Showing posts with label culture. Show all posts
Showing posts with label culture. Show all posts

The Digital Dialectic: New Essays on New Media (Leonardo Books) Review

The Digital Dialectic: New Essays on New Media (Leonardo Books)
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The Digital Dialectic: New Essays on New Media (Leonardo Books) ReviewThe title of this collection gives a clue of what the reader is headed for - the term "dialectic" is most often connected with philosophical ponderings or Marxist manifestos - this is not just another puff piece exhorting the brave new world and global village of interconnectiveness, this is a series of eleven well written essays delving into New Media Theory.
Grouped into four sections: "The Real and the Ideal", "The Body and the Machine", "The Medium and the Message", and "The World and the Screen", this collection explores the new way of being and thinking that digital technology elicits. An important work that refuses to slip into pedanticism; thought provoking and entertaining. A must read for anyone who wants to be a subject rather than an object in the Information Age.The Digital Dialectic: New Essays on New Media (Leonardo Books) Overview

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In Amma's Healing Room: Gender and Vernacular Islam in South India Review

In Amma's Healing Room: Gender and Vernacular Islam in South India
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In Amma's Healing Room: Gender and Vernacular Islam in South India ReviewSince there is only one review at the moment, a slightly negative one, I felt the need to write a more balanced review of this very interesting book.
"In Amma's Healing Room" is an ethnography centered around a Muslim spiritual healer in Hyderabad, India, referred to as "Amma" (mother), and her "healing room," or the room of her house where she sets up her healing practice and sees patients. Although the book is an academic, scholarly work that will be of primary interest to scholars interested in anthropology and south asian studies, it is written in a clear and fluid (jargon-free) style that makes it easily accessible to non-scholars as well. Those interested in Sufism may find the book particularly interesting, as Amma and her family are Sufis and her husband (Abba) is a "pir" or Sufi teacher. One of the many strengths of the book is its description of practices that take place around the periphery of what might generally be presented as the core of Sufism.
Another strength of the book is Prof Flueckiger's evident respect for Amma, her healing system, her clients, and the cultural and religious milieu. She does not resort to some of the more common models sometimes used in anthropology to "explain" the effects of religious healing rituals through cultural, symbolic and cognitive models. Rather, she attends to the performative aspects of Amma's healing practices and narratives, and to the connection Amma establishes with her patients, in discussing how Amma's healing "works."
The book is engaging throughout, and scholars and students interested in gender in Islam, feminist ethnography, and performance studies will find it of particular interest.In Amma's Healing Room: Gender and Vernacular Islam in South India Overview"[I]t is extremely salubrious to see the ways Islam works in thelives of ordinary people who are not politicized in their religious lives.... Noother book on South Asia has material like this." -- Ann GrodzinsGoldIn Amma's Healing Room is a compelling study of the life andthought of a female Muslim spiritual healer in Hyderabad, South India. JoyceBurkhalter Flueckiger describes Amma's practice as a form of vernacular Islamarising in a particular locality, one in which the boundaries between Islam,Hinduism, and Christianity are fluid. In the "healing room," Amma meets adiverse clientele that includes men and women, Muslim, Hindu, and Christian, ofvaried social backgrounds, who bring a wide range of physical, social, andpsychological afflictions. Flueckiger collaborated closely with Amma and relates toher at different moments as daughter, disciple, and researcher. The result is a workof insight and compassion that challenges widely held views of religion and genderin India and reveals the creativity of a tradition often portrayed by Muslims andnon-Muslims alike as singular and monolithic. (2008)

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Second Lives: A Journey Through Virtual Worlds Review

