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America 2.0
Cyber Culture, the Avatar, and Embodiment
Gregory C. Carrow-Boyd
The Pennsylvania State University–Harrisburg
Spring 2012
Basic Definition of the Avatar
Significance to Field
Popular culture defined as cultural studies has its roots
in adult education (Wright & Sandlin, 2009). Moreover,
because “adults learn from the practice of cultural
consumption in their everyday lives” (Wright & Sandlin,
2009) a better understanding of one element in this
process can assist adult educators with integrating the
everyday learning experiences of adults and classroom
learning. Study of the avatar offers new understandings
of adult development and learning.
Significance to Society
Popular culture is a site of struggle where
opportunities for learning, social change, and
consumerism meet (Wright & Sandlin, 2009).
“Individual […] identities […] are filtered through
the images, commentary, and artful editing of the
forces that operate through popular culture[;]”
(Wright & Sandlin, 2009) and, these reflect in the
avatars adults create. Study of the avatar offers
new views on social change.
Research Design

     Purpose               Research Questions
                            What is the nature of the
To understand if      1.
                            avatar?
how, when, and
                      2.    What is the relationship
why the Americans           between the avatar and
                            Merleau-Ponty’s
access the cyber            explanations of
                            embodiment?
world through use
of the avatar is an   3.    What does the avatar tell
                            us about adult identity
embodied process.           development and
                            learning?
Research Design

Philosophical Framework                              Methodology
 Maurice Merleau-Ponty (1964)               The sole selection criterion for this study is
 explores the concept of the                the explicit use of the term “avatar” in the
 specular image, the image of self          storyline or marketing of the media
 that exists in a mirror rather than        representation. I will look for the following
 that of a photo. Children                  in each of the media representations of
 understand the mirrored image              avatars:
 as a way of existing in two            
 spaces at once; whereas, adults
 balance this duality by defining      1.   A definition of avatar (stated or implied)
 only one of the images as real        2.   How one uses the avatar (i.e., is it a tool for
 (Merleau-Ponty, 1964). Utilizing           accessing the virtual world?)
 Merleau-Ponty’s (1964) position,      3.   How one learns from/with/through the
 I will analyze several                     avatar
 manifestations of avatars in
 movies, television and video
 gaming.
Definitions of the Avatar
         James Cameron’s
          Avatar




       “I see you through your eyes.”
Definitions of the Avatar
                                   M. Night Shyamalan’s
Nickolodeon’s Avatar
                                   Avatar




   Balance of All Natural Forces          Spiritual Figurehead
Initial Findings
1.   While the body of an avatar can exist both in the earthly
     and cyber worlds, this body can only occupy one of these
     worlds at a time (DiMartino & Konietzko, 2008; Landau &
     Cameron, 2009; Marshall & Shyamalan, 2010; Moore,
     Eick, Espenson, & Murphy, 2010).
2.   Avatars have a consciousness (i.e., they think) also
     restricted to the body in use, even when sharing this
     consciousness (DiMartino & Konietzko, 2008; Landau &
     Cameron, 2009; Marshall & Shyamalan, 2010; Moore et
     al., 2010).
3.   There is often a spiritual nature to the avatar (DiMartino &
     Konietzko, 2008; Landau & Cameron, 2009; Marshall &
     Shyamalan, 2010).
Final Thoughts on the Avatar

The avatar as a form of the specular image allows adults to expand earthly
consciousness into the cyber world. Although, initial findings indicate that the
avatar is important not only for understanding adult identity development, but
also meaning making processes in adult learning, analysis was restricted to
movies and television broadcasts. Future research must account for the
nature of the avatar in video gaming to gain a clearer picture of its impact on
adult learning and social change.


