Crowd-Sourcing Shakespeare: Screen Work and Screen Play in Second Life®
Crowd-Sourcing Shakespeare: Screen Work and Screen Play in Second Life®
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众包莎士比亚：Second Life® 中的屏幕工作和屏幕播放
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发表时间：
2010
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通讯作者：
K. Rowe
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作者：
K. Rowe
学术电影研究几十年来一直致力于确立这样一个原则：从深刻的知识意义上讲，电影基本上就像书籍：历史背景丰富，形式复杂，需要批判性分析和理论阐述。以这些方式理解，电影文本可以作为适合组织学术实践的权威、监督和文化价值结构的对象而出现。这个过程是有争议的、持续的，对其不平衡性的反思引发了对未来的猜测。新媒体为学者（尤其是莎士比亚学者）提供了哪些制度同化的机遇和挑战？在我看来，最引人注目和最紧迫的是通俗地称为“Web 2.0”的变革所带来的变革，与其说是技术变革术语，不如说是行为变革术语。 Web 2.0 指的是人类通过可共享的动态在线内容相互交互的协作、创造性、社交网络行为。在虚拟环境中以这种模式进行的劳动和游戏构成了公众对莎士比亚日益重要的参与。对于文学学者来说，更密切地关注此类活动可以扩大我们对公众对莎士比亚和整个文艺复兴的价值认知的理解。同样重要的是，莎士比亚的在线环境为学者们提供了与网络知识创造新模式产生的核心冲突的直接接触。 * 本文通过关注《第二人生》中三个莎士比亚地点的所有权虚构来探讨这些冲突，第二人生是一个结合了社交网络、游戏和 3D 设计的在线世界。该平台欢迎越来越多的学者作为访客和居民。自推出以来，它已经举办了五家虚拟环球剧院，其中一家拥有一家正规的表演公司。在《第二人生》中，您可以探索十六世纪欧洲的历史再造，那里居住着有意识的社区，您还可以进入众多文学作品的模拟（“sims”），包括一些出色的多媒体装置。客户端软件的 3D 环绕营造出强大的本体感觉和建筑空间感，使其成为戏剧研究教学空间的吸引力。 (1) 《第二人生》为在线莎士比亚的创造性、公众参与机会提供了一个有用的范例，因为它的商业模式正在迅速成为主导模式：利用用户生成内容的动力。 Linden Lab 创建该平台的目的是为了响应游戏行业日益认识到玩家修改游戏环境的能力是其享受的关键指标。这种虚拟世界有两个技术特点。它们是持久的：您在这里构建的内容在您注销后仍然存在。而且它们是可扩展的：专为开放式协作世界构建而设计。玩家在自己构建的环境中通过化身进行互动。将您的化身想象为汽车、电话、玩偶和木偶的混合体，您将对“第二人生”为运动、交流和自我表现提供的界面有很好的感觉。 (2) 运营一年左右后，林登实验室在其服务条款中添加了当时具有革命性的功能，授予玩家虚拟创作的知识产权。然而《第二人生》的所有权在两个重要方面仍然是虚构的。从法律和商业角度来看，公司口号中引用的洛克式建筑商所有权话语掩盖了更为复杂的知识产权关系。该平台中的“身体的扩展”不仅以技术“公司从中获利的可扩展性界面”为基础，而且“游戏玩家混合或加入他们的劳动的‘媒介’……既不是无差别的，也不是普遍的；Linden‘土地’始终已经是公司拥有的代码。” （3）更重要的是，在《第二人生》的社交沉浸式社区中，虚拟环球剧院只有在其他居民的同意和参与下才能真实存在。 ……
ACADEMIC FILM STUDIES has dedicated many decades to establishing the principle that films are, in a deep intellectual sense, basically like books: richly historically situated, formally complex, inviting critical analysis and theoretical formulations. Understood in these ways, film texts could emerge as objects fitted to the structures of authority, oversight, and cultural value that organize academic practice. This process is contested and continuing, and reflection on its unevenness provokes speculation about the future. What opportunities and challenges to such institutional assimilation do new media offer academics--Shakespeareans in particular? To my mind the most compelling and urgent are those posed by the transformations colloquially known as "Web 2.0," less a term of technological change than of behavioral change. Web 2.0 denotes the collaborative, creative, socially networked behaviors of humans interacting with each other through shareable, dynamic content online. The labor and play that take place in this mode in virtual environments constitute an increasingly important kind of public engagement with Shakespeare. For literary scholars, closer attention to such engagements can expand our understanding of the public perceptions of value invested in Shakespeare specifically and the Renaissance generally. As important, Shakespeare environments online offer direct encounters with the core conflicts new modes of knowledge-making on the Web generate for scholars. * This essay explores those conflicts by focusing on the fictions of ownership governing three Shakespearean locations in Second Life[R], an online world that combines social networking, gaming, and 3-D design. The platform welcomes a growing number of academics as visitors and residents. Since it was launched, it has hosted five virtual Globe theaters, one with a regular acting company. In Second Life you may explore historical re-creations of sixteenth-century Europe inhabited by intentional communities, and you can enter simulations ("sims") of numerous literary works, including some remarkable multimedia installations. The client software's 3-D surround creates a powerful sense of proprioception and architectural space, making it attractive as a teaching space for theater studies. (1) Second Life provides a useful exemplum of the opportunities for creative, public engagement with Shakespeare online because its business model is rapidly becoming a dominant one: the drive to leverage user-generated content. Linden Lab created the platform in response to a growing recognition in the gaming industry that a player's ability to modify game environments is a key index of her enjoyment. Two technical features distinguish such virtual worlds. They are persistent: what you build here lasts when you log off. And they are extensible: designed for open-ended collaborative world building. Players interact through avatars in environments they build themselves. Imagine your avatar as a cross between a car, a telephone, a doll, and a puppet, and you will have a good sense of the interface Second Life provides for movement, communication, and self-performance. (2) A year or so into operation, Linden Lab added what was then a revolutionary feature to their terms of service, granting players intellectual property rights in their virtual creations. Yet ownership in Second Life remains a fiction in two important ways. In legal and commercial terms, the Lockean discourse of builder-ownership invoked in company slogans obscures far more complex intellectual property relations. Not only is the "extension of the body" in this platform predicated on a technical "interface of extensibility from which the company profits," but "the 'medium' with which game players mix or join their labor ... is neither undifferentiated nor common; Linden 'land' is always already code that is owned by the corporation." (3) What's more, within the socially immersive communities of Second Life, a virtual Globe theater can only exist in a real way by consent and participation of other residents. …