Professional Documents
Culture Documents
PostnationalSodalitiesSecondLife JKinkley
PostnationalSodalitiesSecondLife JKinkley
OF SECOND LIFE:
AN ICONOGRAPHIC APPROACH
BY
JONATHAN W. KINKLEY
B.F.A., Art History, University of Illinois, Urbana-Champaign, 2003
THESIS
Chicago, Illinois
This work is licensed under the Creative Commons Attribution-Noncommercial 3.0 United
States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-
nc/3.0/us/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco,
California, 94105, USA.
ACKNOWLEDGMENTS
I would like to thank my thesis committee—Drs. Peter Hales, Patricia Kelly, and Jason Leigh—
for your insights, time, and encouragement. I am in awe of your interdisciplinary talents and
inspired by your leadership in the humanities and the sciences. Lastly, the critical eye of my
JWK
ii
PREFACE
My primary interest in Second Life and other virtual worlds is the myriad questions that
their presence demands—particularly regarding the visual—and the breadth of possible answers
to these questions. If you can look like anyone or anything, what do you look like? If there are no
constraints of physics, like gravity or weather, and no limit on resources, what does the virtual
built environment look like? Who are the pioneers and governors of virtual space? Who are its
With these questions come the inevitable judgments of virtual space by technology
evangelists, Luddites, and those in-between. To qualify my own opinion of virtual worlds and my
general regard for them, I borrow the term critical utopian from MIT’s Dr. Henry Jenkins.
Jenkins writes of his position to new cultural trends, many of which incorporate technology:
I share Jenkins’ foundational approach. There is no denying that all discourse is politically
charged to a degree; its authors are not writing in a vacuum but rather in a dense societal
network. Although I may desire to remain as objective as am able, and try my best to draw clear,
rational speculations after close analysis of my subject, my writing is still vulnerable to my own
optimistic biases.
1
Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. (New York: New
York University Press, 2006) 247-248.
iii
In the case of Second Life, I see the potential for increased individual agency—the
capacity to act in the world in regard to one’s physical, social, and political faculties. A command
over physics; nearly infinite resources of marginal cost; facile social connections within small
communities; the option of civic participation; and access to entire libraries of animations,
objects, and scripts, are just a few examples of avatar agency in Second Life, the tools that users
have access to. Many critics of this point argue instead that virtual worlds are in fact repositories
of misguided agency. Their arguments suggest that participants in virtual worlds are driven to act
within these spaces because of their lack of agency in the real world. My counterargument is that
virtual worlds are every bit as much a part of reality as anything else in the physical world. A
person physically walking down the street in Chicago or physically hunched over a computer
screen controlling an avatar on a street in Second Life is performing an action that constitutes his
or her lived experience. So if virtual worlds are actual navigable and interactive real spaces, then
they are part of our reality, despite the fact that the type of experience radically differs from the
types of experiences to be had in the physical world. So when a person builds a new city,
becomes elected into a governing position, starts a business, has a romantic relationship, or codes
a new program in Second Life, that person is performing a real action that has consequence for
Of course the case study of Second Life is merely an early prototype for future generations
of virtual worlds that will one day become the metaverse imagined by science fiction writers. As
a forerunner, it is has its share of flaws. Its parent, Linden Lab, administers a confusing,
motivations. Further, Second Life, like the internet, is hardly an egalitarian point of access.
Broadband internet, a fast computer, a graphics card, and a complex user interface are only
iv
several of the hurdles users must overcome to experience Second Life.
However, its criticism cannot trump the wonder of experiencing miles of contiguous user-
created space; literally a patchwork quilt of human imagination. This is the matrix—except it
wasn’t created by the evil machines for enslaved humans, but instead by willing advocates in
I entered Second Life as an art historian and quickly realized that trying to study the art of
this virtual world is akin to studying the art of the web—its simply too impossibly big of a
project. What was needed was a foundational grounding from which further discourse could
emerge. This foundation took the form of a several general questions: what types of spaces exist
in Second Life? Who is creating them? And why? The only field broad enough to answer these
questions is the field of visual studies, whose scope encompasses the entirety of visual culture.
In approaching Second Life from a visual studies perspective, I tried to imagine it as newly
discovered society. In order to write about this new art, architecture, and culture, I needed a
method to interpret this space. For that reason I returned to the classic iconographic method of
Erwin Panofsky. His timeless approach of looking, identifying, and locating subjects within a
cultural and historical trajectory remains a practical means to consider the complex visual
assemblages of Second Life as it was for reflecting on artworks from the Renaissance. I
immediately discovered that Second Life isn’t an isolated culture with its own architectural styles
and characteristics but an incredibly heterogeneous, interconnected one whose influences for art
I feel historians, theorists, critics, and philosophers serve an important function within
virtual worlds, namely to document and draw conclusions about the virtual artifacts of humanity.
What do these artifacts tell us about ourselves? Especially within an internet-based, copy and
v
paste, simulation culture leveraging 3D models and images, we are seeing a heightened use and
The purpose of this paper is to help build a foundation for future scholarship in the
humanities on virtual worlds. As technology and science rapidly change society, it is the role of
the humanities to monitor the human response to these changes. Virtual worlds are
simultaneously a new media and new artifact for consideration. In this paper I have classified
three types of spaces in Second Life, and attempted to aggregate the forces that helped shape
these spaces. I am hopeful that virtual worlds will continue to be the subject of study and that
vi
TABLE OF CONTENTS
CHAPTERS PAGE
I. INTRODUCTION....................................................................................................................IX
a. Thesis....................................................................................................................................ix
c. Visual Studies........................................................................................................................xi
d. Methodology.......................................................................................................................xiv
e. Survey...............................................................................................................................xviii
g. History..............................................................................................................................xxix
j. Sodality of Simulation........................................................................................................xlix
n. Critique...............................................................................................................................lxx
vii
V. CITED LITERATURE...........................................................................................................75
viii
I. INTRODUCTION
a. Thesis
The online virtual world Second Life teems with user-built societies of association. It is the
hypothesis of this study that these social networks in constructed virtual space are visual evidence for
new social formations enabled by internet technology. These group-built societies are based on shared
interests and constructed from iconography deriving out of visual culture. Though behavior in Second
Life is ostensibly governed by the end-user’s local laws and regulations as well as the virtual world’s
Terms of Service agreement, in actuality it is largely not enforced—its only constraints are the
programmatic code and hardware that constitutes Second Life itself. These sodalities are built and often
Whereas the internet has long been the repository for global networks and organizations on static
2D web pages, Second Life provides a 3D, immersive, interactive space as a platform for the
construction and interaction of communities. It is a rich and diverse online world, where millions of
users log in from all over the physical world2 to live, work, and play. Users create the entirety of its
virtual landscape and are granted economic and legal ownership over their creations. The objects,
architecture, and landscapes are all sculpted and scripted with an in-game 3D design application.
Second Life is but one virtual world, a specific example amid a plethora of established and
burgeoning application software, most commonly developed for the video gaming industry. Within this
larger class of Massively Multiplayer Online Role Playing Games (MMORPGs), like the popular World
2
Physical world refers to the carbon-based world and can be distinguished from digital, virtual
worlds that exist in computer servers and can be accessed by a client computer via the internet.
Where many writers use the term “real” world, I feel experiencing digital space constitutes a real
experience and that “physical” world is a more apt description of non-digital environments. In
web parlance, the physical world is also charmingly referred to as meatspace.
ix
of Warcraft, there is a type of software that cannot be identified as a game in a strict sense, although
gaming technology has allowed for their existence. These software, like Active Worlds and Dotsoul, are
virtual worlds comparable to Second Life in that they feature user-created content. Though all three
applications contain in-world 3D modelers, Second Life can be distinguished from these other platforms
by its scale, scripting language, and the attribution of legal and financial value to its virtual objects.
Second Life is enormous; as of 2008, Second Life’s land area was 1,193 square kilometers or 740 square
miles.3 The land area, termed the grid in Second Life, is contiguous and persistent. This means that one
avatar can walk or fly from one end of the world to the other and world events continue even after the
Second Life is more successful than other virtual world platforms because it holds incentives for
content creation. Unlike Active Worlds and Dotsoul, residents of Second Life are able to script and
animate content to behave in a specific manner. A resident may be able to build a clock in all three
worlds, but only in Second Life can the resident program it to keep time and animate its hands and alarm
to move accordingly. And only in Second Life does that clock become the intellectual property of its
creator. This clock can also be sold and the profit can be exchanged for U.S. dollars. For these reasons,
the content of Second Life is dynamic and complex, traits that seemingly appeal to its core user base.5
The presence of physical world properties of ownership and monetary worth adds additional layers of
Technology analysts project that 80% of global internet users will have some form of avatar in a
3
“Economic Statistics” Second Life Official website,
http://secondlife.com/whatis/economy_stats.php (accessed on 5-19-08).
4
The term resident refers to a single registered account in Second Life where the user is
represented by an avatar.
5
Nearly 14 million registered user accounts had been registered as of May 2008. However this
number does not accurately reflect Second Life’s regular population of users. Also, many users
hold multiple accounts, and numerous accounts had been abandoned. Linden Lab, “Economic
Statistics.” Second Life Official website, http://secondlife.com/whatis/economy_stats.php
(accessed on 5-19-08).
x
virtual world by 2011.6 If they are correct, Second Life represents a leading early model for future
virtual worlds embracing widespread adoption by global populations with access to broadband internet.
Its scale, versatility, functionality, and popularity makes Second Life one of the most diverse and rich
c. Visual Studies
Studying Second Life’s virtual environment requires an understanding of the technologies that
make it possible in addition to an analysis and synthesis of its visual interactive content. This cross-
disciplinary inquiry can be framed by, and adopt a methodology from, the collective body of discourse
known as visual studies. As a movement that emerged during the 1990s, numerous writers have tried to
define visual studies. As a general consensus, visual studies is perceived as the study of visual culture
that utilizes multiple disciplines and subjects like art history, anthropology, and sociology. It is
particularly suited to popular culture, new media, and contemporary art because it shares a genealogy
with cultural studies, which began addressing those concerns in the 1960s.7 Not only do visual studies
expand and collide traditional disciplines, but also advocate new processes for seeing visual objects.8
Nicholas Mirzoeff links the global and the digital as formational components of visual culture in
his Visual Culture Reader. For Mirzoeff, digital technology has transformed culture and come to
characterize globalization.9 An informed analysis and critique of the formal characteristics and
significance of shared virtual spaces falls under the umbrella field of visual studies. Technological
interconnectedness, software and hardware media, popular culture, and social networks are hallmarks of
xi
A relic of traditional disciplines that persists in visual studies is the question of valid subject
matter. For art history this quandary remains significant—if banal material becomes elevated by visual
studies to the level of fine art, is everything then a legitimate subject? James Elkins observes that there
are two responses to this question, the first being “high and low art remain importantly different,” and
the second, “high and low art are no longer separate.”10 This paper embraces the latter approach: that no
subject matter is too banal, only more or less relevant for specific audiences. Second Life is both a
phenomenon worthy of analysis as a cultural artifact and a platform for the critique of diverse, discrete
content as produced by millions of individuals from around the world. It is an important area of visual
content because of its enormous user base; immense scale and breadth of diversity; quality and
complexity of content; potential as a tool for communication, interaction, and creation; locale for
escapist purposes; democratizing interface; and template for social organization beyond geographical
nation-states.
One of the leading articulators of visual studies discourse, W.J.T. Mitchell has identified a shift in
academia and popular culture away from an emphasis on writing and speech and towards a visual means
of communication that he terms the “pictorial turn.”11 This transformation occurs in a global culture that
is “totally dominated by images.”12 Deriving from a web convention of 2D, textual websites with flat
video and static pictures, Second Life, and other virtual worlds, are a marked shift of the pictorial turn to
In his keynote address for the 2007 Second Life Community Conference, Philip Rosedale, then
10
Elkins, 45-50
11
W.J.T. Mitchell. Picture Theory: Essays on Verbal and Visual Representation (Chicago:
University of Chicago Press, 1994), 11.
12
Mitchell, 1994, 15.
xii
CEO and founder of Linden Lab’s Second Life, demonstrated the potential for the virtual world as
primarily a visual means of absorbing information over the internet. Rosedale unknowingly revealed
how Second Life embodies Mitchell’s ‘pictorial turn’ on the internet by showing two slides on a digital
projection. The first was the website of Japan National Tourist Organizationi with several small
thumbnail photos of Japanese scenery, but overwhelmed with indecipherable Japanese text. Rosedale
mentioned that language has often been a barrier to understanding a place like Japan. He observes, “The
Web is a hyperlinked geography. The way you learn about things is clicking on text…. but once you get
past the UI,13 the experience of learning about Tokyo can look like this.”14 Rosedale’s next slide showed
The image is a screen shot of a Second Life avatar standing in front of a carefully constructed
immersive landscape of Japanese imagery and stereotypes. The scene contains various visual elements
that originate from or are commonly associated with traditional Japanese culture. There is a red-trimmed
Pagoda; thick Bamboo shoots are visible in the corner of the screen; sand, gravel and rocks compose a
Japanese rock garden; and a woman in a kimono pours tea in a Japanese tea ceremony.
Each of the objects in this virtual Tokyo was created by a Second Life user, or resident, using a
3D modeler built into the Second Life user interface, programmed to behave in a certain manner and, if
not meant to be static, then is animated. Each object was originally an idea, filtered through the
13
User Interface.
14
Philip Rosedale, “Second Life Community Convention Keynote,” trans. Joey Seiler. The
Virtual World News Website, http://www.virtualworldsnews.com/2007/08/blogging-the-sl.html
(accessed on August 25, 2007).
15
Ibid.
xiii
resident’s memory of some physical world or imagined experience and realized within the domain of the
Second Life server. As such, it is subject to the vagaries of human subjectivity—ideals, stereotypes, and
content, where residents acquire meaning of this virtual landscape through visual and aural experience
d. Methodology
Framed within the context of visual studies, traditional art history—as a discipline entirely
devoted to observation and interpretation—offers the most refined methods for visual analysis. One such
art historian’s methods, those of Erwin Panofsky, have translated especially well to the movement of
visual studies. For Mitchell, a revival of scholarship focused on the work of Panofsky is a symptom of
the pictorial turn: “Panofsky’s magisterial range, his ability to move with authority from ancient to
modern art, to borrow provocative and telling insights from philosophy, optics, theology, psychology,
and philology, make him an inevitable model and starting point for any general account of what is now
called ‘visual culture’.”16 As a virtual world of visual construction that Panofsky could have described as
a “world of artistic motifs,” his art historical method becomes an essential tool for any discourse on the
Erwin Panofsky has been described as “one of the most prominent art historians of the twentieth
century” and important, among other reasons, for providing “the classic definition of iconography.”17
Panofsky defines iconography as both “the branch of the history of art which concerns itself with the
subject matter or meaning of the works of art, as opposed to their form”18 and “a description and
16
Mitchell, 1994, 16.