Second Lives: A Journey Through Virtual Worlds
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Second Lives: A Journey Through Virtual Worlds ReviewThere are tons of books about virtual worlds, especially about second life. All of the ones I have seen (before this one) were more or less instructionbooks for people who don't have a mind of their own to click around in a virtual environment and collect some basic information, or artefacts of self celebration of residing avatars.
This one is nothing like that. Guest focusses on his personal research and experience in these environments, for the biggest part in secondlife.com . He gives us an interesting and sometimes even touching account of the fact, that these worlds are populated by real humans and not by game characters. Even for me as a long year (but not veteran) player of this environment, the book had an enormous amount of new and fascinating facts on the history of SL, that usually would not get published, since Guest partly approached it from the underground and not from the shiny surface.
I regrett I never met him there...Second Lives: A Journey Through Virtual Worlds OverviewWe've always dreamed of perfect places: Eden, heaven, Utopia. Imagine gambling without loss, love without heartbreak, sex without exposure, experience without risk. Welcome to the fascinating world of online virtual reality, the land of invented places and populations that is entered and inhabited every week by nearly fifty million people worldwide. Each participant creates a virtual body, works at virtual jobs, and makes virtual friends and family. In Second Lives, Tim Guest, an internationally acclaimed young journalist, takes us on a revelatory journey through the electronic looking glass as he investigates one of the most bizarre phenomena of the twenty-first century.From Second Life to EverQuest and beyond, here are the computer-generated environments and characters that can easily become more engrossing and fulfilling than earthly existence. With the click of a mouse you can select eye color, face shape, height–you can even give yourself wings. Your character, or avatar, can build houses, make and sell works of art, earn money, get married and divorced.In this fascinating and groundbreaking book, Guest meets people who found meaningful love and friendship despite never having met in person, catches up with the companies that have used virtual worlds to make big money, investigates the U.S. military's massive online global model that trains soldiers to fight anyone anywhere, and travels all the way to gaming-crazed Korea to get a taste for just how big this phenomenon really is.At first glance, these new computer-generated places seem free from trouble and sorrow. But Guest examines the dark side of this technology too, including the online criminals who plague imaginary worlds, from cyber mafiosos and prostitutes to real hackers and terrorists. It seems that one cannot escape greed, corruption, and human weakness–even inside a computer screen.Are these virtual worlds a way to enhance life or to escape it? Guest explores this question personally as he lets himself be transported into myriad parallel universes. By turns provocative, inspiring, and disturbing, Second Lives is a crucial book for this millennium. After all, real life is so twentieth century.Advance praise for Second Lives"Tim Guest is a young writer with the literary goods. My Life in Orange, his hit memoir of growing up in a commune, looked at his past; his riveting new book, Second Lives, looks at our future: the world of virtual reality and the spellbound people who inhabit it. The book is some kind of revelation–by turns compelling, chilling, and illuminating. Curious, intelligent, offbeat, and artful, Guest is at the beginning of a big career."——John Lahr, senior drama critic, The New Yorker, author of Prick Up Your Ears: The Biography of Joe Orton Praise from England for Second Lives"An anthropological adventure but also Guest's personal voyage . . . a fascinating portrait of rainbow landscapes and their inhabitants."–Time Out London"Rich and colourful . . . an important mapping of a new social frontier."–The Guardian"Remarkably timely."–The Sunday Telegraph"Astonishing."–The Sunday Times

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Virtual Worlds: Rewiring Your Emotional Future Review

Virtual Worlds: Rewiring Your Emotional Future
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Virtual Worlds: Rewiring Your Emotional Future ReviewVirtual World. Emotion. Why do these two words seem so separate? Is it because the technology masks our emotions with a gilded frame of ones and zeros? Is it that we are surrounded by technology so much that we forget our own humanity? Is it as Thoreau said, that men have become the tools of their tools? Or is it instead that humanity is offering more of itself into the technology that it creates? Deep questions which are not often approached, and when they are approached they are not often approached wisely. What is an 'emotional future', and do I want one? Do I have a choice? People get uncomfortable with such questions. These are dangerous questions, which usually means that they are good questions.
Of course, I got a gold paper clip with the book. This was somewhat of a novelty for me, and also gave me pause.
When I looked at the cover of this book, these were things that I thought about a bit. I wasn't sure what to expect. Two blurry avatars kissing on the cover of the book hint at romance, a topic that I cannot comment on beyond half a life's sojourns. What is this about?
So, I read the book.
The book was a quick read. It was well written and, more importantly, easy to read. The large text hints that this is bifocal friendly, but what this reader liked was that it was just plain easy to read. So often books fail in the mechanics department by not catering to their business properly, and I was pleased and even encouraged to read this book after glancing in its covers. Large text is encouraging; it is the promise that the book is thinner than it looks - and it is fairly thin.
The reader takes a journey into the concept of a virtual world - but not through the technical explanations. Refreshingly, it simply said that virtual worlds are, that they exist, and that they are just as real to virtual world users as the rest of their lives. That virtual communities have become powerful on the internet, and that virtual worlds are a promise - and a premise - of things to come. That virtual worlds are tied to internet seems to go without saying, and yet so many people treat them as separate. The authors spared us this deviation, instead focusing on virtual worlds as a subset of the internet. This was refreshing.
The connections between technology and emotion are as well defined as the fuzzy nexus can be, and the authors managed to capture that with a basis in humanity and society rather than technology. This book isn't so much about virtual worlds as much as it is about real people being affected and perhaps changed by virtual worlds. The separation of brain, heart and gut resonates with a truth that cannot be measured empirically but will gain some nods from readers - and that forms a powerful base for the book itself.
From this basis in how we perceive the world around us, the book manages to make stops poignantly. Virtual worlds are approached as reality, then as new economies and new markets with potential for reinventing things. The second to last chapter - titled the same as the book title - brings it all together nicely, and the very last chapter is 'Virtual World Generated Fiction'.
In all, this book answered some of the questions I had when I looked at the cover - more importantly, it got me asking different questions. While short, this is a thought provoking book which promises much to the thoughtful. It is not a marketing book, it is not an economic paper - it is not a technology book. What this book is about is our use of technology and how technology affects us and connects us - perhaps even separating us in some instances. It carries with it some warnings of a future of controversy which transcends what we think normal now.
Overall, this book gets a KnowProSE.com 9 out of 10. It isn't for the experts; it was not written for experts. The book was - convincingly - written for the average person who would like to consider a future that has stealthily entered through the front door of millions of people, disguised as entertainment. Virtual Worlds: Rewiring Your Emotional Future is a preview of coming attractions which only guides the imagination on the rails provided by a reality which is not so virtual anymore.Virtual Worlds: Rewiring Your Emotional Future Overview"Virtual Worlds: Rewiring Your Emotional Future is a preview of coming attractions which only guides the imagination on the rails provided by a reality which is not so virtual anymore.' - Taran Rampersad www.knowprose.comVirtual Worlds are becoming an embedded part of our culture and the implications for every aspect of society are unimaginable. This 122-page easy-to-read book discusses the potential that Virtual Worlds have to dramatically alter the emotional code of the human race, and also reviews the opportunities for individuals, corporations, advertising and media companies to build personal and corporate marketing campaigns in Virtual Worlds. This first reader generated book not only will open the eyes of readers to this completely new world but, in itself, will become an immersive experience for readers that could keep them involved, engaged and emotionally connected to a virtual world community experience for years ahead.

