the post: games are not models as distinct from stories; rather they are a mixture of structure and narrative just as is the stage play, symphony or sonnet – or sofa or spreadsheet software.

Models lie precisely because they attempt to create, or impose, neat and bloodless Platonic forms upon social reality. Models lie because of the quirks of our mental structure which crave order and attempt to impose it on a chaotic universe. Astrology is systems thinking. Conspiracy theories are an attempt to shelter oneself from the terror of chaos: for the systems thinker elites are no smarter than us and don’t know what they’re doing either is a source of dread, where it all fits into a master plan! provides a perverse comfort.

Models are lies because they generalize, abstract, and find order where none really exists. Stories are true because they are particular, contingent and local. Stories are true because they can contradict: reality is not unitary (while physics analogies can be stretched too thin, Neoplatonism really couldn’t survive Einstein as a defensible philosophical position).  Stories bind us into a social web that Castronova condemns because he feels excluded, or tone-deaf to. We share stories because we are both social and individual; our experience is unique but inseparable from that of our kind. Systems err on both sides of that balance, both atomizing us and treating us as part of aggregate flows.

Stories never leave the real world; they cease to be stories when taken from their context. Models are not merely abstractions from the real world, they are negations of it, nihilistic responses to the irreducible complexity of the narrative and true. Stories can lie, through selectivity and contradiction; models are lies. An economic model, a game engine, is a lie in precisely the way a conspiracy theory is: it’s a statement that true knowing is simple.

There’s no truth in Tetris or Pac-Man, merely a pleasant sense of alignment with a quirk of our system-craving brains. There’s more truth – real, eternal human truth – in the schlockiest movie or pop song, because they are inseparable from the complex, irreducible social web that defines humanity.

My awesome HASTAC Scholars colleague Melody Dvorak blogged her 2012 academic resolutions: it’s an awesome and daunting set. Here’s what I’ve got:

1. Yap less!

Last year I did a total of 10 talks, from guest lectures to conference presentations to session chairing. Which was great: last year’s big resolution was to get out to a broad range of academic communities and do some networking. Boy howdy, did I. My committee has politely suggested (with some menacing waving of a clue-by-four) that I could stand to yap less and write more. That’s going to be this year’s theme.

Except… I’ve already gotten five acceptances for the coming year, and haven’t submitted yet to the conferences I most want to attend. Thankfully, I’ll get publications out of some of them – but I really need to cut back on the conferences. Last Fall’s schedule exhausted me: three in two weeks in November, then a personal loss, my prospectus defense and another conference all in a week. It’s taken me all of December to regain any ability to interact with humans.

Here’s what I’ve got on the conference list already:

ESS: February 23-26, NYC – accepted
VWBPE: March 15-18, SL – submitted
MSS: March 29-April 1, Minneapolis – 3 papers accepted
Sexual Cultures: April 20-22, London – accepted, but I may cancel, as that’s finals week under our new calendar
DiGRA Nordic: June 6-8, Finland – not submitted yet
GLS: June 13-15 Madison WI – not submitted yet
EPET: July 2-4, Maastricht, Netherlands – not submitted yet
ir13: October 18-21, Media City UK – not submitted yet

I need help. Seriously.

2. Write more!

I’ve got a really good system, I think. Two Kiloword Brunch is now battle-tested. I can do a good 2,000 words at the local brunch place pretty easily and consistently – though last week I had a couple sessions of staring blankly. Still, I can count on two and sometimes get three 2KB sessions per week, which adds up to 208,000 to 312,000 words per year – which is hiring qualifications (and tenure) in the bag. That should divide out as a post a week on this blog and on Combat Anthropologist, a full alpha draft of the dissertation, and 3 or 4 articles. That’ll do fine.

3. Break ruts!

This was on last year’s list too, and I did pretty well: went to some new places and conferences, learned to use a Mac, and learned to use my Droid phone for stuff other than email (haven’t really tested the voice-communication app, but one thing at a time!).

This year I’m going to deliver on one failed resolution from last year: I’m going to learn to play console games. I got an XBox last year, but put in maybe 4 hours on it: besides my general unfamiliarity, I got a postage-stamp TV for it – from my chair, it takes up about the same field of view as my phone, and vastly less than my desktop or laptop monitors. I’m going to get a decent sized TV probably tomorrow, and I’m committing to playing the games for our undergrad class on console at minimum, and hopefully work through a backlog of stuff-I-should’ve-played.

My other big resolution is to play socially with new people. I’ve been part of the same dwindling group of online gamers for four years, and I’ve ended up mostly soloing in MMOs rather than find congenial new folks. I’m going to break that pattern and find and actually play with new people in EVE, SWTOR and in text-based RP.

I’m going to take the opportunity of teaching in WoW this coming semester to break some habits there too: I think I’ll level a tanking druid, and level by dungeon running rather than questing. I’m doing dissertation work on the Dungeon Finder: though I’ve gotten “the Patient” title on my main, I could use some fresh first-hand experience. And I may even grind for PvP heirlooms and do some PvP on another leveling character, and maybe my main.

4. Gaming and Fieldwork

At least for the next six months, I’m going to focus my time on two games: the semi-private text-based RP I’ve been accepted into, and EVE. I’ll play SWTOR (breaking out of my solo habits, as above) for fun, but it’s not on my research agenda.

I need to finish off some fieldwork for The Spathic Files, but I’m otherwise out of SL.  I need to do a moderate amount of fieldwork in EVE, but not overdo it – writing really has to be my priority.

5. Balance

Two Kiloword Brunch goes well with 5k TV. I’ve tended to neglect both exercise and TV watching: combining the two with an iPad and elliptical has been a big win. 42 minutes gets me a little over 5k at a good jog, and one episode of a drama or two of anime/cartoons. I’m working my way through The Clone Wars now, and have a frakton of stuff I really should watch for cultural literacy. I lost 35 pounds last year; I’ve got 10 more to my acceptable target, and then maintenance – it shouldn’t take much to keep on track.

Balancing writing and human contact has been daunting to me: one of my colleagues has been writing her dissertation in our office daily, but I’d go mad spending 8 hours a day in isolation working. Writing in a restaurant’s a big help, as is my mix of conferences, teaching, and an RL games night per week, but I need to push harder at both RL social contact and writing. That’s going to be a huge challenge.

So that’s what 2012 looks like: play with new folks, write a bunch, trim my conference list, get more social and stay healthy.

What’s your plan for 2012?

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