17
Eric Fernie, Art History and Its Methods: A Critical Anthology. (London: Phaidon Press
Limited, 1995) 103.
18
Erwin Panofsky. Studies in Iconology: Humanistic Themes in the Art of the Renaissance. (New
York: Harper and Row, 1939), 3.
xiv
classification of images.”19 He explains iconology as “an iconography turned interpretative,” a “method
of interpretation which arises from synthesis rather than analysis.” 20 Together these two methods
Panofsky famously uses an example of a man lifting his hat in greeting to illustrate his
iconographical method. Taken formally, nothing occurs except a “change of certain details within a
configuration forming part of a general pattern of color, lines and volumes which constitutes my world
of vision.”21 When Panofsky identifies the change of forms as an event, like the raising of a hat, he has
already left the limits of strict formal perception and entered into the first strata of meaning, that which
he calls “factual meaning.” From this factual meaning, one can judge expressional meaning by using
empathy to gauge a person’s mood or disposition. Together, factual and expressional meaning can be
“Secondary meaning” is characterized by convention and “has been consciously imparted to the
practical action by which it is conveyed.”23 In this specific example, Panofsky understands the meaning
of the lifting of the hat as a polite greeting due to societal convention. In art history, secondary meaning
is derived when “We connect artistic motifs and combination of artistic motifs (compositions) with
themes or concepts.”24 As Panofsky points out, this is how audiences understand a group of men at a
The final strata of meaning, “intrinsic meaning,” “is apprehended by ascertaining those
underlying principles which reveal the basic attitude of a nation, a period, a class, a religious or
19
Erwin Panofsky. “Iconography and Iconology: An Introduction to the Study of Renaissance
Art.” Meaning in the Visual Arts. (Garden City: Doubleday & Company, Inc., 1955), 31.
20
Panofsky, 1955, 32.
21
Panofksy, 1955, 26.
22
Panofsky, 1955, 27.
23
Ibid.
24
Panofsky, 1955, 29.
xv
philosophical persuasion—qualified by one personality and condensed into one work.”25 Panofsky
continues with his example of Leonardo da Vinci’s Last Supper, which when understood as “a document
of Leonardo’s personality, or of the civilization of the Italian High Renaissance, or of a peculiar religious
attitude,” the work of art becomes a symptom of something else, the synthesis of which becomes
Though suitable for processing visual information, Panofsky’s methods alone fall short given the
multi-sensorial medium of visual, aural, and textual information within Second Life. Every 3D model
and image within the virtual world is infused with textual data, termed metadata. Clicking on a tree in
Second Life will provide information about who created the tree, when it was created, its name, a brief
description, how many virtual objects it consists of, whether or not it can be copied, how to contact the
creator, etc. In addition, the tree conveys a great deal of other information. It may be animated to create
the illusion of tranquility by slowly dropping its leaves. Alternatively, the tree could be scripted to emit
the sound of leaves rustling—providing an impression of an impending storm or conveying the emotion
of foreboding in the viewer/listener. Perhaps this tree was described in a novel and the creator chose to
Given the inability of Panofsky’s iconographic methods to interpret dynamic aural and textual
phenomena, both Mitchell and art historian Donald Preziosi have advocated a re-reading of Panofsky’s
theories in light of the semiotician and art historian Jan Mukarovsky’s work. Mukarovsky linked the
rhetoric of semiotics with artistic iconography in such a way that “every artwork was an autonomous
sign composed of (1) an artifact functioning as perceivable signifier; (2) an aesthetic object registered in
the consciousness of a community functioning as signification; and (3) a relationship to a thing signified
—to the contextual sum of the social, philosophical, religious, political and economic fabric of any
25
Panofsky, 1955, 30.
26
Panofsky, 1955, 31.
xvi
given historical milieu.”27 For Mukarovsky, the visual can be understood within the subjective language,
words, and thoughts of a community. As such, the image becomes assimilated within the same linguistic
Using the same example of the tree, Mukarovsky would break the image down into a series of
adjectives, verbs, and nouns to identify its role as a signifier for a specific signified meaning within a
community. Both Mukarovsky and Panofsky would identify a picture of a pine tree with ornaments as a
Christmas tree, but they would reach the same conclusion from different routes: Panofsky via its
appearance and Mukarovsky through the words that describe its appearance. Only Mukarovsky’s
approach—that of semiotics—could reach the same conclusion if the tree had been described in a novel
or during a conversation, since Panofsky’s methods address the visual alone. Since trees in Second Life
are visible and have textual information that can be accessed by clicking on them, Panofsky’s approach
falls short.
Despite the ease with which Mukarovsky’s blend of semiotics and art history traverses from
image to text, his approach cannot wholly replace Panofsky’s methods. Preziosi criticizes Mukarovsky’s
writings as caught between “Saussurian linguistics and traditional art history” and thus unable to
describe the basic units of visual semiotics that he advocates.28 Not only can the visual not be reduced to
individual units in the way that words constitute a novel, but the complex forces that govern human
intuition—essential for iconological synthesis—cannot be completely broken down into individual parts.
iconography—has argued: “The essential tendencies of the human mind that are the basis of synthetic
intuition constitute a conceptual modality rather than a code.”29 (italicization hers) Given the individual
27
Donald Preziosi. Rethinking Art History: Meditations on a Coy Science. (New Haven: Yale
University Press, 1989) 116.
28
Preziosi, 116 –118.
29
Christine Hasenmueller. “Panofsky, Iconography, and Semiotics.” The Journal of Aesthetics
and Art Criticism. Vol. 36, No. 3, Critical Interpretation (1978): 298.
xvii
shortcomings of the scholarship of Panofsky and Mukarovsky related to the meanings of words and
images, it is clear that working in tandem, a more holistic synthesis of any given object’s meaning can
be drawn.
Using this resulting method, an observer can gain an understanding of a complex experience of a
location such as the ubiquitous Second Life establishment: the dance club. The observer can derive
synthetic understanding of this establishment by paying attention the visual iconography of the club
(architecture, colors, textures, lighting, dancing animations, avatar costumes), the aural and textual
sensory output (music, audible conversation, instant message text chat, signage, metadata popup
windows, toolbar interface), and extract the ideas behind it all (emotions and intended impressionistic
effects like hip, cool, frenzy, idiosyncrasy, European, or exclusive). Using the iconography of Panofsky
as informed by Mukarovsky, I will analyze the visual culture of the virtual world of Second Life and
The topography of Second Life is divided into regions. Each region can support 15,000
“prims,”30 Second Life’s atomic building blocks, plus a limited number of moving objects, like avatars.
The contents of each region are stored into one server instance.31 The entire content of Second Life is
stored on a network of Linux servers stored in San Francisco and Dallas, termed the grid, which allows,
“the world to grow infinitely in any direction simply by adding more Linux boxes.”32
30
Prims are rudimentary 3D geometric shapes like a box or sphere that can be manipulated,
textured, and bound together in Second Life’s in-world 3D modeler to create complex objects.
31
All the code data in a server’s program memory forms a class. An instance is a run of that class
given the class’ functionality.
32
Linden Lab. “Second Life Product Fact Sheet.” http://lindenlab.com/press/technology
(Accessed on 2-17-07)
xviii
The geography of Second Life is heterogeneous and diverse. As an application distributed freely
on the internet, and thus functional from anywhere in the physical world with a computer and a
broadband internet connection, the variety of content found in Second Life is comparable to the variety
of the web itself. As such, a cursory survey is a daunting task. However Linden Lab itself has built in a
search tool into Second Life’s interface that can be approached as a useful introduction into Second
Life’s content.
Linden Lab has created 11 general categories in Second Life’s search function from which all
places are tagged: Linden, Adult, Arts and Culture, Business, Educational, Gaming, Newcomer Friendly,
Shopping, Parks and Nature, Residential and Other. These textual metadata categories, descriptive
keywords that facilitate searches, are helpful to identify the breadth of Second Life content. The number
of avatars in each category is tallied once the search results are compiled for each category so that an
idea of a ranking of popularity for each location exists. Popular, characteristic places in each category
include:
Linden. The Linden category identifies places that have been built by the Lindens, the collective
staff of Second Life’s creators, Linden Lab.33 There is a section of Second Life called Linden Village
that contains several adjacent regions owned and built by Linden staff. Here Lindens hold office hours
and conduct meetings with Second Life residents. Greek inspired temples give off an aura of Mount
Olympus; it is home of the ‘gods’ who created Second Life.iii There is also a balloon tour of Linden
Village, designed by Pathfinder Linden, that describes the residences and offices, geographical features,
and art and sculpture of Linden Village.iv Pathfinder Linden has also installed a collection of resident art
in an outdoor gallery featuring both physical world art and art exclusive to the Second Life medium.v
Adult. Like the web, a large amount of content in Second Life has erotic and pornographic
themes. This content takes the form of places like strip clubs, nude beaches, and sex clubs, but also
33
Also Linden Research Inc.
xix
sexual animations and sexual avatar appendages—all of which contribute to a robust sex industry. One
of the most heavily trafficked destinations for sexual content in Second Life is Orgy Island. Upon
logging in to this region, avatars are first confronted with an array of shops selling sexual animations,
detailed skins for their avatars that are more complex than the default appearance editor skin, a wide
variety of genitalia, and other sexual apparatus.vi The resident then walks from the shopping section onto
a palm-lined beach that features an open air strip club, streaming pornographic video on wall-mounted
screens, voyeurs, lurkers, and various orgy platforms in which any avatar passerby can take part by
Arts and Culture. The most prominent institutions for art and culture on the Second Life grid are
museums and galleries. Second Louvre is one of the largest museums for Second Life art and contains
images of physical world art scanned into Second Life and also art exclusively built in Second Life.viii ix
Other examples include the Phoenix Museum of Art and the Museum of Modern Art.35 There are also
many niche museums like the International Spaceflight Museum or the Star Trek Museum. Conventional
museum designs can be traditional—like the Second Louvre36 mimicking physical-world architecture,
open air—or unconventional—like the Open Source Museum of Open Source art where users can
Business. There currently are numerous banks, stock exchanges, a Second Life Exchange
Commission, and ATMsx in Second Life. Regarding conventions used for the construction of places of
business in Second Life, Shira Boss of the New York Times observed that, “Banks and stock exchanges
34
A pose ball is literally a floating ball in Second Life. By clicking on it, the resident can select
from different animations or actions to engage in. Clicking in pose balls over chairs lets the
resident sit down. Pose balls next to a cup of tea, allow the resident to drink. Etc.
35
Not affiliated with the Museum of Modern Art, New York City.
36
Not affiliated to the Louvre in Paris.
xx
are housed in huge, formal structures draped in marble and glass.”37 The Second Life Capital exchange
illustrates her remark.xi As an example of business during a typical day, one US Dollar sold on average
for 272.6 Linden Dollars and $1,044,515 (U.S.) had been spent over the course of 24 hours.38
Demonstrating the financial potential of the virtual world, in November 2006 virtual real estate
—which sometimes employ as many as 70 people working from all over the world—meet and work
almost exclusively in Second Life. Approximately 200 development companies in Second Life have a
combined revenue of over $60 million and continue to grow at rapid rate.40
Educational. Universities have embraced the platform of Second Life for their purposes. The
New Media Consortium, an organization of over 200 universities, museums, colleges, and learning-
based companies that utilize technology as a tool for education, established a campus in Second Life.
Individual universities and colleges have taken similar routes. DePaul University and Columbia College,
both in Chicago, are two examples. Both institutions use different iconography based on their distinct
identities. Depaul University emphasizes classical learning by displaying a lecture room outdoors in a
Greek-inspired theatrexii while Columbia College’s lecture rooms are filled with media centers,
Gaming. The platform of Second Life features districts where avatars can use violence and be
injured or killed, behavior that is generally prohibited. These violent districts are often for the purpose of
37
Shira Boss. “Even in a Virtual World, ‘Stuff’ Matters.” New York Times.
http://www.nytimes.com/2007/09/09/business/yourmoney/09second.html (accessed on 9-9-07)
38
“US Dollars spent in Second Life over last 24 hours” Reuters. http://secondlife.reuters.com/
(September 19, 2007)
39
Roger Parloff. “Anshe Chung: First Virtual Millionaire,” CNNMoney.com.
http://money.cnn.com/blogs/legalpad/2006/11/anshe-chung-first-virtual-millionaire.html
(accessed on 2-10-09)
40
Cory Ondrejka. “Collapsing Geography: Second Life, Innovation and the Future of National
Power.” Innovations. ed. Philip E. Auerswald and Iqbal Z. Quadir. Volume 2, Issue 3 (2007): 41.
xxi
video gaming. Dark Life 2 and Midgar are some of the most popular games in Second Life.xiv These
games, and others in Second Life often resemble MMORPGs like World of Warcraft, because of the
nature of the Second Life platform as a persistent, multiplayer world. They often contain medieval
fantasy or science fiction settings and the iconography to support each theme.
Newcomer Friendly. Both Lindens and residents have created welcome areas to transition a
resident into Second Life. These sites often feature free items, lists of interesting places in Second Life,
and experienced users often become guides to new users. These areas are characterized by large open
spaces for conversation, dance floors, pools, and gigantic wall space covered in advertisements for free
Shopping. Shopping and advertisements for saleable objects are nearly ubiquitous in Second
Life. Shopping is a mixture of objects designed for Second Life and physical world corporations
promoting themselves through the platform of Second Life. xvi These objects are sold in expansive malls
that often take the form of giant warehouses corrugated into different rented blocks for retailers. Other
shopping centers take themed approaches like a marketplace from a medieval time period.xvii
Parks and Nature. The inclusion of simulated nature in Second Life is encouraged by Linden
Lab. Though each tree, bush, grass, or flower may be a complex object, they do not infringe heavily on
the prim count limit for each region, which can only support 15,000 prims. Linden Lab counts all flora
as a single prim to encourage the greening of Second Life, otherwise designers may reserve the precious
prim count for important buildings and structures rather than the aesthetic garnish of greenery. The
resultant landscape is decorated with simulations of plant life that sway lightly in the algorithm of air
currents. Some parks, like the Gardens of Apollo, feature sublime landscapes and elaborate floral
arrangements. Others, like Svarga, contain simulated ecosystems, complete with genomic algorithms
xxii
Residential. Owning private land and creating residential spaces is a popular pastime in Second
Life. Since a fully loaded mansion can be built for free or purchased for under $10, private residences
are not limited by expense or resources. Land can be more expensive; it is possible for residents to spend
large amounts of money buying virtual islands, or paying high prices to live in developed communities.