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The Inner History of Devices Review

The Inner History of Devices
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The Inner History of Devices ReviewBook Review submitted by: Stephen J. Hage, SteveH9697@aol.com
This is a book that invites you to reexamine not only what you think of every day devices and things like cell phones, personal computers, computer games and implanted defibrillators; it asks you reexamine how you think about them and why.
The approach is interesting in that uses ethnography, memoir and clinical cases in the form of essays written by individuals who've interacted with and, in some cases treated people who established relationships with devices most of us would never consider and not be able to see, even if we were to interact with those described in the essays.
One I found particularly thought provoking is entitled: The Internal Cardiac Defibrillator
An internal cardiac defibrillator is a device implanted in your chest and connected by wires to your heart. It constantly monitors your heartbeat and if your heart goes into cardiac fibrillation, which is life threatening, the device shocks you, much the same as depicted in scenes on medical shows like ER. But, instead of a doctor or EMT placing paddles on your chest, yelling "Clear" and pushing the button to shock you it happens automatically, inside your chest. The ICD shocks you and, when it does, the experience is as painful and traumatic as when it's done with paddles.
It's impossible to understand what it means to have an ICD implanted in your chest without talking to people who do have one. Here's an example:
"I died and then..." "This is the peculiar grammar of stories told by people with ICDs. The internal firing of the ICD is painful and brings one back from death, a repeated boundary crossing that writes a new narrative of life and death."
On one level, having an ICD is comforting because it's there, just in case you need it to save your life. But, there's also a dark side.
"My independence was gone. And yet, they say that this thing gives you more independence. Because you can be assured that you won't go into cardiac arrest and die when you take a trip and all that. My thing is, we take a trip, and I'm wondering, okay, I wonder which one of these exits is a hospital. Or, you know, something like that."
Darker still is the story of Stan who is forty-two and received an ICD when he passed out while running.
When he thinks back to that event, he realizes if he had died it would have been an easy death. "Like blacking out on the road, dying like that would be nothing. There would no pain whatsoever..."
Now that particular option is gone. Should he go into cardiac arrest the ICD will shock him back to life. On one occasion he received multiple shocks while swimming. He felt a funny feeling in his chest that made him stop. "And all of a sudden, wham, I got shocked--damn, I gotta get out of the pool." He was shocked about three times.
After the incident Stan asked his doctor how many times the ICD would shock him before it "would stop trying."
About nine times his doctor told him.
That kind of information is comforting, troubling and frightening, all at the same time.
Examples of other things explored in this book are a prosthetic eye, computer games, a dialysis machine and video poker.
I found this book to be like a bag of potato chips. Once you've read one essay you'll find it difficult to stop until you've read all of them.
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Digitizing Race: Visual Cultures of the Internet (Electronic Mediations) Review

