Cyber Culture, the Avatar, and EmbodimentGregory C. Carrow-Boyd

The Pennsylvania State University–Harrisburg

Spring 2012

America 2.0

Basic Definition of the Avatar

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 Field

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.

Significance to Society

Research Design

To understand if how, when, and why the Americans access the cyber world through use of the avatar is an embodied process.

1. What is the nature of the avatar?

2. What is the relationship between the avatar and Merleau-Ponty’s explanations of embodiment?

3. What does the avatar tell us about adult identity development and learning?

Purpose Research Questions

Research Design

Maurice Merleau-Ponty (1964) explores the concept of the specular image, the image of self that exists in a mirror rather than that of a photo. Children understand the mirrored image as a way of existing in two spaces at once; whereas, adults balance this duality by defining only one of the images as real (Merleau-Ponty, 1964). Utilizing Merleau-Ponty’s (1964) position, I will analyze several manifestations of avatars in movies, television and video gaming.

The sole selection criterion for this study is the explicit use of the term “avatar” in the storyline or marketing of the media representation. I will look for the following in each of the media representations of avatars:

 

1. A definition of avatar (stated or implied)

2. How one uses the avatar (i.e., is it a tool for accessing the virtual world?)

3. How one learns from/with/through the avatar

Philosophical Framework Methodology

Definitions of the Avatar

James Cameron’s Avatar

“I see you through your eyes.”

Definitions of the Avatar

Nickolodeon’s Avatar M. Night Shyamalan’s Avatar

Balance of All Natural Forces Spiritual Figurehead

Initial Findings1. 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?

ReferencesAdrian, 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 CreditsAllMoviePhoto.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