After interviewing architectural societies, development companies, Linden Lab employees and residents,
Seth Kugel of the New York Times has observed that after months of living wild fantasies, Second Life
residents tend to focus their activities on designing or buying homes, furniture, and gardens.41 People
seem to desire slightly better versions of their physical world homes, rather than their wild fantasy
homes. Writes Pauline Woolley, editor of Second Life design magazine Prim Perfect: “You have people
who go for the castles, palaces, the fantastic … But many, many people buy the rather nice suburban
Other. Many regions cannot be neatly compartmentalized into a specific category. There exist
regions devoted to fan culture related to TV shows, movies, and video games; politically related regions
from which political opponents lobby for governmental positions in Second Life and in physical world
positions; whole built environments based on fictional places or literary genres; and settings for
As an introduction to Second Life visual culture, these searchable categories are grouped by
themes and ideas. They are located entirely on privately owned land and islands, which are infinitely
expandable. Linden Lab routinely introduces ‘new land’ that is made available for inexpensive sale to
new residents. This new land is literally created from the ether of cyberspace and is the product of an
addition of a new server to the grid. Linden Lab adds new land ostensibly to balance the increases in
41
Seth Kugel. “A House That’s Just Unreal.” New York Times. August 9, 2007.
http://www.nytimes.com/2007/08/09/garden/09second.html (accessed on 8-9-07).
42
Ibid.
xxiii
resident accounts.43 Another form of new land is the private island—a region or regions that were
purchased by corporations like IBM or Dell, or institutions like universities, from Linden Lab for a fee.
Unlike physical world boundaries that are defined usually by geographic terrain like rivers, oceans, and
mountains, boundaries in Second Life are cordoned into private space open or closed to traffic as
determined by residents of that area. Once a resident purchases a plot of land, he or she can check a box
in their property pop-up window to either enable or disable public traffic. Disabling the checkbox will
erect an invisible barrier surrounding the perimeter of the land. Residents attempting to cross this
invisible wall will bounce back from it and be prompted with a message stating that the land is restricted
access. If the owner of the land grants the trespasser access, then he or she will be able to cross the
invisible barrier. Generally the majority of Second Life land functions by these rules—all land is
privately owned, but private residents sometimes grant access to residents, especially residents
The external interface of Second Life is that of the high performing personal computer with
broadband internet access, keyboard, and mouse. The user accesses Second Life through a web-
browsing client and can then retrieve the data stored on the servers of Linden Lab. The content streams
from the server to the client in real time at broadband bandwidth levels. After downloading the client,
the user selects a name, a password, a pre-constructed avatar template, and agrees to a Terms of Service
policy. Then the user logs into Second Life and the constructed virtual landscape streams to his or her
computer’s monitor.
43
New land is often quickly snatched up by unscrupulous land barons. I spent several weeks
trying in vain to purchase new land. As quickly as it is offered on the auction site, barons create
an alternate avatar, purchase the land, and then transfer the title to their main accounts.
xxiv
Internally, residents navigate around Second Life using arrow keys and interact with their
environment via the mouse. The standard camera viewpoint is fixed slightly above and behind the user’s
avatar. When the avatar walks, the camera follows. However, users can also switch the camera so they
feel they are looking through their avatar’s eyes in the first person viewpoint. They also have the option
Residents are able to communicate with one another by typing in a chat pop up window,
although Linden Lab has installed an update that allows residents to use a headset to speak to other
avatars in Second Life. To transport from one place to another, users open the map window and double
click on a satellite view of the surrounding terrain. Otherwise they can execute a search command from
the search engine and select teleport from the search results.
Building can only occur in designated ‘sandbox’ areas or on the resident owned land. To create
actual content in Second Life, the resident right clicks on the ground and selects ‘Create’ from the pie-
shaped option menu that pops up. This opens the ‘Build Window.’ With the build window open, the
resident selects a prim and it appears in the world. The resident can then render the object using Second
Life’s 3D parametric modeler. Dissimilar to other modeling software, Second Life parametric modeling
is less computation intensive because, “it describes objects using a few simple parameters rather than
explicitly describing every part of every object like other modeling techniques do.”44 Though this
modeler does not have the versatility and detail as other modelers, Second Life wouldn’t be possible
without it because the user’s broadband internet could not stream the data from server to client fast
enough to make the world functional. As a tradeoff, Second Life graphics often lack the detail,
Using color-coded object handles, residents can move, rotate, and stretch their prim object.
44
Michael Rymaszeswski, et al. Second Life: The Official Guide. (Indianapolis: Wiley
Publishing, Inc., 2007) 134.
xxv
Second Life also allows for multiple residents to collaborate on a single object in real time. Additional
rendering features include transparency, material properties, physics, color, luminosity, and duplication.
Textures can be uploaded in .tga, .bmp, and .jpg file formats. Each object can consist of between 1 and
255 prims. Each region can only hold a finite amount of prims and avatars. If too many objects or
avatars congregate in the same area, the servers supporting that region will be taxed and animation on
Any object, once created, can be scripted and receives a 16-byte string known as a Universally
Unique Identifier (UUID).45 The internal, event driven scripting language that Second Life uses, Linden
Scripting Language (LSL), was written by former Chief Technology Officer of Linden Lab, Cory
Ondrejka, and has syntactical similarities to C or Java. LSL allows the user to modify the behavior of
virtual objects—to bring a static object to dynamic life. Ondrejka has concisely described the creation
“In Second Life, the resident would start building the piano in real time,
creating primitives as needed. These primitives would be scaled, textured,
colored, and combined to create the piano. Sound could be added to the
keys, so it could be played. A symphony could be composed on it. Rather
than simple decoration, this is a piano. If the builder needed help, she could
reach out to other members of the Second Life community for resources,
including building tutorials, models, textures, audio samples, and help with
the scripting. Of course, since these are primitives, the piano could also fly
or follow the resident around like a pet. Copies of the piano could be given
away or sold with practically no marginal cost of reproduction. When the
piano was no longer needed, it could be removed from the world and stored
for later use.
xxvi
Ondrejka’s piano example hints at the possibilities of 3D modeling coupled with programming.
An especially salient site, that contains a virtual ecosystem of artificially intelligent models interacting
with one another, is called Svarga. Created by resident Laukosargas Svarog, Svarga’s ecosystem
contains flowers, plants, bees, bats, and clouds. Each entity in Svarog’s ecosystem is scripted to behave
in a certain manner within certain constraints. The entities are actually alive in the sense that Svarog
does not need to closely monitor their behavior: they act autonomously. Trees grow from seeds, bees
distribute pollen from flower to flower, and clouds soak up water and rain. Svarog claims to have even
seen limited examples of emergent behavior in her simulation; at one point blue became the dominant
Many peripheral software tools are used by residents to create content for Second Life. One of
the most common is Avimator, an open source software animation tool for editing avatar movements.
Residents routinely use programs like this and other animation packages like Maya and Poser to create
dance maneuvers, running and walking movements, and any other specialty animation not already found
within Second Life. These animations can then be uploaded and sold. Photoshop and other graphical
editing software programs allow users to create and edit textures and upload images into Second Life.
Also, machinima video capture tools like DigiG and Adobe Premier enable prospective machinima
The in-world 3D modeler used to construct 3D content has some limitations, it can only contain
up to 255 prims. To circumvent these constraints imposed by the ratio between the number of servers
capable of supporting a region, content developers in Second Life utilize external, more complex 3D
modelers like Maya or Blender to create sculpted prims. Sculpted prims, or sculpties, are prims “whose
47
Laukosargas Svarog, an interview with James Wagner Au on “God Game” New World Notes
Blog, http://nwn.blogs.com/nwn/2006/05/god_game.html (4-9-07)
48
Machinima refers to production tools capable of recording computer-generated imagery in
virtual worlds and video games.
xxvii
shape is determined by an array of <math><x, y, z></math> coordinates stored as RGB values in an
image file (a Sculpt Texture or Sculpt Map). Sculpted prims can be used to create more complex,
organic shapes that were not previously possible with Second Life's prim system.”49xix Each sculpted
prim, when uploaded as an image file to Second Life, counts as a single prim. Sculpted prims have
A final, significant part of the Second Life interface is the capacity to form groups. Two or more
residents can form a group by clicking on their avatar and selecting “Group” from the pie menu. Once a
resident forms a group, he or she becomes that group’s founder and is able to appoint successors. Groups
are often themed around a common interest that may or may not include the use of land. There are no
restrictions on the size of group owned land, the organization of its members, or the number of group
members. Detailed data of the group’s membership, charter, dues, etc. are included in an information
49
Linden Lab “Sculpted Prims.” The Second Life Wiki, posted on October 9, 2007
http://wiki.secondlife.com/wiki/Sculpted_Prims (Accessed 11-28-07)
xxviii
window. The group feature in the Second Life interface has facilitated and allowed for the networking,
g. History
Second Life has two intertwining histories: the external history of the conception, development, and
administration of a software enterprise in the early 2000s and the internal history of avatars, their
interactions, and their creations within the domain of Second Life. Events in Second Life directly
impacted the actions of Linden Lab, whose decisions in turn have defined Second Life’s changing nature
as application software and hardware. Both histories continue to be subject to shifting social, economic,
50
Second Life’s history is documented in detail by Second Life journalist Wagner James Au,
whose research and anecdotes I borrow heavily from in this section. His value as an eyewitness
is substantial. Yet as someone with a personal investment in Second Life, I maintain an alertness
towards his personal judgments about the virtual world. In the interest of transparency, I quote
his disclaimer from his book The Making of Second Life: “My observations of Linden’s inner
office workings are based on interviews with staff and management (past and present), and on
scattered occasions, my own experience as a part-time contractor. As with my reporting in-world,
my observations should not be construed as definitive judgment of the company’s policies then
or now, and instead should be read as my own personal interpretations, and mine alone.” …“I
have no financial stake in Linden Lab, and this book is tied to no contractual agreement with the
company. At the end of our business relationship, Linden transferred to me the intellectual
property rights to all I had written in New World Notes while on their payroll as a contractor,
with no existing obligations. That said my personal and professional investment in Second Life
is still considerable.”xxi
Wagner James Au. The Making of Second Life. (New York: Collins, 2008) xxixxii, xxi.
xxix
Virtual worlds themselves first emerged as text based online games called Multi-User Dungeons or
Multi-User Domans (MUD). Players navigated through descriptions of fantasy settings by typing in
commands and imagining their environs. These games often featured themes of fantasy and science
fiction and became a popular game platform for role playing games.
Following MUDs, science fiction authors began to imagine and pen novels about dark future
realities where loner hackers navigated between the real world and ‘cyberspace,’ a term which was
coined by William Gibson in his short story “Burning Chrome.”51 Gibson’s novel, Neuromancer, was the
crystallizing book of this genre, known as ‘cyberpunk.’52 This genre produced a work by author Neal
Stephenson in 1992 called Snow Crash.53 Second Life journalist Wagner James Au has observed that “It
was Snow Crash that made a virtual world (there called the Metaverse) an accessible, fully formed
concept to a wider readership.”54 Stephenson describes his Metaverse as millions of pieces of software,
made available for public access by a word-wide fiber-optics network, under the jurisdiction of a
corporate entity known as the Global Multimedia Protocol Group.55 To enter the Metaverse from reality,
the novel’s main character, Hiro Protagonist, dons a pair of goggles and earphones, which provide audio
and visual information of the Metaverse. “By drawing the moving three-dimensional image at a
resolution of 2K pixels on a side, it can be as sharp as the eye can perceive, and by pumping stereo
digital sound through the little earphones, the moving 3-D pictures can have a perfectly realistic
soundtrack.”56 The Metaverse is the graphical representation of software spliced together to create a
virtual world of buildings, streets, and avatars where it is always nighttime and a user’s programming
acumen determines the quality of the built environment. Also, when a user logs onto the Metaverse, they
51
William Gibson. “Burning Chrome.” Burning Chrome. (New York: Ace, 2003).
52
Bruce Bethke. “The Etymology of “Cyberpunk.” Bruce Bethke website.
http://www.brucebethke.com/nf_cp.html (5-17-08)
53
Neal Stephenson. Snow Crash. (New York: Bantam Dell, 1992).
54
Au, 2008, 6-7.
55
Stephenson, 25.
56
Stephenson, 24.
xxx
can appear as whatever type of avatar they like: “You can look like a gorilla or a dragon or a giant
This book was one symptom of a larger movement of California-centric techno-utopianism driven in
part by the writings of virtual reality enthusiast Howard Rheingold58 and the libertarian technology
magazine Wired. Within this cultural moment in California, future Second Life creator Philip Rosedale
was given a birthday present of Snow Crash in 1992 and was alerted to the idea of Stephenson’s
Metaverse.59 While Rosedale’s interest in virtual worlds gestated, he created a compression software
called FreeVue with a friend that allowed streaming video on dial-up internet connections. After serving
at venture firm Accel Partners under the wing of Lotus Development Corporation founder and one of the
facilitators of the personal computer revolution, Mitch Kapor. This entrepreneurship led to the official
incorporation of Linden Lab in 2001, funded by Kapor and Jed Smith from venture firm Catamount. 60
Linden Lab began as a decidedly for-profit venture, but was granted an extended period for
development by its investors; Kapor remarked that he was prepared “for several years before anything
happened in terms of revenue, much less profitability.”61 This venture began at the tail end of the
sweeping dot-com boom that was defined by overzealous capitalistic speculation in untested internet
technology companies and eventual bust. Au, in recounting the history of Linden Lab, acknowledges
that during this period “capitalistic excess and idealism overlapped and merged and from up close,
seemed indistinguishable” but maintains that an important, formative event separated Linden Lab from
other corporations interested solely in turning a profit.62 That event was Philip Rosedale’s journey to the
57
Stephenson, 36.
58
Au, 7.
59
Au, 16.
60
Au, 18.
61
Mitch Kapor, as quoted by Au, 19.
62
Au, 20.
xxxi
Black Rock Desert to experience Burning Man, the “freeform, quasi-gnostic art experience and
bohemians.”63 Rosedale remarked that Burning Man was “template for an online world — a place where
people could be whatever they wanted to be”64 and was impressed with its ethos of condescension
against commerce and brands.65 Burning Man advocates a gift economy where cash transactions are not
permitted.66
It is important to note here that two of Burning Man’s ten principles are “radical self reliance” and
“radical self expression” which bear a resemblance to liberty and autonomy, the central values of the
political philosophy of anarchism.67 The Burning Man website concedes its similarity to philosophic
anarchism, but maintains that “anti-social” actions have not been tolerated.68 Later, the influence of
Burning Man’s principles on Second Life’s experience will be unpacked and paralleled with the world’s
Terms of Service and Community Standards policies, which govern resident behavior within Second
Life.
Before its public launch, Second Life had more game-like characteristics that involved primitive
avatars shooting artificially intelligent creatures. However, Au remembers a board meeting that has
become “a milestone in SL mythology” where investors watched a Linden employee create a “giant, evil
snowman, while another was busy creating a mass of little snowmen, gathered around their titan Frosty
63
Ibid.