Digitizing Race: Visual Cultures of the Internet (Electronic Mediations)
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Digitizing Race: Visual Cultures of the Internet (Electronic Mediations) ReviewFor those of you with a soft spot for the anthropomorphized cartoon dog surfing the Internet, Lisa Nakamura abolishes such nostalgia, and misunderstanding. Half way through Digitizing Race, she coolly declares `...nobody believes anymore that on the Internet nobody knows you're a dog...' (p.155).Interrogating the myth of online disembodiment, and the concomitant deceit of neoliberal colour-blindness is what essentially coheres this book. Contrary to the utopian readings of techno-culture, analyzing Internet space as a site of racial re-embodiment is at the heart of Nakamura's project. ...
[...]Digitizing Race: Visual Cultures of the Internet (Electronic Mediations) OverviewIn the nineties, neoliberalism simultaneously provided the context for the Internet's rapid uptake in the United States and discouraged public conversations about racial politics. At the same time many scholars lauded the widespread use of text-driven interfaces as a solution to the problem of racial intolerance. Today's online world is witnessing text-driven interfaces such as e-mail and instant messaging giving way to far more visually intensive and commercially driven media forms that not only reveal but showcase people's racial, ethnic, and gender identity.

Lisa Nakamura, a leading scholar in the examination of race in digital media, uses case studies of popular yet rarely examined uses of the Internet such as pregnancy Web sites, instant messaging, and online petitions and quizzes to look at the emergence of race-, ethnic-, and gender-identified visual cultures.

While popular media such as Hollywood cinema continue to depict nonwhite nonmales as passive audiences or consumers of digital media rather than as producers, Nakamura argues the contrary—with examples ranging from Jennifer Lopez music videos; films including the Matrix trilogy, Gattaca, and Minority Report; and online joke sites—that users of color and women use the Internet to vigorously articulate their own types of virtual community, avatar bodies, and racial politics.

Lisa Nakamura is associate professor of speech communication and Asian American studies at the University of Illinois, Urbana-Champaign. She is the author of Cybertypes: Race, Ethnicity, and Identity on the Internet and coeditor, with Beth Kolko and Gilbert Rodman, of Race in Cyberspace.


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Dead Celebrities, Living Icons: Tragedy and Fame in the Age of the Multimedia Superstar Review

Dead Celebrities, Living Icons: Tragedy and Fame in the Age of the Multimedia Superstar
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Dead Celebrities, Living Icons: Tragedy and Fame in the Age of the Multimedia Superstar ReviewMr. Ebert picks up where Marshall McLuhan, Camile Paglia and others left off, with a sort of Freudian neo-Platonism for the digital age.
The basic premise is that psychological creations, both by individuals and Western culture as a whole, have more tangible reality than reality itself.
The celebrities profiled did not achieve mythic status by dying; rather they were killed by their own creations, by the mythic doppel-gangers who haunted and hunted them until the flesh-and-blood people behind the masks simply could not coexist.
How did the celebrities create these personae when others failed? Did they have unique insights into the media? Were they born with special access to spiritual and psychological realms? It's not clear.
But it is clear that what distinguished these icons was the degree to which they were willing to sell themselves for fame. Where others stepped back from the abyss, they stepped forward. The steps leading up to their cultural sainthood is the subject of the book.
It's easy to see how mass adulation can corrupt. But what some might call madness, Ebert sees as very real angels and demons almost looking for the right host to then photosynthesize to life through the artificial light of the media.
If you are a strict materialist you might find Ebert's whole premise (and freqeunt digressions)a little "out there." Yet seeing is believing, and Ebert shows you the celebrities exercising--and exorcising--their powers. For example he observes that Elvis "literally" makes the convex tv screen bend behind his enormous energy when shot from the waist up on Ed Sullivan. Come to think of it, Elvis did just that, if only in terms of his psychological impact. For Ebert, the physical is a pale shadow of underlying reality. Thus his neoplatonism.
It would be useful to hear Elvis' own views of how he "bent" the screen, of his own spirtual experiences, etc. Instead all the celebrity lives are surveyed and the rest is merely conjecture -- but what wonderful conjecture! In the end I felt I was under a spell, one where reality is malleable and I could feel the possibilities and dangers that the celebrities themselves must have felt.
Mr. Ebert bills himself as an "independent scholar," but he is more so a kindred spirit to the very people he profiles, a word wizard for the (admittedly small) circle willing and able to speak his language.
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Surface Detail (Culture) Review

