MUDs (standing for “Multiple-User Domain”) are both synchronous and hypertext forms of communication. The research was conducted through the ethnographic tools of participant observation and close analysis of actual interactions, saved in screen logs. This paper examines the aesthetics of expression within the MOOs as a resource for the construction of community by its participants. Many scholarly studies and non-scholarly commentaries have pondered the possibility of “virtual community” and a few papers have studied the unique features of language and communication within MOOs. At the same time, these elements function as rules and limitations, which are then exploited, distorted and negotiated as expressive resources in themselves, and become symbolic tools for plurality within the group. The observed use of these expressions shows that they are not only used to describe technical problems but are regularly used to metaphorically describe social, cognitive, and emotional experiences.įollowing Bakhtin's theories on the impact of primary speech genres on secondary ones ( Bakhtin 1986 (1952): 61), I find that these aesthetic values as expressed in the jargon collectively shape all other levels of communication by the experienced participants of MOOs, from the simplest exchanges in everyday communication to the most prominent official documents. These expressions are used as verbs (“He spoofed! And then I was lagging.”) or as nouns (“I was hit with lots of spam and there was a lurker in our midst.”) There are no positive expressions in the jargon which correlate with these negative terms. These items of jargon were selected because they are regularly used by participants in MOOs to identify distruptions to ideal communications.īriefly, “spoof” is unattributed communication, “spam” is an excess of communication, “lurk” is a refusal to communicate, and “lag” is a mechanical delay of communication. By smallest and most basic, I mean that these aesthetics are applied to virtual “conversation” or real-time interaction in dialogue form which takes place everyday in the MOOs. Four items from the jargon of MOOs – spoof, spam, lurk, and lag– are examined here as expressions, on the smallest and most basic level, for what they say about how to and how not to communicate within the MOOs. In this paper, I examine what I believe are aesthetic values governing the use of expressive resources in six text-based virtual realities, known as MOOs, which are a particular type of MUD (explained below). It is my work to write about the expressive resources shared by members of particular cultural groups, to understand how these resources are used, extended, revised, and negotiated, and to make them comprehensible to others. While a cultural group is thus defined by its common expressive resources, a society is defined by geographic, political, and economic boundaries, and may incorporate several cultural groups. ![]() From this perspective, a “cultural group” is made of those people who recognize and make use of a set of expressive resources. As a folklorist, I define “culture” as a set of expressive and interpretive resources, and I study the ways in which individual performances and artistic expressions are constructed from these resources. ![]() It is the process of translating the symbolic system of one culture into that of another. Jordan's Emotions - Herby and Bert Tom Lucitor Justforkix and Rocket J.Ethnography, encompassing both anthropology and folkloristics, is the writing of culture.Jangles' Emotions - Asterix, Obelix, Fulliautomatix, Unhygienix and Cacofonix ]. ![]() ![]() Anderson's Emotions - Katz Flint Lockwood Zig Dudley Puppy and Armando Anderson's Emotions - Carol Sam Sparks , Ketta Kitty Katswell and Marina Baby Riley Anderson - Baby Chloe Carmichael.
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