64
Kevin Maney, “The king of alter egos is surprisingly humble guy” USA Today,
http://www.usatoday.com/tech/news/2007-02-04-second-life-rosedale_x.htm (as accessed on 3-5-
07)
65
Au, 20.
66
“Preparation.” Burning Man website.
http://www.burningman.com/preparation/event_survival/sober.html (As accessed on 5-17-08)
67
Giorel Curran. 21st Century Dissent: Anarchism, Anti-Globalization and Environmentalism.
(New York: Palgrave Macmillan 2006), 20.
68
“Media Myths” Burning Man website.
http://www.burningman.com/press/myths.html#anarchist (as accessed on 5-17-08)
xxxii
to worship him.”69 The investors responded enthusiastically to this moment where users could build
collaboratively in shared environment and spontaneously play off one another’s work. Its appeal shifted
from that of a game, to something like a jazz improvisation – only with powerful content creation tools.
During its beta testing years, a limited number of users were permitted to access Second Life to
create content. During this period, Linden Lab began to experiment with social engineering. In order to
reward residents who created compelling content, Linden Lab awarded a monthly sum of Linden Dollars
to resident establishments like dance clubs or casinos who attracted the most visitors. In response to this
policy, innovative residents set up chairs within their establishments and actually paid people a few
Linden Dollars an hour to sit there; those attracted by the prospect of free money came to sit and
simultaneously increased traffic to the owning resident’s area, which in turn resulted in a reward for the
At the time of its launch, Linden Lab was challenged to turn a profit on Second Life, and created
a business model that revolved around a monthly subscription fee for residents. Since elaborate content
created by residents demanded more hardware construction for Linden Lab, residents who built more
objects than their monthly allotment were taxed. A group called Americana, who created many public
virtual monuments to U.S. landmarks, protested this tax because of the high cost—they were essentially
being penalized for creating quality content with high prim counts.70 Americana mimicked the American
Revolution in Second Life by creating iconography like muskets, tea crates, and the Gadsden flag to
mark their complaints. These protests, combined with internal policy discussion, and consultation with
Stanford law professor Lawrence Lessig, led to a revenue model based on land use sale and taxes, a
laissez-faire policy on buying and selling Linden dollars for real currency, and the recognition of
xxxiii
Importantly, at the time of Linden Lab’s decision to generate revenue by selling virtual land, the
company’s consultation with Lessig and economics professor Edward Castranova led to broader
physical world questions about how governments and economies nurture development in countries. The
group decided that Linden Lab would mimic the neoliberal economic policy advocated by economic
theorist Hernando De Soto.72 De Soto’s policy advocates clear private property rights and the protection
of those rights—policies that have lead to widespread acclaim and positive economic and political
reform in Peru.73 Rosedale read De Soto’s theories as a way to spur rapid content development: “The
fundamental basis of a successful developing nation is property ownership.”74 As a result, economic and
legal ownership was transferred to Second Life’s residents in its Terms of Service agreement.
Critically speaking, Linden Lab has not been an efficient facilitator of De Soto’s economic
policy, which mandates the enforcement of property protection and the elimination of bureaucratic
hurdles to property ownership. To purchase land, a resident had to follow a laborious twelve-step
process that “provoked the rise of so-called land barons,” who mastered the process, and rented or sold
their lands at a higher rate to other residents.75 Given the difficulty of purchasing land, it is a wonder that
development flourished. The fact that it did undermines De Soto’s economic theory that development is
De Soto also maintains that land ownership allows for entrepreneurship because individuals can
use properties as collateral to gain credit.76 Since, to my knowledge, no Second Life resident takes loans
72
Au, 127.
73
“Hernando De Soto Biography.” Cato Institute Website.
http://www.cato.org/special/friedman/desoto/index.html (As accessed on 5-18-08)
74
“Second Life and the Virtual Property Boom: Interview with Philip Rosedale” Aleks Krotoski
blog,
http://blogs.guardian.co.uk/games/archives/2005/06/14/second_life_and_the_virtual_property_b
oom.html (as accessed on 5-18-08)
75
Au, 151.
76
Hernando De Soto. The Mystery of Capital: Why Capitalism Triumphs in the West and Fails
Everywhere Else. (New York: Basic Books, 2003) 6.
xxxiv
using their land as collateral, the continued flourishing of development must be attributed elsewhere,
like the protection of property rights. For De Soto, the enforcement of owner rights over property (land,
objects, or other) allows these objects to function as an asset capable of being turned into capital.77 Here
his economic theory rings true as a catalyst for rapid development of virtual space in Second Life and
explains the uproar over copy software that appeared in Second Life in 2006.
The program at the root of the uproar, called CopyBot, was capable of copying any intellectual
property of Seccond Life’s residents. Au reports that the presence of this application, and Linden Lab’s
seeming ambivalence to it, resulted in “the largest and most substantial collective protest staged against
Linden Lab policy since the tax protest of 2003;” residents began to boycott Second Life and creation of
original content essentially halted.78 The protest was resolved when the Second Life Terms of Service
were amended to make CopyBot illegal. As confidence in Linden Lab as protector of rights returned, the
Copybot had been introduced by a group of residents, whose mission was to “reverse engineer a
modified version of the Second Life program” and “create limitless versions of the client, operating on
thousands of independent servers.”79 This group, called Libsecondlife, had used CopyBot for debugging
purposes, but this tool began to be sold in Second Life and prompted the boycott. Libsecondlife, which
is part of the open source movement,80 holds the belief that Second Life is bigger than Linden Lab and
should reject its corporate parenthood and assume the decentralized nature of the web. The open source
influence (and its anarchic characteristics) on Second Life will be explored in greater detail in the
Linden Lab itself actually sanctions Libsecondlife and has begun to open its source code. In a
77
De Soto, 6.
78
Au, 132.
79
Au, 130.
80
Open source refers to a method of public collaboration to develop software or other tools.
xxxv
blog post on January 8, 2007, Linden Lab’s Phoenix Linden made available the source code to the
Second Life client.81 The client is the viewer and interface, from which users access and interact with
Second Life content stored on Linden Lab servers. By making its source code available, Linden Lab
allowed individual programmers to manipulate and improve upon their interface client, which
previously was seen as not user friendly and unwieldy. Phoenix Linden cited the historical precedent set
by Netscape Communication, which released its web browser source code, an action which culminated
in open standard projects like Mozilla, Firefox, and Thunderbird.82 By analogizing Second Life’s open
source act with Netscape, Phoenix Linden reinforced the trope of Second Life as a form of 3D internet.83
This analogy anticipates Second Life as an open standard environment that will function as the
Even more significant than the release of the client source code was Phoenix Linden’s reference
to an impending rift in the grid’s infrastructural model. Rather than remain housed within a network of
servers maintained by Linden Lab, Phoenix hinted at “a vision of a globally interconnected grid with
clients and servers published and managed by different groups.”84 A transition of this magnitude would
completely eliminate Second Life as a privately maintained and hosted software (as subject to the rules
and regulations of its country of origin) and cement itself as a completely decentralized space. The grid
and client would then be completely subjected to community standards and protocols. Linden Lab’s
relationship with Second Life would need to be completely redefined because the company would no
longer accrue money from monopolies on land taxes and fees since other individuals and groups could
xxxvi
In December 2007, Cory Ondrejka left Linden Lab due to “irreconcilable” differences with
Philip Rosedale.85 Soon afterwards Philip Rosedale stepped down from his position of Chief Executive
Officer and assumed the position as Chairman of the Board.86 The loss of two of Second Life’s most
formative architects, whose actions and vision has been utopian and idyllic without being overly
consumed by desire for capital return, suggests a change in direction for Linden Lab. A new CEO, Mark
Kingdon, was announced by Rosedale in April 2008; Kingdon has a background in marketing and
business from private professional services firm PricewaterhouseCoopers and advertising agency
Omnicom Group.87
While at the time of writing Linden Lab has not released its server-side code, it has partnered
with IBM and an open source third party titled Open Simulator to expand the virtual world beyond the
Second Life grid. Open Simulator is project to enable individual computers to function as servers for
virtual worlds like Second Life. In 2008, IBM and Linden Lab successfully transported the first avatar
from Second Life into the one of Open Simulator’s servers.88 Why would Linden Lab promote a
competitor that would erode Linden’s land-based revenue model? Vice President Joe Miller claims that
Open Simulator will help to expand the market for virtual worlds and that Linden’s new role will be to
provide “valued added services” like “economic services, trading services, search services.”89 As Miller
85
Adam Reuters. “CTO Ondrejka Out of Linden Lab” Second Life Reuters News Center.
http://secondlife.reuters.com/stories/2007/12/12/cto-ondrejka-out-of-linden-lab/ (As accessed on
5-18-08)
86
Adam Reuters. “EXCLUSIVE - Rosedale to step down as Linden Lab CEO” Second Life
Reuters News Center As accessed on 5-18-08 from
http://secondlife.reuters.com/stories/2008/03/14/exclusive-rosedale-to-step-down-as-linden-lab-
ceo/
87
Philip Rosedale. “Announcing Our New CEO!” Official Second Life blog.
http://blog.secondlife.com/?s=Mark+Kingdon. (As accessed on 5-18-08)
88
Eric Reuters. “Interview: Linden Prepares for an OpenSim Future.” Reuters Second Life News
Center. Jul 11, 2008 http://secondlife.reuters.com/stories/2008/07/11/interview-linden-prepares-
for-an-opensim-future/ (as accessed on 2-24-09)
89
Ibid.
xxxvii
observes, the market for virtual worlds needs to be “several orders of magnitude larger than it is
today.”90 It remains to be seen whether increases in internet users, the expansion of broadband services
for world communities, the production of faster graphics cards, and the invention of unconventional
Now that I have outlined a brief geographic survey, discussed its interface, and introduced its
history; I will begin to explore who is actually using this virtual world and why. The answers to these
questions will help explain the ideas and motives behind the construction of the digital built
environment. Fortunately, Linden Lab provides detailed public data about Second Life usage and social
scientists have collected extensive data about the behavior of online gamers.
According to Linden Lab, there are currently approximately 14 million registered Second Life
accounts that have been created since 2004,91 although many have been abandoned or represent more
than one account per user. A more accurate number of regular users are those who have logged in within
the past seven days: about half a million.92 The majority of residents—about 37%—are Americans while
the remaining 63% hail from abroad. Germany and the United Kingdom are the two second highest
countries of origin at about 8% users each. Japan and France each have about 5% of the active accounts;
and Italy and Brazil each represent roughly 4% of users.93 Of these total accounts, slightly more than
half are men (59%). In terms of age, 35% fall in the 25-34 age group; 24% are in the 35-44 age group;
23% are between 18-24; 16% are 45 or higher; and almost 1% are 13-17.
As these statistics show, the most typical Second Life user is a male American in his late twenties
90
Joe Miller as quoted by Eric Reuters.
91
“Economic Statistics” Second Life Official website.
http://secondlife.com/whatis/economy_stats.php (As accessed on 5-19-08)
92
Ibid.
93
“Second Life Virtual Economy Key Metrics April 2008” Second Life Official website.
http://secondlife.com/whatis/economy_stats.php (As accessed on 5-19-08)
xxxviii
or early thirties—but not by a landslide. Women users, users in their late teens and early twenties, and
users in their late thirties and early forties all constitute major populations in Second Life. And by far,
more people have tried Second Life from other countries than from the U.S.
To answer the question why people use Second Life, I draw upon the research of Stanford’s Nick
Yee, who has asked 30,000 online gamers why they use virtual spaces. Though Yee’s survey was
directed towards online gaming, and not virtual worlds like Second Life, there are many similarities
between virtual worlds and MMORPGs. Namely, users of both virtual worlds and MMORPGs control
onscreen avatars in a shared, persistent, immersive, and contiguous virtual space. The key difference of
course is that Second Life is not a game per se, despite the fact it houses many games under its umbrella.
However, this difference is minimized by experts of virtual space, Peter Ludlow and Mark Wallace, who
According to Yee’s research, there are three central player motivations: achievement, social, and
immersion.95 Each of these motivations holds several subcomponents. Achievement player types desire
power, wealth, status, competition, and /or an understanding of the game’s physics to facilitate
progress.96 Other players who fall under the social motivation are interested in relationships, socializing,
and/or working with a team.97 Lastly, the immersion driven players seek discovery, roleplay, avatar
customization and/or escape from physical world issues.98 Yee also found that players may have more
than one motivation for participation.99 These findings provide a strong empirical backing and
correspond with my own observations of Second Life residents, as well as the anecdotal experience of
94
See the description of the crossover between The Sims Online and Second Life. Peter Ludlow
and Mark Wallace. The Second Life Herald: The Virtual Tabloid That Witnessed The Dawn Of
The Metaverse. (Cambridge: MIT Press, 2007)
95
Nick Yee. Motivations of Play in Online Games. Journal of
CyberPsychology and Behavior (2007): 9, 772-775.
96
Yee, 2007, 5.
97
Yee, 2007, 6.
98
Yee, 2007, 6.
99
Ibid.
xxxix
others.
Translated within Second Life, the achievement motivational factor can be identified in residents
pursuing business ventures, political hierarchies, and content creation. Seeking money, the virtual world
is filled with entrepreneurs, landowners and renters, businesses, and services. These individuals have
cultivated a substantial market—last month nearly 450,000 residents spent linden dollars.100 For
residents seeking political power, at some level politics and governance can be found in nearly every
shared community and vary in type dramatically. Potential political aspirations may range from the
system administrator of a MMORPG within Second Life to being king of a medieval fantasy
community. This topic of governance will be expanded upon in a later section. Finally, achievers can
also take the form of content creators like musicians, artists, architects, animators, and programmers.
This area of motivation often overlaps with financial and social aspirations as skilled builders can
benefit from increased respect and social standing as well as lucrative contracts for new content.
The social motivational factor correlates with the preponderance of social networks on the internet.
The social networking site Facebook currently is the fifth most visited website worldwide.101 Similarly,
Myspace and Friendster rank 9th and 47th respectively.102 Users all over the world log in and create a
profile, upload pictures, write blogs, peruse friend pages, email contacts, and post messages to other
users. Online dating services such as Match.com and eHarmony offer similar templates for users to post
People are clearly using virtual spaces, such as Second Life, as a way to meet
people and forge relationships. Its 3D nature allows for a richer interactive experience between
individuals than static 2D websites. Residents indulge in all forms of gestures, appearances, and
100
“Economic Statistics,” 2009.
101
Alexa Internet, “Traffic Rankings: Global Top 500.” http://www.alexa.com/site/ds/top_500 (as
accessed on 2-24-09)
102
Ibid.
xl
animations that simulate many physical world animations between individuals—allowing for high level
of social interaction.