Surface Detail (Culture)
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Surface Detail (Culture) ReviewIt is perhaps appropriate for a book that centres around the battle for the afterlife to begin this review with a confession: this was my first encounter with Iain M Banks' Culture series of science fiction novels. At first, I worried that this put me at a significant disadvantage as for the first 100 or so pages, I spend most of the time being completely confused about what was going on. However, as the strands started to come together, it became apparent that this is partly Banks' style and indeed it's one he uses in his non-science fiction books too. Keep going, it does come together.
As in his non-sci fi works, Banks juggles stories and characters with dazzling effect. He takes a number of characters whose stories may or may not ultimately come together and switches between their stories. And just when you think one line of story is not going anywhere in particular, he twists it round and it all makes perfect sense. The confusion is compounded by the fact that he is covering both the `Real' and `virtual' worlds, and particularly in the virtual worlds, characters may take on different roles and identities. Sound confusing? Well, it is at first but it's also highly entertaining, not to mention clever.
To the uninitiated, the Culture is a fictional interstellar enlightened, socialist, and utopian society operating amongst other, less benevolent and lesser civilized civilizations. This is at least the eighth book to feature the Culture, which first started with Consider Phlebas featuring the Culture's religious war against the Idiran Empire. We are told that the events of Surface Detail occur a millennium and a half after this war.
Surface Detail begins when Lededje Y'breq, a tattooed slave (surface detail, you see?) is attempting to escape from her evil owner, the rich and powerful Veppers who has made his family fortune in virtual war games. He's like an evil cross between Bill Gates and Hugh Heffner.
Meanwhile, in another part of the galaxy, a war rages over the right for Hell to exist. At first the Culture is not directly involved in this war being fought out in a virtual environment with the antagonists agreeing to abide by the outcome in the Real, which strikes me as a very good way of settling disputes. But that will change as the virtual war spills over into the Real.
This is terrifically bad news for the galaxy, but great news for the reader as it brings into play the Culture war ship `'Falling Outside The Normal Moral Constraints'` and it's avatar Demeisen introducing that classic sci fi fall back of entertaining computers communicating with humans. It maybe a well-used trick, but it affords great opportunity for humour. And if you think that ship's title is good, how about the `'Sense Amidst Madness, Wit Amidst Folly'`. I know that in the current economic climate cuts are likely in Defence spending here on Earth, but surely we can put something aside to re-name some of our Navy with these names!
There's double-crossing aplenty, action, revenge, love stories, virtual and real action, tech and humour and some terrific characters. But what sets this book apart is the quality of the writing and the depth of the author's imagination. Amongst all the mayhem, Banks raises some interesting questions about identity, death and the whole point of Hell.
Fans of the Culture series will need no encouragement to grab this latest installment. Sure, it can be confusing at times and Banks does rather leave some stories hanging (although he presents a little potted outcome of the characters at the end) but it's a wonderful trip and I for one will be eagerly diving into the earlier books.Surface Detail (Culture) Overview

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Being Virtual: Who You Really Are Online (Science Museum TechKnow Series) Review

Being Virtual: Who You Really Are Online (Science Museum TechKnow Series)
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Being Virtual: Who You Really Are Online (Science Museum TechKnow Series) ReviewDavey Winder's book manages to do something that most books on the same subject as his do not: He's very personal. Even confessional. The title of Chapter One -- Identity Crisis - sums up not just the theme of the book, but what seems to have been a driving theme in the life of Winder. Having gone from a killer career Sports manager, to a home-bound, wheelchair bound web junkie, Winder's makes the strongest case for the credibility of a digital selfhood. The best part is that he introduces the disabilities factor, which is usually only allowed a footnote in most digital reporting. In fact, I would strongly recommend this book to any organization that works with the disabilities community that has a lending library program. Aside from Winder's own accounts, there are other anecdotal stories in here of disabled persons reinventing themselves or simply recreating themselves, as is -- wheelchair and all -- in the virtual landscape. The back-story of each anecdote is poignant and well told. All of them extremely personal.
Not all of the stories of are from persons with disabilities. The others are from self-seeking souls looking for the right vehicle for self expression, which they find online.
The personal touch of the book is well balanced with an informing narrative that qualifies the book as a primer for Second Life and other Virtual World platforms. The cover of the book speaks to this element and, unfortunately, only this element. If I were to judge the book by the cover, which I initially did, the autobiographical element was not something I expected to encounter within these pages. They appeared almost as easter-eggs that wanted to be found. In that sense, the book cover is the only liability.
I'm not sure what the mood is these days on Second Life. But Winder's presents the best argument so far that this is more than just mere novelty.
[...]Being Virtual: Who You Really Are Online (Science Museum TechKnow Series) OverviewThanks to the Internet, it has never been so easy to become the person of your wildest dreams. Immersive 3D worlds such as Second Life and THERE.com provide an escape route from the ordinary, into a virtual world where you have the power to mould your life in any way you please. Forget about walking, wheelchair users can fly. Pensioners wipe away the pains of age, discovering youthful exuberance and making young friends once more. No wonder it has become harder than ever to honestly answer the question: who am I?
In Being Virtual, Davey Winder looks at how an increasing number of us are living part-real, part-virtual lives, and how it affects who we are. He looks at the opportunities and dangers that a virtual identity offers us, how we juggle our real and online lives, and what happens when one spills over into the other… He uses his own personal experiences to bring the issues to life, and backs them up with the real-life stories of others and testimony from the experts. Along the way, he looks at some fascinating questions such as:
Are you a virtual liar?

