1. America 2.0
Cyber Culture, the Avatar, and Embodiment
Gregory C. Carrow-Boyd
The Pennsylvania State University–Harrisburg
Spring 2012

2. Basic Definition of the Avatar

3. Significance to Field
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.

4. Significance to Society
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.

5. Research Design
Purpose Research Questions
What is the nature of the
To understand if 1.
avatar?
how, when, and
2. What is the relationship
why the Americans between the avatar and
Merleau-Ponty’s
access the cyber explanations of
embodiment?
world through use
of the avatar is an 3. What does the avatar tell
us about adult identity
embodied process. development and
learning?

6. Research Design
Philosophical Framework Methodology
Maurice Merleau-Ponty (1964) The sole selection criterion for this study is
explores the concept of the the explicit use of the term “avatar” in the
specular image, the image of self storyline or marketing of the media
that exists in a mirror rather than representation. I will look for the following
that of a photo. Children in each of the media representations of
understand the mirrored image avatars:
as a way of existing in two
spaces at once; whereas, adults
balance this duality by defining 1. A definition of avatar (stated or implied)
only one of the images as real 2. How one uses the avatar (i.e., is it a tool for
(Merleau-Ponty, 1964). Utilizing accessing the virtual world?)
Merleau-Ponty’s (1964) position, 3. How one learns from/with/through the
I will analyze several avatar
manifestations of avatars in
movies, television and video
gaming.

7. Definitions of the Avatar
James Cameron’s
Avatar
“I see you through your eyes.”

8. Definitions of the Avatar
M. Night Shyamalan’s
Nickolodeon’s Avatar
Avatar
Balance of All Natural Forces Spiritual Figurehead

9. Initial Findings
1. 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).

10. 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?

11. References
Adrian, 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

12. Image Credits
AllMoviePhoto.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