                 Questions?
References
Adrian, Angel. (2008). No one knows you are a dog: Identity and reputation in virtual worlds. Computer Law & Security
        Report, 24(4), 366-374. doi:10.1016/j.clsr.2008.03.005
Adrian, Angela. (2007). ITM: Avatars as trade marks. Computer Law & Security Report, 23(5), 436-448.
        doi:10.1016/j.clsr.2007.07.002
DiMartino, M. D., & Konietzko, B. (Executive producers). (2008). Avatar: The last airbender [Television series]. USA:
       Nickelodeon Animation Studios.
Landau, J. (Producer), & Cameron, J. (Director). (2009). Avatar [Motion picture]. USA: 20th Century Fox.
Marshall, F. (Producer), & Shaymalan, M. N. (Director). (2010). The last airbender [Motion picture]. USA: Nickelodeon
      Movies.
Merleau-Ponty, M. (1964). The Child’s Relation with Others. In J. M. Edie (Ed.), The primacy of perception: And other essays
       on phenomenological psychology, the philosophy of art, history and politics (pp. 96-155). Paris, France: Northwestern
       University Press.
Moore, R. D., Eick, D., Espenson, J., & Murphy, K. (Executive producers). (2010). Caprica [Television series].
       Vancouver, BC, Canada: SyFy.
Wright, R. R., & Sandlin, J. A. (2009). Cult TV, hip hop, shape-shifters, and vampire slayers: A Review of the literature
        at the intersection of adult education and popular culture. Adult Education Quarterly, 59(2), 118-141.
        doi:10.1177/0741713608327368
Image Credits
AllMoviePhoto.Com. (2011). The last airbender photo [Photo]. Retrieved from
       http://www.allmoviephoto.com/photo/2010_the_last_airbender_wallpaper_014.html
Cheever, Edward L., II. (2010). Ang-the avatar. In Avatar: The last airbender—TV show review (all books) [Web log
      post]. Retrieved from http://edwardcheeverreviews.files.wordpress.com/2010/08/avatar-the-last-
      airbender_15.jpg
Chickie66. (2011). Leona Lewis-I see you [Glogster post]. Retrieved from http://www.glogster.com/chickie66/leona-
       lewis-i-see-you/g-6mhnu4eh0iui9cmd0ji2oa0

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America 2.0: Cyber Culture, the Avatar, and Embodiment