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Cybertypes: Race, Ethnicity, and Identity on the Internet Review

Cybertypes: Race, Ethnicity, and Identity on the Internet
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Cybertypes: Race, Ethnicity, and Identity on the Internet ReviewWithin the field of cybercultural studies no single writer is as widely recognised for exploring the oft-ignored categories of race and ethnicity in cyberspace(s) as Lisa Nakamura. Her writing is mandatory for any undergraduate course exploring identity online and her new book Cybertypes: Race, Ethnicity, and Identity on the Internet finally collects all of her articles under one cover. Of the five main chapters, each is based upon one or two previously published articles or chapters, although most have been reworked to some (usually minimal) extent. The additional framing elements of the introduction and conclusion, while brief, do contextualise and historicise Nakamura's work in important ways and provide important signposts for future work.
The first chapter, `Cybertyping and the work of race in the age of digital reproduction', opens with an introduction of the term `cybertype', built upon the nineteenth century word stereotype, which originally referred to a machine which could easily mass reproduce specific images. Nakamura uses cybertype since `identity online is still typed, still mired in oppressive roles', and expands the term `to describe the distinctive ways that the Internet propagates, disseminates, and commodifies images of race and racism' (3-4). The chapter then deals with a number of cybertypes-including Indian Silicon Valley workers (cybertyped as efficient and cheap immigrants)-and also examines the theory that access to the internet equals equality online, a theory touted in much of the US government's `digital divide' rhetoric. Nakamura also reworks and deploys some provocative terminology: for example, she uses the term `remastered', which in technical terms describes the process of converting analogue media into digital, to mean the transference of previous racial stereotypes from the offline world into online contexts.
Chapter two, `Head-hunting on the Internet' looks at three specific online environments: the text-based LambdaMOO and graphically oriented chat spaces The Palace and Club Connect. Nakamura examines how race is represented in these spaces, and specifically how racial identities are maintained or performed both by those people who are portraying their `real' identity and those who are presenting their digital selves differently to their material lives. Nakamura discusses two main features of online identity: `passing', whereby netizens can pass as having a different racial (or gender or class) identity online via avatars and textual descriptions; and `identity tourism' which specifically looks at white users who `try out' other racial identities online, thinking they have experienced being `other', but have really done nothing of the sort due to the different ways race operates online and in the material world. While Nakamura's points are well made, she makes the unfortunate choice of comparing avataristic identity online with the television programmes Fantasy Island and Quantum Leap. This unproblematised cross-medium referencing detracts from Nakamura's very medium-specific insights about race online, and is hampered more so by an erroneous summary, explanation and thus analogies drawn from Quantum Leap (58-59; for example, describing Sam Beckett's body leaping as a purposeful `quest' when it was actually caused by an error during scientific experiments).
Chapter three, `Race in the construct and the construction of race: the "consensual hallucination" of multiculturalism in the fictions of cyberspace' examines four cyberpunk works-Blade Runner, Neuromancer, Snow Crash and The Matrix-and the racial politics of these cyberspace-related works. Nakamura argues that in the first two works from the 1980s there is an evident `techno-orientalism', whereby figures from the Japanese past become signifiers for a supposedly hip multicultural future. However, Japanese and other Asian characters still end up in peripheral or supporting roles, suggesting that cultural appropriation by no means ensures equality. The latter two texts are analysed as presenting more complex ideas of race and Nakamura's analysis of The Matrix, which still ultimately installs a white messiah above all else, is particularly strong. However, Nakamura's readings of Neuromancer and Blade Runner are both very straight forward, offering little new to readers familiar with cyberpunk criticism, making this the least inspired chapter of the collection. In direct contrast, the following chapter `"Where do you want to go today?" Cybernetic tourism, the Internet and transnationality' contains a much more focused reading of advertising campaigns for software and technology during the mid-nineties. Nakamura's argument for the paradoxical nature of these advertisements, which presented an image of digital boundlessness where race no longer matters while simultaneously using the exoticised other as something Western computer uses could digitally visit, is made precisely and powerfully. With some disappointment, it is also the shortest chapter in the book.
The final chapter, `Menu-driven identities: making race happen online' looks at specific ways that race happens on the web and then compares these findings with certain emailing practices. The drop-down menus and clickable boxes that are all too often used to categorically define `race' online are traced back to the fact that race is a key marketing category. Along with gender, age and income, information about race is sought by websites in order to target advertising. Commerce is rapidly becoming the main regulatory backbone of life online. Moreover, Nakamura argues, rather than becoming more complex, these categories either perpetuate the status quo or try to simplify `race' even further to establish an easily manageable and database-driven identity for marketing efficiency. In contrast, email is argued to still allow the greatest flexibility online. Email still facilitates flexible communication and rhizomatic formations, such as group emails and even email forwarding (which Nakamura focuses upon).
Cybertypes is not a perfect collection. Some of the material examined, especially secondary popular culture texts, is not mastered allowing poor analogies to occur. Also, some of the material reads as slightly dated, mainly due to the original publication dates of some of the article being in the mid-nineties. However, as an introductory text on race and racism online, Cybertypes is still strongly argued and easily accessible. A plethora of cyberspaces are examined, and a host of useful ideas and concepts are deployed. While Nakamura argues against simplistic menu-driven identities, it is safe to say that in Cybertypes she has provided a smorgasbord of tools and perspectives with which to further examine race online.Cybertypes: Race, Ethnicity, and Identity on the Internet Overview

