Wilder shannon o 200612 phd

A NARRATIVE OF SYNTHETIC FEAR: VISUALIZING DYSTOPIA IN A GAMING WORLD by SHANNON O’BRIEN WILDER (Under Direction of Carole Henry) ABSTRACT The purpose of this study is to examine how synthetic fear functions in a virtual world by focusing on the researcher’s immersion within a video game. It takes the form of an arts-based autoethnographic study in order to interpret and creatively explore that experience. This study explores the concept of synthetic fear, the pervasive influence of created images of fear in digital visual culture by using this framework as a lens to explore themes in a massive multiplayer online role-playing game (MMORPG). Using alternative ethnographic methods drawing from arts-based educational research and autoethnographic methods, this study experiments with narrative voice to explore real and virtual experiences in the voices of both the researcher and the avatar, or game character.

Themes such as race, gender, citizenship, identity, exploration, surveillance, and political rhetoric illustrate the way that synthetic fear works as an underlying framework for these gaming experiences. This study is not intended to prescribe art education curricula for incorporating digital media in the classroom, but is instead intended to raise questions and encourage art educators to look at digital media and its influence on students in a more critical way. INDEX WORDS: Art Education, Visual Culture, Video Games, Digital Culture, EVE Online, Gaming, Gamers, Race, Gender, Image, Identity, Civic Identity, Citizenship, Fear, Synthetic Fear, Surveillance, Virtual Worlds, Synthetic Worlds, Political Fear, Art-Based Educational Research, Autoethnography A NARRATIVE OF SYNTHETIC FEAR: VISUALIZING DYSTOPIA IN A GAMING WORLD by SHANNON O’BRIEN WILDER B., University of Georgia, 2001 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2006 © 2006 Shannon O’Brien Wilder All Rights Reserved A NARRATIVE OF SYNTHETIC FEAR: VISUALIZING DYSTOPIA IN A GAMING WORLD by SHANNON O’BRIEN WILDER Major Professor: Carole Henry Committee: Richard Siegesmund Melisa Cahnmann Taylor Pamela G. Taylor Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2006 iv DEDICATION To my parents, Jim and Tommye O’Brien, who taught me to work hard and above all be kind, and, of course, to my husband Lance, who is a faithful friend and partner in everything.

v ACKNOWLEDGEMENTS As all who have written a dissertation know, completing a project like this is impossible without the support of mentors, friends, and family. I am very blessed to have so many people in my life who have unselfishly encouraged me (and occasionally given a big nudge) during the writing of this dissertation, and who have also provided wise council over the years. I must begin by saying I am truly grateful for the educational opportunities I have had at the University of Georgia. As a fulltime employee of the university, it has not been easy to finish both my masters and doctorate while working fulltime in positions with increasing responsibility, but I know that I could never have done it without the wonderful tuition remission program for employees.

Thank you especially to the many people I have worked for who have supported this endeavor by signing that form each semester for what must have seemed forever! In particular, thanks to Barry Jones, Bill Jackson, Del Dunn, Art Dunning, Margaret Anderson, Trish Kalivoda, and Joe Crim for your support and constant encouragement to continue my studies and to finish. You all epitomize the kind of leader I hope to one day become. I will not forget your collective encouragement and support and hope to one day pass along your kindness and lessons to others. Also, to my committee members Carole, Pam, Richard, and Misha, I could not have asked for a more supportive, and thoughtful group of people to work with and learn from over the years.

My study is stronger because of your critical eyes and astute comments, and my life is richer because I am able to call each of you colleagues and friends. In particular, this project would never have begun without Pam Taylor’s encouragement and vision. I am so grateful that vi despite the distance, Pam has remained one of the most important and influential people in my life. Pam, you started me on this journey, and I am grateful beyond words for your belief in me.

I must also say an extra special thank you to my committee chair, Carole Henry, whose advice and open door gave me much encouragement, particularly in these last few months of writing. Carole, thank you for giving me so many opportunities to grow as a teacher and a researcher. You are what all major professors should be—a mentor who delights in seeing her students become colleagues. I am proud to be your student and friend and look forward to many more years of collaboration and, of course, Italian food! Grazie mille! If we are lucky, we make friends who become family, and so I also must thank my dear friend Meg Amstutz for being my touchstone and sister these last few years.

We have carried each other through the stresses of working fulltime and writing dissertations—and have also had a lot of fun along the way! I could never have finished without the encouragement from someone who went through the same trials, doubts, and sleepless nights. I love you, dear one, and I am blessed to have you in my life. Most importantly, I must thank my family for the love and support they have provided as I worked toward the goal of finishing my dissertation. Thank you to my wonderful in-laws, Don and Shirley Wilder, who have been incredibly understanding, as I have worked many weekends this last year and have been less able to visit.

I hope you both know that my heart and love are always with you. Thank you for raising a wonderful son and for welcoming me into your family. I do not know how adequately to thank my parents, Jim and Tommye O’Brien, for the tremendous opportunities and advantages they provided me in my early education and experiences. My parents are the reason that I am intellectually curious, value education, and most importantly, have empathy and concern for others.