  • 1. America 2.0 Cyber Culture, the Avatar, and Embodiment Gregory C. Carrow-Boyd The Pennsylvania State University–Harrisburg Spring 2012
  • 2. Basic Definition of the Avatar
  • 3. Significance to Field Popular culture defined as cultural studies has its roots in adult education (Wright & Sandlin, 2009). Moreover, because “adults learn from the practice of cultural consumption in their everyday lives” (Wright & Sandlin, 2009) a better understanding of one element in this process can assist adult educators with integrating the everyday learning experiences of adults and classroom learning. Study of the avatar offers new understandings of adult development and learning.
  • 4. Significance to Society Popular culture is a site of struggle where opportunities for learning, social change, and consumerism meet (Wright & Sandlin, 2009). “Individual […] identities […] are filtered through the images, commentary, and artful editing of the forces that operate through popular culture[;]” (Wright & Sandlin, 2009) and, these reflect in the avatars adults create. Study of the avatar offers new views on social change.
  • 5. Research Design Purpose Research Questions What is the nature of the To understand if 1. avatar? how, when, and 2. What is the relationship why the Americans between the avatar and Merleau-Ponty’s access the cyber explanations of embodiment? world through use of the avatar is an 3. What does the avatar tell us about adult identity embodied process. development and learning?
  • 6. Research Design Philosophical Framework Methodology Maurice Merleau-Ponty (1964) The sole selection criterion for this study is explores the concept of the the explicit use of the term “avatar” in the specular image, the image of self storyline or marketing of the media that exists in a mirror rather than representation. I will look for the following that of a photo. Children in each of the media representations of understand the mirrored image avatars: as a way of existing in two   spaces at once; whereas, adults balance this duality by defining 1. A definition of avatar (stated or implied) only one of the images as real 2. How one uses the avatar (i.e., is it a tool for (Merleau-Ponty, 1964). Utilizing accessing the virtual world?) Merleau-Ponty’s (1964) position, 3. How one learns from/with/through the I will analyze several avatar manifestations of avatars in movies, television and video gaming.
  • 7. Definitions of the Avatar James Cameron’s Avatar “I see you through your eyes.”
  • 8. Definitions of the Avatar M. Night Shyamalan’s Nickolodeon’s Avatar Avatar Balance of All Natural Forces Spiritual Figurehead
  • 9. Initial Findings 1. While the body of an avatar can exist both in the earthly and cyber worlds, this body can only occupy one of these worlds at a time (DiMartino & Konietzko, 2008; Landau & Cameron, 2009; Marshall & Shyamalan, 2010; Moore, Eick, Espenson, & Murphy, 2010). 2. Avatars have a consciousness (i.e., they think) also restricted to the body in use, even when sharing this consciousness (DiMartino & Konietzko, 2008; Landau & Cameron, 2009; Marshall & Shyamalan, 2010; Moore et al., 2010). 3. There is often a spiritual nature to the avatar (DiMartino & Konietzko, 2008; Landau & Cameron, 2009; Marshall & Shyamalan, 2010).
  • 10. Final Thoughts on the Avatar The avatar as a form of the specular image allows adults to expand earthly consciousness into the cyber world. Although, initial findings indicate that the avatar is important not only for understanding adult identity development, but also meaning making processes in adult learning, analysis was restricted to movies and television broadcasts. Future research must account for the nature of the avatar in video gaming to gain a clearer picture of its impact on adult learning and social change. Questions?
  • 11. References Adrian, Angel. (2008). No one knows you are a dog: Identity and reputation in virtual worlds. Computer Law & Security Report, 24(4), 366-374. doi:10.1016/j.clsr.2008.03.005 Adrian, Angela. (2007). ITM: Avatars as trade marks. Computer Law & Security Report, 23(5), 436-448. doi:10.1016/j.clsr.2007.07.002 DiMartino, M. D., & Konietzko, B. (Executive producers). (2008). Avatar: The last airbender [Television series]. USA: Nickelodeon Animation Studios. Landau, J. (Producer), & Cameron, J. (Director). (2009). Avatar [Motion picture]. USA: 20th Century Fox. Marshall, F. (Producer), & Shaymalan, M. N. (Director). (2010). The last airbender [Motion picture]. USA: Nickelodeon Movies. Merleau-Ponty, M. (1964). The Child’s Relation with Others. In J. M. Edie (Ed.), The primacy of perception: And other essays on phenomenological psychology, the philosophy of art, history and politics (pp. 96-155). Paris, France: Northwestern University Press. Moore, R. D., Eick, D., Espenson, J., & Murphy, K. (Executive producers). (2010). Caprica [Television series]. Vancouver, BC, Canada: SyFy. Wright, R. R., & Sandlin, J. A. (2009). Cult TV, hip hop, shape-shifters, and vampire slayers: A Review of the literature at the intersection of adult education and popular culture. Adult Education Quarterly, 59(2), 118-141. doi:10.1177/0741713608327368
  • 12. Image Credits AllMoviePhoto.Com. (2011). The last airbender photo [Photo]. Retrieved from http://www.allmoviephoto.com/photo/2010_the_last_airbender_wallpaper_014.html Cheever, Edward L., II. (2010). Ang-the avatar. In Avatar: The last airbender—TV show review (all books) [Web log post]. Retrieved from http://edwardcheeverreviews.files.wordpress.com/2010/08/avatar-the-last- airbender_15.jpg Chickie66. (2011). Leona Lewis-I see you [Glogster post]. Retrieved from http://www.glogster.com/chickie66/leona- lewis-i-see-you/g-6mhnu4eh0iui9cmd0ji2oa0