Lastly, the Immersion factor accounts for the large amounts of virtual tourists who scour Second
Life for interesting sites, as well as the residents who roleplay with their appearance and identities.
Among residents, a marketing company found that 23% of residents played as a different gender and
22% wore a different skin color.103 Additionally, roleplay extends well beyond gender and skin color, to
include experimentation with sexual orientation, age, non-human identities, and even emotional
behavior. But this factor also includes escapists, those who retreat from physical world issues or
problems. Even Second Life founder Philip Rosedale has even postulated that escapism is a
driving factor in Second Life usage: “Users in big cities such as New York or Los Angeles were least
likely to spend time in Second Life, not only because they were busy but because they had less need to
escape to an alternative, anonymous world. Bad weather, oppressive regimes, poor economic conditions
— that’s what makes an SL user.”104 Here Rosedale perhaps overestimates escape as a motivating factor,
Second Life culture shares many similarities to the greater movement of participatory culture,
where consumers assume active rather than passive roles. The organization of this culture of content
Second Life is one recent phenomenon within a long history of user-created content on the
internet. Media theorist Henry Jenkins has written extensively on 21st century participatory culture,
media convergence, and collective intelligence—topics related closely to Second Life. Linden Lab
103
Au, 79.
104
Reuters Newswire. “New Linden CEO could be named within weeks.” Reuters Second Life. 4-
21-08. at http://secondlife.reuters.com/stories/2008/04/21/new-linden-ceo-could-be-named-
within-weeks/ (As accessed on 5-20-08)
xli
embodies the type of company that Jenkins has termed “collaborationist.” He explains: “new media
companies are experimenting with new approaches that see fans as important collaborators in the
production of content and as grassroots intermediaries helping to promote the franchise.”105 In this model
of a company, the delineation between consumers and producers becomes complicated. Jenkins
envisions new consumers as “active,” “migratory,” “socially connected,” “noisy and public,” as
compared to the old consumer who is “passive,” “predictable,” “loyal,” and “isolated.”106 The new
consumers represent a participatory culture that wants to vote for an American Idol, write a blog, watch
and upload videos on Youtube.com, and network with friends on Myspace.com. The same participatory
culture uses Second Life to participate in the creation of virtual 3D space. As a characteristic of
contemporary consumers, groups within Second Life participate in the construction of the landscapes of
The enormous, expanding landscape of Second Life is testament to the prolific character of
participatory culture. Certain open source projects within it recognize the power of participation and rely
on it for the construction of 3D space. One example is Second Life’s Open Source Museum of Open
Source Art (OSMOSA), conceived of by several students from Brown University. A website witnessed
the museum’s opening: “The modding107 got under way at the opening party Tuesday night: an already-
altered image of Manet’s Olympia (with space helmets added to make it more excellent) came out the
other end of the night with some interesting additions and adjustments.”108 The museum is organized so
that any user can manipulate the structure of the museum or the art within it. This example also
illustrates the frequently repeated trope that Second Life functions as a 3D wiki.
105
Jenkins, 134.
106
Jenkins, 19.
107
Modding: modification.
108
Mark Wallace, comment titled “Open-Source Museum Opens in Second Life,” The
3pointD.com Blog, comment posted May 7, 2007. http://www.3pointd.com/20070427/open-
source-museum-opens-in-second-life/trackback (accessed on 5-7-07)
xlii
Fan culture in particular forms large swaths of regions in Second Life because of the platform’s
potential for roleplay. A fan or fans of a particular movie, book, band, artwork, political party, sports
team, celebrity icon, or videogame can be so enthusiastic about their particular interest that they create a
virtual space of immersion for themselves and other fans. Before video games and virtual worlds, fan
culture took the form of fan fiction, websites, clubs, conventions, and magazines. Executing a quick
search command for “star + wars + fan” from the Second Life group search window, the user is
prompted with 101 unique groups related to the topic from all over the grid. A search for “star + wars”
from the place menu returns dozens of shops, sims, and gaming environments. The first link, Little Mos
Eisley – Star Wars City, teleports the avatar to a spaceship hangar. Upon arrival, a 20 foot Darth Vadar
breathes heavily during an anachronistic role play conversation with light-sabre toting avatars.
Jenkins has defined fan culture as “the appropriation and transformation of materials borrowed
from mass culture; it was the application of folk culture practices to mass culture content.”109 Traditional
grassroots folk culture practices, like story telling and barn dancing, were eclipsed by mass media in the
20th century. The creativity of these folk practices now emerges with access to inexpensive new
technologies that enable mass culture, “to archive, annotate, appropriate, and re-circulate media
content.”110 Jenkins sees fan culture as advocating a participatory culture relationship between the
masses and media, in which fans take an active role in the production of content.111 Several examples of
the results of participatory culture include reality TV, fan fiction, and interactive video games.
Like other web-based open source projects involving user participation, these projects tend to take
the form of a meritocracy, a social system that rewards ability. Cory Ondrejka has noted of the
meritocracy system in open standard projects, “When members of a community are actively contributing
to the success of the project, and their contributions are measurable in concrete ways, trust in the
109
Jenkins, 246.
110
Jenkins, 136.
111
Jenkins, 131-135.
xliii
knowledge and expertise of various community members builds rapidly. Often this expertise is codified
in community structures, governance, or hierarchy, making it easier for new members to know whom to
trust on specific issues.”112 He cites a specific example of a meritocracy based in Second Life in the form
of content developers. Developers are hired based on their accomplishments rather than an interview
system. This is also the model that the Second Life community programmers utilize when refining the
This informal meritocracy structure in open source movements and Second Life development
and content creation models has many parallels to informal social anarchism. Political Science Professor
Giorel Curran traces the utilization of the internet by the anarchism movement. He writes that “the
internet’s early development reveals an embeddedness in a quasi-anarchical ‘gift’ culture driven by free
and open access to an informational commons.”113 Free software developed through open source
collaboration such as Firefox and Linux are ready examples of this trait. The structure of the internet
allows for a certain democratization of websites, where all sites can be accessed through IP address and
conform to the same scale of the web browser window; this equal platform is analogous to anarchism’s
non-hierarchical ethos. One thing that all Second Life users have in common is a degree of internet
savvy, and are familiar with the free software and open source culture of the web (if they are not already
For years, informal social anarchists and cyberspace libertarians have been at war with the
regulations of traditional nation-states. One of the most emboldened responses followed the United
States’ Telecommunications Act of 1996 which updated legislation for regulation of communications
media. Former Grateful Dead lyricist, cattle rancher, and founder of the Electronic Frontier
Foundation114 John Perry Barlow vocalized the emotions of many cyber-libertarians in his “Declaration
112
Ondrejka, 2007, 40.
113
Curran, 76
114
A nonprofit devoted to free speech and civil liberties in technology.
xliv
of the Independence of Cyberspace.”115 Barlow’s rant is addressed to “Governments of the Industrial
World,” and declares that governments are not “welcome,” “have no sovereignty,” and use false claims
“to invade our precincts.”116 He defines cyberspace as “a world that is both everywhere and nowhere”
where “all may enter without privilege or prejudice accorded by race, economic power, military force, or
station of birth.”117 He claims that the users of cyberspace will determine their own governance, with its
own social contract. While Barlow does not specify the nature of this governance, he does mention that
“the only law that all our constituent cultures would generally recognize is the Golden Rule.”118 Of
course, Barlow’s reference to the golden rule is less of a formal law and more of an unspoken
Barlow’s declaration gained popularity and was reposted numerous times on different websites
and is indicative of the ethos that pervaded amongst internet users of the early 1990s.
Barlow’s ire countered the brash Telecommunications Act, which violated free speech by trying to
regulate indecency and obscenity on the internet, among other shortcomings.119 Though he has
acknowledged that he would like to revise his declaration so that it is clear that cyberspace is closely
linked to the physical world, Barlow continues to maintain that cyberspace has its own social ethics and
is an example of “working anarchy.”120 He further states that the anarchy of the internet “inspires people
to try practical anarchy as a social form in the physical world;” he cites the example of Burning Man
where a large group of people exist with no crime or government.121 Barlow’s rhetoric rejects the
115
John Perry Barlow. “A Declaration of the Independence of Cyberspace.” Electronic Frontier
Foundation Website. http://homes.eff.org/~barlow/Declaration-Final.html (As accessed on 5-18-
08)
116
Barlow.
117
Barlow.
118
Ibid.
119
Partially overturned by the landmark ACLU vs. Reno in 1997.
120
Roshni Jayaker “Interview: John Perry Barlow” Business Today Website. at http://www.india-
today.com/btoday/20001206/interview.html (As accessed on 5-17-08)
121
Ibid.
xlv
influence of governments on the internet because as a decentralized network spreading across the world,
Barlow’s praise for the anarchic qualities of the internet—which takes physical world incarnation
at events like Burning Man—is indicative of a general interest in anarchy’s ideas, but lacks the formal
regimen of anarchism with a capital A. Curran has referred to this growing interpretation of anarchism
as “Post-ideological anarchism” which “refers to the looser and more flexible embrace of anarchist ideas
and strategies in the armoury of radical dissent. Post-ideological anarchists are inspired by anarchism’s
principles and ideas, drawing from them freely and openly to construct their own autonomous
politics.”122 These post-ideological anarchists can be found in the open-source movement, hacker
culture, the file-sharers of copyrighted material, and in relatively un-enforced virtual spaces like Second
Life. While Curran has recognized that anarchism takes forms like individual anarchism, anarcho-
individual and social anarchism. In Curran’s post-ideological era of anarchy, the open source
meritocracies in Second Life and beyond represent social anarchism, which he defines as those who
“favor communal responses to social problems. While viewing the individual as the key, social
anarchists believe that individual flourishing can only occur in a communitarian society.”124 These online
122
Curran, 2.
123
Curran, 22.
124
Curran, 23.
125
Curran, 62.
xlvi
Curran’s informal, social, anarchistic communities closely resemble the meritocracies that
Ondrejka outlines in Second Life and the open source movement. The societies of Second Life are also
the products of participatory culture, where users craft their experiences. The next section will examine
the built environment of Second Life communities, as constructions that share characteristics of anarchic
Everywhere, social groups and global corporations are increasingly assuming a postnational nature, even
in the face of extreme nationalism.126 When masses of people migrate across borders and communicate
around the world via technology, national borders become less relevant. Building on these observations,
Ondrejka notes that “nations must reexamine their sources of, and claims to, national power. Traditional
models based on natural resources and population are no longer sufficient.”127 He urges nations to
rethink traditional forms of material natural resources and instead focus on the natural resources of
Of this phenomenon, cultural anthropologist Arjun Appadurai has observed that the idea of a
territorialized nation is becoming obsolete for global populations—to be replaced by different social
forms.128 “These formations are now organized around principles of finance, recruitment, coordination,
communication, and reproduction that are fundamentally postnational and not just multinational or
international.”129 He cites examples like the transnational philanthropic organization Habitat for
126
To be sure, nations are still very central to physical world identity and society. But Second
Life is a deterritorialized space on the web and Appadurai’s observations reflect what relatively
unregulated spaces might look like.
127
Ondrejka, 2007, 29.
128
Arjun Appadurai. Modernity at Large: Cultural Dimensions of Globalization. (Minneapolis:
University of Minnesota Press, 1996), 169.
129
Appadurai, 167.
xlvii
Humanity, terrorist groups, and international fashion networks.130 Other postnational groups include
religious organizations, sport fan clubs, or academic specialists. These sodalities in the physical world,
defined as societies of association, share many traits with similar societies of association in Second Life
and appear to be experimental templates for societal organization in a postnational world. With Second
Life, there are sodalities of shared language, interests, religions, and missions; sodalities formed around
ideas of utopia or dystopia; sodalities of roleplay and entertainment; and also sodalities organized for
education, business and politics. Some specific examples include the communities of the Goreans,
manifestations of John Norman’s science fiction novels about sexual master/slave relationships; the Star
Wars themed Dantooine sim; the Goth societies of the Vampire Empire; and regions of woodland in
Luskwood where residents dress up as animals, called furries to name a few. Operating on the
deterritorialized web, these societies are created and inhabited by residents from all over the world in a
shared space.
A closer analysis reveals that there are three different types of societies of association: spaces
that simulate actual places in physical world geography; spaces that represent imagined places that do
not exist in the physical world; and communities that lie somewhere in between. At the vanguard of the
development of these spaces are artists, architects, and entrepreneurs who defy physical world
limitations and conventions and distinguish Second Life as a unique medium for the production of 3D
space. I will cite three examples to illustrate each of these user-constructed spaces: first a virtual Japan
that simulates stereotypes of Japan; second, the Independent State of Caledon exemplifies a sodality
based on shared literary fiction tastes; and lastly the artist Dancoyote Antonelli who uses the Second
Life medium to create a new form of aesthetic experience that has little grounding in physical world
130
Ibid.
xlviii
j. Sodality of Simulation
Second Life holds numerous sites that reproduce actual geographic locations from the physical
world, either as an exact scale replica or as a conglomeration of symbols, stereotypes, and archetypes.
Nagaya, a Second Life site that simulates the physical world city of Kyoto, Japan, is a point of access to
When transporting into Nagaya, residents encounter a virtual region that has been constructed
out of hundreds of icons that evoke Japan.xx A building titled Juho Castle is immediately reminiscent of
Japanese architecture, with its curving roof and tiered stories, despite the reality that this particular
structure is constructed of minimal amounts of prims and appears quite rudimentary. Nearby is a well-
developed model of a Japanese pagoda, a decent build in the region by resident Rumi Simpson, with a
moderate level of detail and complexity.xxi In addition to architecture, builders have incorporated flora
like iconic cherry trees, sakura, and fauna like the Japanese carp, koi. Clothing and animations are sold
on the streets of Nagaya from unmanned, artificially intelligent booths, capable of making automatic
transactions. In this way, visitors can purchase kimonos for several U.S. cents and walk as one would
within its fabric arrangement. There are even animations for men or women to sit in the seiza position as
The purely formal observations of the forms, colors, movements, and sounds correspond to
Panofsky’s “primary” or “factual” strata of meaning. The curved roofs, kimonos, koi and cherry trees are
xlix
easily recognized. Along with these formal elements, the viewer also gains a sense of the expressive
qualities imbued upon the reconstruction of a city. It is clearly a peaceful, tranquil, non-confrontational
space as evidenced by animations of swaying trees and swimming fish; and the sounds of bubbling
It is at Panofsky’s secondary strata of iconographic analysis that the viewer realizes that the sum
total of the space’s visual culture constitutes a feeling of “Japan-ness.” The sights and sounds are
instantly recognizable stereotypes advanced by popular culture in the physical world. It is important to
note that this space does not mirror an exact geographical architecture or map (although places like this
exist in Second Life), it is rather a microcosm of someone’s interpretation of the visual culture of Kyoto.