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The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories Review

The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories
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The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories ReviewRose's new book, The Art of Immersion, provides an interesting behind-the-scenes look into the conception, creation, and promotion of many products of popular media from Christopher Nolan's film The Dark Knight to Xbox's Halo; from George Lucas' Star Wars suite to the Nine Inch Nails' album Year Zero; from ABC's Lost to Evan Williams' sites Blogger and Twitter.
Yet for all of its contemporary pop culture references and social media anecdotes, The Art of Immersion feels quite dated. His thesis ("A new type of narrative is emerging--one that's sold through many media at once in a way that's non-linear, that's participatory and often gamelike, and that's designed above all to be immersive.") is obvious to even the most technologically un-savvy reader. Nearly everyone, from Topeka, Kansas to Tokyo, Japan has understood that intuitively (if not explicitly) for 10 years.
I enjoyed reading the first few chapters in which Rose discusses the transformation of media and the creation of increasingly immersive worlds through the advancement of the technology, content and delivery method of newer forms of media. Rose outlines a rough sketch from the invention of the printing press and moveable type to the advent of the motion picture to the seductive glow of the living room television to the immersive and participatory "deep media" of the Internet. Yet as I continued to read, I kept waiting for the book to "start".
Each new chapter felt like a slight regurgitation of the one before it; each felt like an introduction to the theme, yet the book never fully developed the theme. True to his subtile, Rose answered How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way we Tell Stories. But each chapter begs the questions: WHY? What effect does this have on our culture? Are there any positive or negative consequences? What can we expect for the future of media? Etc. Rose's point that media has changed to be more immersive is obvious and could have been articulated clearly in an introduction. I hoped he would go deeper.
The Art of Immersion is interesting at points and offers its readers great tidbits about their favorite television shows, films, music, and websites. But it left this reader wanting more.The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories Overview

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The Little Book of Hindu Deities: From the Goddess of Wealth to the Sacred Cow Review

The Little Book of Hindu Deities: From the Goddess of Wealth to the Sacred Cow
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The Little Book of Hindu Deities: From the Goddess of Wealth to the Sacred Cow ReviewThe visuals are captivating and engaging. There's a good dose of humour in there as well. My 2 year old loves to look at the pictures. My husband and I want to expose our children to all the different religious beliefs, mythologies and ideas we can. This is a great way to introduce the primary Hindu Deities to a house that hasn't had much exposure to them.The Little Book of Hindu Deities: From the Goddess of Wealth to the Sacred Cow Overview

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Exodus to the Virtual World: How Online Fun Is Changing Reality Review