I am fortunate that as a child I had vii tremendous role models for how to balance career and family. I am even more fortunate that as an adult I have now come to know my parents as interesting individuals who are always learning new things. Thank you for believing in me, teaching me perseverance, and encouraging me to be a creative and independent person. Everything I am and everything I accomplish is because of how you prepared me to face the world.

I love and admire you both. Of course, these acknowledgements would be incomplete without reserving my final thanks for my husband Lance. It is impossible to express the depth of my love, appreciation, and respect for my husband. He has been a faithful and constant supporter throughout the writing of this dissertation and has acted as sounding board, critic, editor, latte-bringer, and cheerleader at various stages of the process.

I am grateful to have a husband who is a partner in every aspect of life. My life is so much richer knowing that I have my best friend always by my side. Now that we have both reached this milestone, I cannot wait to see what is next. viii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS.

v LIST OF TABLES.xii LIST OF FIGURES .xiii CHAPTER 1 Introduction: Visions of Dystopia in Technoculture. 1 Prologue: Personal Journal Entry, November 2003. 1 Cyberspace and Science Fiction. 2 2 Conceptual Framework: Situating Synthetic Fear.

6 The Problem: Got Fear?. 6 Why Fear? Connecting the Problem to Contemporary Art Education. 8 Key Terms: Exploring the Human-Machine Merger. 12 American Nightmares: A Cultural History of Synthetic Fear.

17 Dimensions of Fear. 24 Living in Code Yellow. 25 Engaging with Fear in Digital Visual Culture. 28 3 Arts-Based Educational Research Methods in a Virtual World.

34 ix Autoethnographic Research Studies. 36 Arts-Based Research and Evocative Writing. 37 Narrative in Arts-Based Authoethnographic Writing. 39 Setting and Participants.

41 Virtual Worlds as Ethnographic Field. 43 Profile of a Gamer. 46 Data Collection and Analysis. 49 4 Entering EVE Online: An Introduction to a Virtual World.

51 The Avatar Chronicles, Part I: Birth. 52 Enter the Avatar. 57 Race Selection in Character Creation. 57 Women as Monsters: The Problem of Female Characters in Video Games.

62 Gender Representation in EVE. 65 Racial Bias and Racism in Video Games. 67 Painting a Portrait of the Avatar. 70 Avatar Tools: The EVE Interface and the Ship.

74 Death, Resurrection, and Synthetic Bodies in EVE. 76 5 Half-Drawn Characters: Identity Creation in Virtual Worlds. 78 The Avatar Chronicles, Part II: Lost. 84 “Owning the Avatar”.

84 The Problem of the Real/Virtual Dichotomy. 88 Image as Identity. 91 “When You Have No Identity, Look for Image”. 93 Annlee: A Reader’s Theater Performance Script.

96 Composite Characters, Continued. 98 Synthetic Fear and Half-Drawn Characters. 99 The Avatar Chronicles, Part III: Theft. 101 6 Virtual Citizens: Exploration and Engagement in Virtual Worlds.

103 The Avatar Chronicles, Part IV: Mission Accomplished. 103 Gray Animals in Electric Caves. 109 Exploration as Engagement in EVE. 113 The New Frontier.

118 Ripped from the Headlines: Political Rhetoric in EVE. 122 Escaping Electric Caves. 124 7 Implications and Concerns: Arts-Based Research and Digital Culture. 125 A Review of the Central Questions.

127 xi Research Question One. 128 Research Question Two. 131 Research Question Three. 133 Research Question Four.

137 Implications for Future Research. 146 The Avatar Chronicles, Part V: Death. 159 xii LIST OF TABLES Page Table 1: Characteristics of the four empires in EVE that characters can play. 59 Table 2: Comparison of character attributes assigned to both male and female characters in the bloodlines of the Gallente Federation.

62 xiii LIST OF FIGURES Page Figure 1: Illustration of a dehumanizing treadmill in a Victorian prison. 22 Figure 2: A Tinderbox web. 49 Figure 3: Selection screen for choosing a bloodline and gender in the Gallente Federation. 60 Figure 4: Selecting the appearance of one’s character in EVE.

72 Figure 5: Image of Janusa, my character avatar in EVE. 74 Figure 6: Janusa’s ship setting out from a space station with third-person perspective. 76 Figure 7: Character sheet. 88 Figure 8: Screenshot of ship and interstellar billboard in a distant solar system.

159 Figure 9: A screenshot from travel in EVE. 159 Figure 10: Janusa’s vessel docked in a space station. 161 Figure 11: Map view of solar systems. 162 1 CHAPTER 1 INTRODUCTION: VISIONS OF DYSTOPIA IN TECHNOCULTURE Prologue: Personal Journal Entry, November 2003 My fascination with monsters began the first time I read a children’s version of Dracula as a second grader.

It was during my daily trip to the school library that it all began. The rows of musty books and the graveyard-like silence can make the library a rather spooky place if you have the right imagination. The librarian, a kindly soul, warned me that Dracula might make me question whether monsters were purely fantasy or if they did exist in some shadowy part of our world. Later that night, this same school librarian (a friend of my mother) came to visit.

To a second grader with a Gothic imagination, her visit was like an ominous sign. In my memory, she stood in the living room, delivering her warnings as lightning flashed in the windows behind her and thunder cracked overhead. At least, that’s the way I recall it now.