But beyond referencing an actual city and country, Nagaya also functions as a site for tourism. Maps and
signs are posted around the area and many buildings do not have an entrance or interior—rather they are
created as purely viewable architectural curiosities only. Other tourist metaphors abound, like the
abundance of shops or the explanatory text found in the popup boxes of individual objects.
After observing its forms and reflecting upon its meanings, Panofsky would then speculate about
the site’s “intrinsic meaning. ” He would ask, what are the “underlying principles which reveal the basic
and condensed into one work?” 131 While this question is relevant and valuable, the wording of the
question is confined to a period in which solitary artists created solitary artworks. There certainly are
artists who continue to operate in this manner both in Second Life and the physical world, but a short
jaunt around Nagaya reveals that it is a patchwork quilt of virtual space assembled by many avatars:
Randy Kamabok, Rumi Simpson, and Lilith Heart among others. The relative anonymity of Second Life
makes it difficult to know whether any given avatar is from China or Cleveland.
Biographical knowledge aside, the casual observer can still ascertain who created what within
131
Panofsky. 1955, 30.
l
any space by clicking on the objects. Rumi Simpson created some of the more elaborate builds in this
region, like the aforementioned pagoda and the shamusho, a Japanese religious building. Lilith Heart
created much of the Japanese flora, like the white and pink cherry blossom trees. Randy Kamabok
created some of the stores and sushi shops in the area and owns much of the content. Together, this small
group of avatars of varying 3D modeling skills collaborated to create a space that simulates tropes of an
actual geographical city. This collaboration clashes with Panofsky’s definition of intrinsic meaning, as
constrained by “one work,” and needs to be expanded to include many works within one space that
collectively form its visual culture. This amendment to his methodology is especially essential for
considering most Second Life regions, which tend almost universally to be created by multiple builders.
These collaborations are due to the world’s modeling interface, which was designed to accommodate
multiple builders;132 sharing the cost of virtual real estate to keep costs low; and finally, the existence of
themed sodalities requires group consensus and teamwork to create a mutually appealing built
Panofsky’s revised inquiry, then, might read: what are the fundamental traits of collective space
as qualified by multiple artists—and what do these traits reveal about the nature of the culture(s) from
which it was produced? As I’ve already established, residents are involved with Second Life for social
reasons, achievement motivations, and for an experience of illusion. All three factors are at work in
Nagaya. Achievers looking to turn a Linden buck and create an attractive environment have set up shops
and designed its built environment. The illusory setting also functions as a site for roleplay and escape,
where virtual tourists can buy kimonos and animations and pretend to be someone else somewhere else.
li
Aside from the motives of its creators and patrons, what else does this site of simulation tell us
about the culture that created it? Cultural theorist Jean Baudrillard might claim that this virtual world
location may not differ that drastically from places within the physical world. After all, he claimed that
certain places in the United States weren’t really real, even before the creation of virtual worlds. His
writings concerned the visual environment as a place where the real has effectively vanished, with
of the real, preferably through another reproductive medium,”134 Baudrillard cites Disneyland as an
example of a place whose appearance is so far removed from its original references that it becomes a
simulacrum, a new real.135 He describes different phases of images that begin with a reflection of basic
Given the obvious parallels, Baudrillard would agree that the visual culture of Nagaya operates in
the same way as the Japan pavilion in the World Showcase of Epcot Park at the Walt Disney World
Resort; because both leverage traditional notions of Japanese iconography and stereotypes to convey a
sense of place. They both feature pagodas,xxiii pools, gardens, clothing, and bonsai trees. While linking
Second Life tourist destinations with Disneyland, researcher Betsy Book observes that in Second Life,
objects “are a new order of simulacra, even more hyperreal than the classic simulacra of Disney
World.”137 Regarding Disneyland (and one can assume Second Life by association) Baudrillard held a
decidedly low opinion. He writes that the hyperreal world is the product of the media and capitalism
134
Jean Baudrillard. “The Hyper-realism of Simulation.” Jean Baudrillard: Selected Writings, ed.
Mark Poster. (Palo Alto: Stanford University Press, 1988), 143.
135
Jean Baudrillard. “Simulacra and Simulations.” Selected Writings, Edited by Mark Poster.
(Palo Alto: Stanford University Press, 1998), 168169.
136
Ibid.
137
Betsy Book, "Traveling through Cyberspace: Tourism and Photography in Virtual Worlds"
http://ssrn.com/abstract=538182 (accessed 6-1-03)
lii
which both remove the equation of an object’s value with true meaning and significance. 138 The
hyperreal are the “deterrents of every principle and of every objective,” which can be combated by
attempts to “reinject realness and referentiality everywhere.”139 For Baudrillard, the simulacrum should
But why would Baudrillard—one of the formative writers of the virtual—so dislike worlds of
simulation. After all, his thinking helped to bring into existence one of the most widespread fictional
manifestations of virtual worlds: the Wachowski brothers’ The Matrix. Baudrillard’s Simulacra and
Simulations, as an inspiration for the illusory computer-generated environment known as the matrix, was
openly credited in the film by the Wachowski brothers, who inserted the book into one of the scenes. In
the film, the Wachowskis follow suit with Baudrillard’s dismissal of the hyppereal. The matrix is a
computer simulation created by evil machines to enslave humans, who are farmed as an energy source.
Humans are unaware of their physical realities, and instead hallucinate their existences within the
matrix. The protagonist leads a revolution against the machines to destroy the matrix and the machines,
a plot that occupies the bulk of the film trilogy. Both Baudrillard and the Wachowski’s simulacraum,
whether constructions of the media and capitalism or sentient machines, was a despicable alternative to
138
Baudrillard. 168-169.
139
Ibid.
liii
reality, no matter how abysmal.
Audiences and critics held a different opinion of the matrix. It garnered Academy Awards, critical
acclaim, and hundreds of millions of dollars worldwide. The film’s popularity is largely because of the
superhuman physical agency of main characters acting within the matrix, and the resulting special
effects. Once in the matrix and wise to its existence as a computer simulation, enlightened characters
were capable of uploading programs to augment their capabilities. They could select weapons from a
library of millions of armaments; bend the physics of the matrix by jumping incredible distances,
moving at prodigious speeds, and flying; and instantly learn anything, from martial arts to how to fly a
helicopter. The plotline of the struggle between good and evil took a backseat to the matrix, the star of
the film where humans could reach levels of knowledge and empowerment well above the physical
world.
The key difference between Second Life and the negative critiques of the simulacrum by Baudrillard
and the Wachowskis is that Second Life content is built by its active, participatory users in contrast to
Disneyland’s plutocratic corporate parent, the Walt Disney Company, or the hegemony of the machines
liv
in The Matrix. It represents a grass roots rather than top down model of content creation. This content is
not dictated by an arbiter, but rather created organically around shared interests and projects.
While Nagaya uses simulation to evoke a sense of an actual physical world place, a different
region uses representation to construct a world that is a conflation of 19th century Victorian-era English
history and literary fiction. Its users draw from the physical world subculture of steampunk, a group that
takes the lone punk attitude present in cyberpunk fiction and melds it with an era of steam technology
associated with invention, decency, polite conversation, and enlightenment. 140 This brand of roleplay
allows its users to immerse themselves in a rich virtual environment where they are able to recreate
fantastic settings and hold lavish social affairs like ballroom dances.
This place is called the Independent State of Caledon, a sodality in Second Life that does not
140
Peter Berbergal. “The Age of Steampunk.” Boston Globe. Posted August 26, 2007
http://www.boston.com/news/globe/ideas/articles/2007/08/26/the_age_of_steampunk/
lv
have a referent in the geography of the physical world. It is an anachronistic themed community whose
architecture, etiquette, speech, and government derive from a period in the history of the British Empire
as it stood under Queen Victoria. Formative writers that helped define this subculture include Lewis
Carroll, Jules Verne, H.G. Wells, Mervyn Peake, and K.W. Jeter.
Upon entering Caledon’s capital, Victoria City, the viewer is inundated with a blitz of known and
unknown iconography whose antecedents range from literature, film, and history. xxiv These collective
steampunk motifs present the blunt irony of Caledon: web savvy users exploit the most up-to-the-minute
technology of streaming virtual worlds to roleplay an existence that is mired in an age of steam
technology. Its sheer variety of content is complicated by the fact that the region holds sub-themes
within its umbrella steampunk theme. For example, Caledon Tanglewood is reminiscent of Lewis
Carroll’s Alice in Wonderland and Caledon Lionsgate contains objects and devices from H.G. Wells’ The
Island of Dr. Moreau. Motifs like monocles, steam engines, crinoline dresses, and top hats are indicative
This entire region occupies 29 sims owned by ‘Guvnah’ Desmond Shang, upon which 600
residents pay monthly land tiers141 to occupy their lands.142xxv In general, simulated technology equates to
what it was during that period in history, with the exception of various unrealized contraptions as
imagined by Jules Verne. Part of Caledon’s theme is a hierarchical government with a monarch-like
Governor, who is primarily a figurehead, and an artistocracy based on land owners.143 The history,
141
Linden Lab charges a base rate of $9.95 a month for residents to own land. After that, rates
fluctuate based on how much land is owned. 512 square meters costs $5/month, while a whole
region of 65,536 square meters is $195 /month. Residents can choose to sublet the land that they
own, which is how Caledon works. Prices range from several dollars a month for areas with low
prim counts or square meters, to $20-$30 for substantially larger areas.
Linden Lab. “Land Pricing and Use Fees.” http://secondlife.com/whatis/landpricing.php
(accessed on 2-19-08)
142
“Independent State of Caledon.” Second Life Wikia.
http://secondlife.wikia.com/index.php/Independent_State_of_Caledon (accessed November 30,
2007)
143
Caledon Forum Blog, http://www.caledonforums.com.
lvi
policies, and discussion pertaining to Caledon is maintained on an external user forum website. Through
agreed-upon community standards, Caledon residents manage a rich, immersive, themed environment to
Though created as a mechanism for roleplay, Caledon’s complex social structure and governance
goes well beyond any game. The fiscal and political realities of its governance demand serious work and
responsibilities by its leaders. Detailed in the Caledon forum history, ‘Guvnah’ Desmond Shang provides
an insightful account into the formative process of the development of a Second Life sodality
government. When populations were smaller, Caledon was initially governed by a series of stewards,
which changed over intervals. However, expansion of Caledon society brought higher tiers of
responsibility for a position that many wanted just for the chance at roleplay. Shang writes:
“Many citizens turned down the honour, for fear of presiding over tens of thousands of USD
worth of regions, and making a mistake. Also, reign over Caledon was not a duty easily borne
– the citizenry and émigrés had many, many needs. Lastly, a Steward had such power that they
could raze every single object and avatar in Caledon in just minutes flat. Not a power to be
passed lightly to anyone, simply by virtue of brief residency!”144
government resembling a monarchy. The responsibilities of governance resemble less and less simple
As a place composed of the visual culture of the imaginary, Caledon’s built environment is notable
for the methods its architects and artists employ. These content creators, of various skill levels, draw
upon both written and visual iconography from numerous references. This process of creating an image
or model based on textual description or ideas was once reserved to the specialty realm of artists,
sculptors, and illustrators. Now it is the foundation for an entire multi-faceted industry of design that
includes illustrated print media, film set design, video game design, and advertising. Often created from
144
Desmond Shang, comment posted Apr 11, 2007 on “History of the Independent State of
Caledon in Second Life” http://www.caledonforums.com/viewtopic.php?t=69
lvii
scripts, abstracts, game concept descriptions, novels, conversations, screenplays, or the basic human
imagination, it is the product of concept artists and film producers who obtain university degrees based
on the visual interpretation and representation of text or ideas. Second Life provides the software and
interface for amateurs operating under the auspices of play, to engage in the same creative process by
professionals. Thus, the landscape of Second Life has been constructed with varying degrees of skill,
ranging from a first time build by an amateur to the products of a professional, content and development
design team that can be hired contractually. Multimillion (U.S. Dollar) Second Life development
companies like Anshe Chung Studios use the same 3D modeling tools to develop virtual space that
laymen use.145
Caledon, like other sodalities, has a high rate of content creation among its users and Second Life
in general holds a higher rate than other parallel forms of web content production. Ondrejka notices that,
“While websites based on user-created content are becoming increasingly popular, a relatively small
percentage of Web users actually create content. Despite the explosion of Weblogs, fewer than 10% of
Web users have created a blog. Even Wikipedia, with complete dependence on its community for
content, receives contributions from less than 5% of its readers. In comparison, over 50% of Second Life
users experiment with making content in any given month. Amazingly, over 15% write script code,
despite the complexities and difficulties of mastering Second Life’s C-like scripting language.”146
Ondrejka has attributed these high statistics of user content to the ownership of intellectual-property by
the creators of objects. He quantifies his point with a representative statistic: “As of June 2007, residents
were adding over 300 gigabytes of data to the world every day.”147
This type of imaginative content creation by novices resonates with the observations of
145
“About Us,” Anshe Chung Studios, http://acs.anshechung.com/index.php (Accessed on
November 30, 2007)
146
Ondrejka, 3007, 35.
147
Ondrejka, 3007, 35.
lviii
anthropologist Arjun Appadurai, who has argued that there is a link between the emergence of a
postnational political world and the work of the imagination due to mass migration and mass media.148
Within the physical world that Appadurai describes, “electronic mediation and mass migration…impel
(and sometimes compel) the work of the imagination.”149 Of the imagination, Appadurai has observed a
“First, the imagination has broken out of the special expressive space of art, myth and ritual and
has now become a part of the quotidian mental work of ordinary people in societies…The
second distinction is between imagination and fantasy…The imagination is today a staging
ground for action, and not only for escape.”150
Here, Appadurai’s links the practice of imagination with ordinary people, rather than specialists,
and that it is no longer merely an escapist practice, but a means to better lives. He cites individuals who
watch films or television about different ways of life to reinvent or improve their realities by moving to
different places or changing their behaviors. His observations of the imagination within the physical
148
Appadurai, 22.
149
Appadurai, 4.
150
Appadurai, 5-8.
lix
world corresponds well to content creation in Second Life. Its sodalities consist of like-minded
individuals who utilize their imaginations to roleplay and create the built environment of their shared
interests. This practice of the imagination goes well beyond simple roleplay for entertainment ends.
Converse to the regions of Nagaya, which simulates a microcosm of Japan, or Caledon, which
represents a literary offshoot of historical 19th century reality, are regions in Second Life that
purposefully divorce themselves from all physical world referents. These virtual spaces are
Avant-garde artists have historically employed new technologies, media, and ideas to push the
limits of the constitution of art. As a result, the artistic community in Second Life is prevalent. These
artists are part of a trajectory of the avant-garde’s relationship with technology that began two centuries
ago. Lev Manovich has charted the evolution of new media from the early 19th century with the
invention of the process of the daguerreotype and Charles Babbage’s design of the analytic engine, the
precursor to the computer.151 Artists incorporated diverse forms of media under the pretense of the art
historical avant-garde to expand upon their traditional practices. This tradition of experimentation and
novelty in the arts caused the exploration of new media as a means to consider new art considerations.
