For Monday, February 16th, please read/view the following:
Your blog response is due online by class start time on Monday, February 16th.
At this stage in blogging, you should be starting to connect previous readings with current readings and begin responding to some of your student colleagues comments, as well. If you find that any of your readings are relevant to virtual class time/assignments, be sure to integrate your experiences with your readings. Also make sure that you point to passages or quotes to help support your point/s. Your blog responses should be AN ANALYSIS of the concepts discussed (or the one/s you choose to focus on), NOT merely a rehashing of who said what. What I don’t want is a summary of the arguments with quotes thrown in – but a thoughtful and analytical response to the issues raised, integrating your own observations and experiences.
Questions:
1. Do you believe it is necessary to determine “what is real, and what is a copy,” before we are able to answer practical and legal questions around intellectual property within virtual reality? Or, do you believe that our practices within virtual reality will more likely determine our perceptions and beliefs about what is “real”? Explain.
2. In an attempt to answer the question of whether intellectual property can exist within virtual reality (as well as what, if any, intellectual property rights should be included), Jones begins his essay by telling us all the things that virtual reality is NOT:
Unlike its literary and filmic counterparts, the type of virtual reality (VR) discussed in this essay is not a figurative one or a fictitious one, nor is it one constructed from or with the aid of the imagination. [. . . ] It is not a ‘consensual hallucination’. It is not a textual reality produced by the exchange of text messages.
Do you believe that Jones successfully supports (within his overall discussion) his claims that virtual reality (for his analytical purposes) is not any of the above? Why or why not?
3. Does Jones convincingly and effectively explore the practical and legal concerns of intellectual property without discussing the figurative, ficticious, or the role of the imagination? Explain.
4. Jones seems to want to avoid certain approaches when talking about intellectual rights within virtual reality (i.e. philosophical, psychological); do you believe one can avoid such discussions when considering the legal and/or practical questions and consequences of the virtual world? Explain your reasoning.
5. Jones argues that because virtual reality is naturally “immersive . . . VR is, like reality, unframed by anyone or anything but the viewer.” What does Jones mean by this? And do you agree or disagree? Explain.
6. In your reading, “Coming Apart at the Seams: Sex, Text and the Virtual Body,” Shannon McRae argues that erotic interactions in cyberspace create an opportunity to explore different experiences of our bodies and pleasure, but that in doing so, we must also reconceptualize the ways in which we experience our own “embodied subjectivity.” What exactly does she mean by this? What examples does she give?
7. McRae also read Heim’s “Erotic Ontology of Cyberspace,” but disagreed with many of his conclusions. What is McRae’s primary dispute with Heim? Why?
8. Although McRae doesn’t make specific comparisons to any visually-based virtual environment, she argues that text-based virtual environments can often provide emotionally intense and highly meaningful human interactions. Reflecting on McRae’s essay, in what ways might text-based virtual environments provide even more emotional intensity than visually-based virtual environments, and why?
9. According to McRae, in what ways is gender (and our social concept of gender) as a “primary marker of our identity” seriously subverted?
10. Considering Weaver’s explanation of schemas (p. 5), if we are in fact calling upon gender schemas, not reinventing “our social constructions [of gender],” but rather using “our defaults” to help us negotiate ourselves and others, then how are we able to so freely experiment with gender roles and gender perceptions in virtual reality? In other words, do we not carry our gender schemas with us into the virtual world? Or do we?
11. In what ways does McRae connect the erotic pleasures of bodies and minds with the erotic pleasures of narrative and text?