Exodus to the Virtual World: How Online Fun Is Changing Reality
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Exodus to the Virtual World: How Online Fun Is Changing Reality ReviewI read and thoroughly enjoyed Castronova's first book on the subject: Synthetic Worlds. And, as in SW, Castronova is at is strongest in Exodus when he explains the "realness" of virtual worlds. The main thesis of Exodus is that because synthetic worlds are more fun, people will increasingly choose to spend time in them over the real world, and that, eventually, the real world must remodel itself, taking cues from virtual worlds; eventually the real world must become more fun. Exodus, though it has a few interesting new contributions, is terribly repetitive book that takes way too long getting to the substantial points. When it finally does, it is shallow in its descriptions and analyses of how, exactly, the exodus to synthetic worlds is going to radically affect the real world.
The biggest flaw (among the several I found in the book) is Castronova's thesis itself - that the real world will eventually have to model itself on synthetic worlds. The flaw is evident in his use of "migration" as the metaphor for what's going on with synthetic worlds. He explains that a family migrates from Old Country to New Country, and then tells its friends back in Old how great New is. Eventually, after hearing how great New is over and again, those that stayed put in Old put pressure on their government to change the country, to make it more like New. Castronova provides no historical examples of this, and I don't know my history well enough to know if this is how it has happened in the past, but the flaw in the metaphor is, and Castronova admits this himself, that the synthetic migration isn't physical, and therefore not permanent. It's super-easy to switch from real to synthetic, or among various synthetic worlds. This undermines not just his metaphor, but his entire argument...
A better metaphor, one that incorporates the ease of movement between places/activities, would be engagement in different activities, like sports: I play baseball when I want to hit home runs; I play football when I want to score touchdowns; I don't complain that I can't hit a home run in football. Or even more broadly: I go to the gym to work out; I go to the library to study. I don't complain that I can't run on a treadmill in the library. Why wouldn't this be the result of synthetic worlds? I hop into WoW to partake of the "good vs. evil" shared lore. I hop into SL to sell virtual real estate. I hop into the real world to go for a run, eat lunch, take a nap, kiss my spouse. Why should I expect to be able to do any of these things in the other worlds? Once it's established that the synthetic worlds provide fun, and that the real world does not, why/how does it follow that the real world must aspire to be more fun, like synthetic worlds? Why would I demand that the real world also be fun?
Castronova's argument that people will go where their utility is highest points to the same problem in his argument. He thinks synthetic worlds provide the highest utility, so off people go. But it's not as simple as "the world with the highest aggregate utility wins." There are different goods to be achieved in different worlds, so people will always come back to the real world for the goods that only it can provide (Castronova raises the issue of childbirth/rearing in a different context, but I think it's an adequate example of what I'm talking about here). Now, maybe some day in the future it really will be possible to hook up electrodes and "virtually" experience things we once thought we could only experience in the real world: eating a cheeseburger, having sex with our partner, giving birth to a child. But I think we are far from that point and can still easily say that there are just some things that we can only do in the real world. It seems more likely to me that we'll end up in a future where we go to synthetic worlds for fun, but still come back to the real world for other activities, even if they aren't fun.
Exodus to the Virtual World: How Online Fun Is Changing Reality OverviewVirtual worlds have exploded out of online game culture and now capture the attention of millions of ordinary people: husbands, wives, fathers, mothers, workers, retirees. Devoting dozens of hours each week to massively multiplayer virtual reality environments (like World of Warcraft and Second Life), these millions are the start of an exodus into the refuge of fantasy, where they experience life under a new social, political, and economic order built around fun. Given the choice between a fantasy world and the real world, how many of us would choose reality? Exodus to the Virtual World explains the growing migration into virtual reality, and how it will change the way we live--both in fantasy worlds and in the real one.

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I, Avatar: The Culture and Consequences of Having a Second Life (New Riders) Review

I, Avatar: The Culture and Consequences of Having a Second Life (New Riders)
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I, Avatar: The Culture and Consequences of Having a Second Life (New Riders) ReviewI agree with all of the comments already made about this book. Anyone who follows virtual worlds has seen far too many superficial, sensationalized, and often factually incorrect media reports about who goes on in them. This book is the complete opposite of that. It's a deep and thoughtful discussion of how they can affect people for better and for worse. It gets beneath the caricatures to examine the whole concept of identity in physical spaces, virtual spaces, and the gray area between the two.
Anyone who has spent time in virtual worlds will be able to relate to much of what is said from their own experiences and observations, and those who have not spent time in virtual worlds would benefit from reading this book before dismissing them.
The content alone would make the book well worth reading, but as others have already mentioned, it's also beautifully presented. In fact, the book itself is analogous to the phenomena it describes: an attractive setting with a lot of interesting things happening inside.I, Avatar: The Culture and Consequences of Having a Second Life (New Riders) OverviewWhat is an avatar? Why are there nearly a billion of them, and who isusing them? Do avatars impact our real lives, or are they just videogame conceits? Is an avatar an inspired rendering of its creator'sinner self, or is it just one among millions of anonymous vehiclesclogging the online freeways? Can we use our avatars to really connectwith people, or do they just isolate us? And as we become more like ouravatars do they become more like us? In I, Avatar,Mark Stephen Meadows answers some of these questions, but moreimportantly, he raises hundreds of others in his exploration of avatarsand the fascinating possibilities they hold. His examination ofavatars through the lenses of sociology, psychology, politics, history,and art, he will change the way you look at even a simple onlineprofile and revolutionize the idea of avatars as part of our lives,whether first or second.

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