Man Ray’s films, Alfred Stieglitz’s photography, Marcel Duchamp’s readymades, and John Cage’s
experimental music are all examples of avant-garde artists exploring new media in the early 20th century,
in opposition to the traditional media (painting and sculpture) that dominated the previous millennia.
These new traditions continue to branch into different media, across disciplinary fields and into varied
environments.
151
Lev Manovich. The Language of New Media. (Cambridge: MIT Press, 2001) 32.
lx
One such virtual region that focuses on Second Life as a medium, can be found on the New
Media Consortium’s campus in a region reserved for ‘Arts and Letters.’152 Artist DanCoyote Antonelli,
known in the real world as DC Spensley, commandeered the entire sim for an enormous art
installation.xxvii The sim consists of about a dozen viewing platforms for viewers to observe a central
towering sculptural conglomeration of animated, interactive abstract forms. Antonelli refers to his brand
medium.”153154 Viewers of the exhibition begin their exploration with signage, placed by Antonelli,
which encourages visitors to ‘turn off’ features of the Second Life viewer that show land, sky and water.
The user’s viewing client no longer leverages a horizon line as a metaphor for the physical world.
Antonelli’s stated purpose is to “encourage guests to take advantage of Second Life's ability to ‘cut the
tethers’ that hold us in the gravity based world and gently release real life concepts like "Ground" and
"Water" in favor of another, less encumbered experiential space.”155 Once visitors comply with the
signage, they lose elements of scale and context that allow Second Life users to navigate space in a
Antonelli’s installation offers an alternative model for virtual space. The programmers and
engineers of Linden Lab who conceived the functionality of Second Life acknowledge the decision
between simulation and non-simulation: “So why model a digital world on the real world? … Place has
meaning. Up and down has meaning. Most people look more or less human. By providing a digital
152
The New Media Consortium is a 501(c)3 not-for-profit network of over 200 universities,
colleges, and museums from around the world that holds a campus in Second Life.
http://nmc.org/
153
DanCoyote Antonelli. “Full Immersion Hyperformalism.” On Second Life Art Blog at
http://slartmagazine.com/dancoyote.htm (accessed on 5-17-08)
154
It should be noted that Antonelli’s art distinguishes from the large majority of artists in Second
Life. Most artists simply photograph their art from the physical world, upload the image file into
Second Life and hang it in a gallery space. Antonelli’s art utilizes the medium of Second Life
both as a 3D modeler and scripting tool.
155
The Second Life Art Blog, http://slartmagazine.com/dancoyote.htm (accessed on 5-17-08)
lxi
world that allows its residents to build upon this massive well of cultural knowledge, Second Life offers
enough familiarity to not baffle new residents and creators.”156 Thus, a sun, moon, horizon-line, earth,
Second Life architects also question the necessity for the simulation of physical world gravity,
earth and sky. Keystone Bouchard, an architect in Second Life, working with programmer Fumon Kubo,
produced an interactive architectural space that reacts based on the position of the avatar. Doors become
unnecessary as walls recess into the ground when an avatar approaches and smaller spaces increase in
size when occupied by an avatar. Bouchard explains that "In real life, architecture is relatively static and
rigid. For the most part, the first generation of virtual architecture has been an attempt to import and
recreate that sense of rigidity. However, virtual architecture has the capacity to be less like a solid
artifact, and more fluid and dynamic like a liquid…prims change size, shape, color and, in some cases,
play a sound as an avatar approaches. Each variable (distance, size, time, etc.) can be fine-tuned in the
script to achieve the desired effect."157 Architects and artists like Bouchard are helping to distinguish
what is unique to Second Life as a medium to the physical world and other virtual spaces.
Despite being ostensibly regulated by corporate terms of service and community standards; the
laws of the end-user’s country; and the physics enabled by its own code structure, behavior within
Second Life is largely unregulated. In fact, at times it has resembled what has been described by Hakim
Bey as a “temporary autonomous zone,”158 an ephemeral space of genuine freedom. As Second Life
156
Cory Ondrejka. “A Piece of Place: Modeling the Digital on the Real in Second Life”
http://ssrn.com/abstract=555883 " (June 7, 2004)
157
Keystone Bouchard. “Carving Space: Responsive Virtual Architectural Tools go Open
Source” http://nwn.blogs.com/nwn/2007/09/responsive-virt.html (Accessed on Wednesday,
September 12, 2007)
158
Hakim Bey, “Temporary Autonomous Zone,” Crypto Anarchy, Cyberstates, and Pirate
Utopias, ed. Peter Ludlow (Cambridge, MA: MIT Press 2001)
lxii
grows in value and population, it will face increasing regulation by nation-states, yet its model serves as
a point of departure for other temporary autonomous zones that will operate beyond scrutiny of
corporate or government oversight. Within these spaces, people can experiment with new forms of
society. Already, the themed sodalities of Second Life are exemplary of these new social formations
As a service provided by a corporation, Second Life is governed by Linden Lab and the laws of
the state of California and the United States. This governance takes the form of the requisite Terms of
Service that all users must sign prior to creating an account. The resident also agrees to abide by Second
Life’s Community Standards, which lists a set of behaviors that are banned. Failure to comply may
The Second Life Terms of Service describes a relatively laissez-faire approach to administering a
service. An example of this approach is described in section 1.2 “Linden Lab generally does not regulate
the content of communications between users or users' interactions with the Service. As a result, Linden
Lab has very limited control, if any, over the quality, safety, morality, legality, truthfulness or accuracy
of various aspects of the Service.”159 However, by signing the agreement, the user acknowledges that
other users may hold copyrights to their content that they create in Second Life and that they “accept full
responsibility and liability for your use of any Content in violation of any such rights.”160 In this way,
Linden Lab protects itself legally in the event of a dispute. Residents are required to be wary of using
material that may or may not be under copyright. Significantly, Linden Lab mandates that all users be
required to create Second Life accounts with true and accurate registration information.
Linden Lab also positions its relationship to the currency of Linden dollars. Linden lawyers widely
protected the company against financial quarrels by granting itself total financial authority; the policy
159
“Terms of Service” Second Life Official Website. As accessed on 5-20-08 at
http://secondlife.com/corporate/tos.php.
160
Ibid.
lxiii
reads “Linden Lab has the absolute right to manage, regulate, control, modify and/or eliminate such
Currency as it sees fit in its sole discretion, in any general or specific case, and that Linden Lab will
have no liability to you based on its exercise of such right.” Linden Lab also runs the LindeX Currency
Exchange through which Second Life users can buy or sell the virtual currency of Linden Dollars for
real currency. Regarding this service, Linden Lab has inserted into the Terms of Service that they
maintain total authority over the right to deny or sell Linden currency to anyone at any time for any
reason.161
The intellectual property rights of users are explained in section 3.2: “You retain copyright and
other intellectual property rights with respect to Content you create in Second Life, to the extent that you
have such rights under applicable law.”162 Since currently all of Second Life’s servers are hosted on U.S.
soil, the content of all users is protected by U.S. copyright law as long as that content remains stored in
servers within the U.S. If Linden Lab open sources its servers and allows independent users to host
content from servers in different countries, or if Linden Lab chooses to deploy servers to different
countries to expedite service speed, users would have to abide “by the laws of the nations where those
servers were physically based.”163 One of these laws, as specified in the Terms of Service, is the Digital
Millennium Copyright Act, which criminalizes efforts to go around existing copyright protection
mechanisms. By signing this agreement, the user’s actions in Second Life become “governed in all
respects by the laws of the State of California without regard to conflict of law principles or the United
Nations Convention on the International Sale of Goods.”164 Thus, California law becomes the effective
governing rule rather than international law. At the same time though, residents from non-U.S. countries
are also “are responsible for compliance with applicable local laws.”165
161
http://secondlife.com/corporate/tos.php., 2008.
162
Ibid.
163
Au, 240.
164
http://secondlife.com/corporate/tos.php, 2008.
165
Ibid.
lxiv
While the Terms of Service spell out the rights and regulation from existing physical world laws
and government policy, the Second Life Community Standards, also referenced in the Terms of Service,
functions as Linden Lab policy. These rules generally follow the spirit of mutual respect. The policy
states: “treat each other with respect and without harassment, adhere to local standards as indicated by
simulator ratings, and refrain from any hate activity which slurs a real-world individual or real-world
community.”166 The behaviors that are banned are known as the “Big Six”; they are Intolerance,
Harassment, Assault, Disclosure, Indecency, and Disturbing the Peace.167 The violation of the ‘big six’ of
the community standards “will result in suspension or, with repeated violations, expulsion from the
Second Life Community.”168 These rules protect residents in general from unwanted behavior like racial
slander, sexual harassment, violent acts in safe areas, sharing personal information about avatars, nudity
in PG areas, or hacker behavior that crashes regions. If a resident feels as if they have been transgressed,
the protocol is to report the abuse using the Abuse Reporter tool found on the Help menu on the Second
Life interface.
Second Life critic and journalist Peter Ludlow has pointed out the serious issues with Linden
Lab’s terms of service, namely its right to terminate a resident’s account or contentfor any reason or no
reason at all.169 He neatly summarizes his objects to Linden Lab’s inconsistent and spotty record of
governance here:
“Philip Rosedale, the founder and CEO of Linden Lab, says he is not building a
game, he is ’building a country.’ If so, it is a country whose citizens have no
formal voice, and which is run suspiciously as if it were, in fact, a game. Second
Life’s seven thousand-word Terms of Service document contains all the same
caveats as that of any game company’s. Users do retain the intellectual property
rights to their creations, but Linden Lab or anyone else on the Grid can use those
creations as they see fit. LL can kick you out or delete your stuff ‘for any reason
166
Ibid.
167
Ibid.
168
Ibid.
169
Ludlow and Wallace, 215-216.
lxv
or no reason.’ And the Terms of Service and Community Standards, the
documents that effectively constitute the civil, criminal, and constitutional laws of
the world, change so often and with so little notice that it’s impossible to know
exactly where you stand at any given moment. As a virtual world, Second Life is
the coolest thing going. As a country, it is failing badly.”170
Ludlow’s reservations about Linden Lab’s administration are well founded. Yet he does not
acknowledge the company’s early attempts at ceding governance responsibilities to its users. Au
remembers “In 2004, Linden Lab asked Residents if they were interested in self-governance but
garnered a tepid response; in 2005, the company introduced a voting mechanism whereby the
community could nominate new features for the Lindens to work on—which attracted, at most a mere
478 voters.”171 Though Au has suggested this lackluster response can be attributed in part to voter apathy
in the United States,172 it demonstrates that residents are generally unconcerned with governing the entire
Second Life platform. Rather, as the case of Caledon demonstrates, Second Life users do want to govern
However, residents have shown dramatic public response to changes in the functionality of
Second Life, as evidenced by the tax revolt and CopyBot incidents. This behavior demonstrates strong
reaction against the code that defines Second Life’s functionality—the way it works—rather than a
movement to form of government. The code that determines the physics of the virtual world controls
what is or is not possible. As such, it functions as the most fundamental layer of governance within
virtual worlds. In Code and Other Laws of Cyberspace, Lessig describes the notion of code as law as
both the “greatest threat” as well as the “greatest promise” for libertarian ideals.173 He argues that the
code needs to be written to accommodate the values that its users hold dear.174
Beyond Linden Lab’s policies as a service provider and the architecture of its code, the space of
170
Ludlow and Wallace, 251.
171
Au, 64-65.
172
Au, 65.
173
Lawrence Lessig. Code and Other Laws of Cyberspace. (New York: Basic Books, 2000) 6.
174
Lessig, 6.
lxvi
Second Life is largely free from intervention by nation-states. Any user of Second Life will
acknowledge that anything can and does happen, illegal or otherwise. Even if Linden or a country were
to take a more active role in policing virtual space, there clearly would be no way to regulate the sheer
quantity of users and spaces. Currently Linden Lab only investigates incidents that were reported in
formal complaints, so if an illegal activity goes unseen or unreported, then there is no penalty. Much of
the space is privately owned restricted property that do not allow unsolicited visitors, which is a way to
block activities from the public or Linden Lab. Further, Linden Lab’s greatest threat is terminating a
perpetrator’s account. However, offenders can get around this penalty by borrowing a friend’s credit
Yet especially as its economy and population continues to grow, Second Life will likely face
scrutiny and regulation by nation-states. One major example of this was a ban on gambling in July 2007,
after a probe by the Federal Bureau of Investigation April 2007.175 Though not mandated by the U.S.,
this decision was a preemptive measure to avoid being prosecuted along with other illegal gambling
websites.176 The FBI would have held Linden Lab—rather than its residents—accountable for illegal
gambling.
Second Life, or other platforms modeled after it, could escape regulation by following the lead of
illegal sites that exist in plain view of the authorities, enabled by the deterritorialized nature of the
internet. Massive file sharing networks like the infamous Napster and its myriad replacements, i.e. Pirate
Bay, are the most visible embodiments of this phenomenon. In the face of the Digital Millennium
Copyright Act of 1998, and similar legislation from other countries, illegal file sharing networks have
flourished. Even if authorities are able to shut down file sharing websites, they simply reopen under
175
Adam Reuters, “FBI probes Second Life gambling” Second Life News Center.
http://secondlife.reuters.com/stories/2007/04/03/fbi-probes-second-life-gambling/
176
Robin Linden. “Wagering in Second Life: New Policy” Second Life.
http://blog.secondlife.com/2007/07/25/wagering-in-second-life-new-policy/
lxvii
different names at different web addresses, often hosted from different countries. Sweden-based file
sharing site Pirate Bay, has opened servers in Belgium and Russia in the event that its base of operations
in Sweden is terminated.177 They have even explored the purchase of the micronation Sealand, which has
no restrictions on file sharing, and would provide a safe, legal haven for hosting a file sharing service.178
As noted in the section on the history of Second Life, open source projects like Open Simulator
have enabled the Second Life protocol to be run from private servers unaffiliated with Linden Lab. In
this way, users can interact with one another on private sims, making it even more difficult for the
These types of spaces, operating just out of the reach of regulation, find a parallel in a long-
standing cultural myth linking individual destiny, group action, and geographical space: the frontier. The
most pervasive and long-standing articulation of this myth dates back more than a century. In 1893,
Frederick Jackson Turner proposed that the presence and influence of the American frontier allowed
individuals to forge many anti-authoritarian, autonomous, and individualistic groups and paradigms.179
Turner describes how some areas, like the Upland South, “acted independently of governmental organs
and restraints.”180 Communities on the frontier frequently created their own ad-hoc governance; Turner
writes: “Western democracy included individual liberty, as well as equality. The frontiersman was
impatient of restraints. He knew how to preserve order, even in the absence of legal authority. If there
were cattle thieves, lynch law was sudden and effective.”181 The main parallels between the fledgling
societies of the American frontier and the colonizers of virtual space in Second Life are the capacity to
177
Jan Libbenga. "Pirate Bay resurfaces, while protesters walk the street". The Register 5-6-06.
http://www.theregister.co.uk/2006/06/05/pirate_bay_reemerges/. (As accessed on 10-1-08)
178
Ibid.
179
Frederick Jackson Turner. “The Significance of the Frontier in American History.” The
Frontier in American History. from http://www.gutenberg.org/files/22994/22994-h/22994-
h.htm#Page_1 (As accessed on 5-22-08) 38.
180
Turner, “The Ohio valley in American History,”166.
181
Turner, “The Problem of the West,” 212.
lxviii
invent a new reality, the ability to depart from authoritarian restrictions, and the establishment of
servers, social groups fit the description of what writer Peter Lamborn Wilson (aka Hakim Bey) has
termed “Temporary Autonomous Zones (TAZ).”182 Bey’s conception of the TAZ is derived from the
unregulated 18th century pirate utopia islands and also the experimental societies of living on the Net
from science fiction Bruce Sterling’s novel Islands In the Net.183 He writes:
“The TAZ is like an uprising which does not engage directly with the State, a guerilla
operation which liberates an area (of land, of time, of imagination) and then dissolves
itself to re-form elsewhere/elsewhen, before the State can crush it…Perhaps certain
small TAZs have lasted whole lifetimes because they went unnoticed, like hillbilly
enclaves.”184
This definition of a TAZ fittingly describes the themed sodalities of Second Life that operate largely
beyond the purview of governments. Within these spaces, new experiments in living and social structure
can occur. Responding to Bey’s TAZs, Ludlow has significantly identified the usefulness of these spaces
beyond escapist purposes: “Their transience and permeability is ultimately important, for they should
not be locations for escape from the world but rather places where we can rest, have fun, educate
ourselves, and yet never lose sight of the business of helping each other.”185
The rise of the internet has allowed for individuals to circumvent the hegemony of government
and economic systems. Networks on the web assume informal meritocratic forms to engage in social
anarchism-like behavior to effect change in the world. These networks are governed primarily by the
parameters of the internet’s code base. The relative freedom granted by the code attracts users who
182
Bey, 402.
183
Ibid.
184
Bey, 404.
185
Peter Ludlow, “New Foundations: On the Emergence of Sovereign Cyberstates and Their
Governance Structures,” Crypto Anarchy, Cyberstates, and Pirate Utopias, ed. Peter Ludlow
(Cambridge, MA: MIT Press 2001), 23.
lxix
prefer the scale and liberty of the web and virtual worlds. Though existing governments and corporate
internet service providers ostensibly control virtual space, the decentralized nature of the web has
enabled networks to flourish free from the oversight of regulators. These networks are postnational in
nature and represent models for social formation, as seen historically before in societies on the American
frontier or as theorized as TAZs, and will continue to emerge in the infinitely expandable space of virtual
n. Critique
Magazine, newspaper, and blogger critics of Second Life frequently condemn its quality as a
product and view the utopian claims of its advocates with skepticism. However, most of the criticism
pertains to issues created by Second Life’s openness as a web-based platform and its state of constant
development. Recurring themes include frequent crashes of regions, or the entire grid; the relatively
poor graphics when compared to video games; slow moving animation frame rates; a complex and
difficult user interface; the decision to allow users access to Second Life with only an email address,
rather than a credit card; and misleading statistics of Second Life users published on its website due to
the trend for residents to hold multiple accounts. More broadly, critics have argue that Second Life
resembles a giant pyramid scheme; and even that Second Life is largely devoid of human presence and
is just a mass of abandoned towns. These persistent complaints are insignificant when compared to the
Most of these accusations can be parried by the same rationale that justifies the internet. The web
provides a network for accessing heterogeneous content of all types. As a web platform, Second Life is
equally diverse in breadth of content. Without moral judgment, this paper entertains criticism of Second
lxx
Life that relates to its central argument—that the sodalities of Second Life exemplify experimental
Acknowledging the erosion of the geographical nation-state in MIT’s journal, Innovations, Linden
Lab’s Cory Ondrejka evaluates citizenship and geography as limitations for innovation in national
settings and proposes that Second Life offers the solution as a world without boundaries. Anthropology
Professor Thomas Malaby and Law Professor Paul R. Verkuil, critique Ondrejka’s argument. Whereas
Ondrejka holds that the removal of constraints like material costs, or geographical barriers allows for
higher levels of innovation, Malaby argues that the reduction of any constraint, including geography,
hampers human innovation.186 Verkuil illustrates this claim by arguing for the value of actual physical
presence at a university atmosphere. While Second Life may offer a more direct and inexpensive model
for education and innovation, Verkuil observes that Second Life cannot recreate the values students
Geography as a context for value, rather than a limitation, certainly is an argument with merit.
Second Life in its current form cannot possibly simulate the level of immersion that physical-world
presence provides; however, this point is moot. Just because a traditional model for education allows a
context for values does not mean that newer models cannot provide contextual values in a different
format. Students from all over the world attending a single virtual classroom may not experience the full
archetypical collegiate lifestyle but new forms of locally instilled values may arise. Community
colleges, commuter colleges, correspondence colleges, and city colleges have functioned as alternative
models to the isolated university village as a standard, and all maintain their own distinct values.
186
Thomas Malaby. “Contriving Constraints: The Gameness of Second Life and the Persistence
of Scarcity.” Innovations, ed. Philip E. Auerswald and Iqbal Z. Quadir. Volume 2, Issue 3 (2007):
65
187
Paul R.Verkuil . The Values and Limits of Substitutional Sovereignty: Innovations Case
Discussion: Second Life. .” Innovations ed. Philip E. Auerswald and Iqbal Z. Quadir. Volume 2,
Issue 3 - Summer 2007. 69
lxxi
Malaby also challenges Ondrejka’s description of the nation on the grounds that he places too
strong an emphasis on geography and ethnicity proposing, in contrast, that “nationalism relies just as
much on claims about shared language, cultural practice, and kinship as it does upon shared territory.”188
Failing to take into account these developments of nations, Malaby says, is the result of over reliance on
national identity, but he does not qualify the waning relevance of the nation for individuals. One could
argue that shared language across countries facilitates the migration of peoples and leads to kinship
internationally, rather than solidifying a national identity. Similarly, cultural practice is largely not tied to
the nation.
Malaby, Verkuil, and Ondrejka do not address a remaining component of social formation:
association with a society based on shared interest or ideas. As nations adapt to new perceptions of the
nation-state, they orient themselves as defenders of beliefs and lifestyles. The most salient and sweeping
global division of ideologies around the world is the U.S. government’s war on terror, a war that is
waged against an idea held by a decentralized group of people from multiple nations rather than a
country as a traditional entity. Similarly, religious societies of association like Muslims and Christians
may influence politics in a particular nation but in general are not limited by geography in an electronic
age of mass media and technology that allows ideas to permeate national borders.
Second Life will likely face increased influence by governments. The more Second Life ceases to
be viewed as a game, and increasingly functions as a place of consequence with legal implications, the
more likely Linden Lab will be policed by external governing entities. As Verkuil notes, Second Life
“invites governance by real world legal rules” as long as it continues to function more like an economic
lxxii
Of course the Open Simulator project has already taken steps to open Second Life by hosting
virtual space from its users’ own servers, already in the alpha phase of development. In the Open Sim
model, residents would navigate from one region to another on an a global network of computer servers.
individuals—all in the same contiguous, persistent space. As a decentered, web-based network, both the
client viewer and the grid would then be subject to community standards and open source protocols
worldwide. As it exists right now, Verkuil has observed that Linden Lab governs as a form of benign,
monopolistic dictatorship.191 This new model for Second Life would mimic the infrastructure of the web
and the way a user surfs from one website to the next—instead of servers publishing websites, they
Second Life is the most advanced, and most evocative, online virtual world among many that
provide platforms for global populations to construct virtual space in a shared environment. It actively
blurs the line between the physical and virtual worlds through the attribution of legal ownership to
virtual property and the existence of an economy that can be exchanged for U.S. dollars. Users form
groups and develop cities and landscapes in Second Life to create a rich and immersive context for
social interaction. These sodalities are built using iconography that simulates physical world places as
well as imaginative spaces depicted graphically and in literature. The tradition of the art historical avant-
garde and societies of virtual architects are actively redefining and exploring the potential of these new
The high level of user participation in the construction of sodalities evidences a new trend in the
practice of the imagination as a result of shifts in technology and creative industries that allow people to
191
Verkuil, 70.
lxxiii
re-imagine their lives. The movement of masses of people around the world and the new connections
enabled by technology are also changing the ways in which the traditional nation functions. Less
constrained by geography, the nation functions more as an ideological construct that describes a certain
set of ideals and ideas. Without limitations of geography, with low cost-barriers, in a largely unenforced
domain, the virtual world offers resources and space for individuals seeking to play, work, and socialize.
An iconological reading of these sodalities reveals a postmodern culture that recycles iconography
via cut-and-paste applications and implements 3D modeling tools for the construction of original
content. This culture has a decentralized shape, relies upon technology, and regularly uses its
constituents’ imaginations to mine from physical world visual culture to create their own virtual worlds
of visual culture to their own tastes. Second Life provides an open democratizing platform for users to
appropriate the image for the construction of 3D space—a commodity previously held exclusively by
lament for the loss of reality. Rather it is a very real place of customizable and multiple realities for
entertainment, socializing, business, and education. As Ondrejka has argued, “Second Life demonstrates
the power of using place within a communications medium.”192 It is both a form of communication and a
geography that leverages ideas, text, and images from the physical world. It is the current apotheosis of
the interconnectedness afforded by the internet where physical world location becomes unimportant. A
platform for innovation, Second Life’s sodalities indicate the shape, as societies of shared interest, that
192
Ondrejka. 2007, 28.
lxxiv
V. CITED LITERATURE
Au, Wagner James. The Making of Second Life. New York: Collins, 2008.
Barlow, John Perry. “A Declaration of the Independence of Cyberspace.” Electronic Frontier
Foundation Website. http://homes.eff.org/~barlow/DeclarationFinal.html (As accessed on
51808)
Baudrillard, Jean, “Simulacra and Simulations” Selected Writings, Edited by Mark Poster. Palo
Alto: Stanford University Press, 1998.
Berbergal, Peter. “The Age of Steampunk.” Boston Globe. Posted August 26, 2007
http://www.boston.com/news/globe/ideas/articles/2007/08/26/the_age_of_steampunk/
(accessed 5-17-08)
Bethke, Bruce. “The Etymology of “Cyberpunk.” Bruce Bethke website.
http://www.brucebethke.com/nf_cp.html (51708)
Bey, Hakim. “Temporary Autonomous Zone,” Crypto Anarchy, Cyberstates, and Pirate Utopias,
ed. Peter Ludlow. Cambridge, MA: MIT Press, 2001. 402.
Book, Betsy, "Traveling through Cyberspace: Tourism and Photography in Virtual Worlds" (as
accessed 6-1-03). Available at SSRN: http://ssrn.com/abstract=538182
Boss, Shira. “Even in a Virtual World, ‘Stuff’ Matters.” New York Times.
http://www.nytimes.com/2007/09/09/business/yourmoney/09second.html (accessed on 9-
9-9-07)
Burning Man website, http://www.burningman.com/preparation/event_survival/sober.html (As
accessed on 51708)
Curran, Giorel. 21st Century Dissent: Anarchism, Anti-Globalization and Environmentalism. New
York: Palgrave Macmillan, 2006.
De Soto, Hernando. The Mystery of Capital: Why Capitalism Triumphs in the West and Fails
Everywhere Else. New York: Basic Books, 2003.
Elkins, James. Visual Studies: A Skeptical Introduction. New York: Routledge, 2003.
Fildes, Jonathan, “Virtual worlds opened up to all,” BBC Online. September 19, 2007
http://news.bbc.co.uk/2/hi/technology/7002479.stm
Fernie, Eric, Art History and Its Methods: A Critical Anthology. London: Phaidon Press Limited,
1995.
Gibson, William. “Burning Chrome.” Burning Chrome. New York: Ace, 2003.
Hasenmueller, Christine. “Panofsky, Iconography, and Semiotics.” The Journal of Aesthetics and
Art Criticism. Vol. 36, No. 3, Critical Interpretation (1978): 298.
Jayaker, Roshni. “Interview: John Perry Barlow” Business Today Website. at http://www.india
today.com/btoday/20001206/interview.html (As accessed on 51708)
Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: New York
University Press, 2006.
Aleks Krotoski blog,
http://blogs.guardian.co.uk/games/archives/2005/06/14/second_life_and_the_virtual_proper
ty_boom.html (as accessed on 51808)
Kugel, Seth. “A House That’s Just Unreal.” New York Times. August 9, 2007.
http://www.nytimes.com/2007/08/09/garden/09second.html (Accessed on August 9, 2007)
Lessig, Lawrence. Code and Other Laws of Cyberspace. New York: Basic Books, 2000.
Libbenga, Jan. "Pirate Bay resurfaces, while protesters walk the street". The Register 5606.
http://www.theregister.co.uk/2006/06/05/pirate_bay_reemerges/. (As accessed on 10108)
Linden Lab. “Land Pricing and Use Fees.” http://secondlife.com/whatis/landpricing.php
(accessed on 21908)
Linden, Robin. post, “Wagering in Second Life: New Policy” Second Life.
http://blog.secondlife.com/2007/07/25/wagering-in-second-life-new-policy/ (accessed on
July 25, 2007)
Ludlow, Peter and Wallace, Mark. The Second Life Herald: The Virtual Tabloid That Witnessed
The Dawn Of The Metaverse. Cambridge: MIT Press, 2007.
Ludlow, Peter, ed. “New Foundations: On the Emergence of Sovereign Cyberstates and Their
Governance Structures,” Crypto Anarchy, Cyberstates, and Pirate Utopias, ed. Peter
Ludlow Cambridge, MA: MIT Press 2001.
Malaby, Thomas. “Contriving Constraints: The Gameness of Second Life and the Persistence of
Scarcity.” Innovations, Edited by Philip E. Auerswald and Iqbal Z. Quadir. Volume 2, Issue
3 - Summer 2007.
Manovich, Lev, The Language of New Media. Cambridge: MIT Press, 2001.
Maney, Kevin. “The king of alter egos is surprisingly humble guy” USA Today 2/4/2007,
http://www.usatoday.com/tech/news/2007-02-04-second-life-rosedale_x.htm (as accessed on 3-5-
07)
Mirzoeff, Nicholas, The Visual Culture Reader. New York: Routledge, 2003.
Mitchell, W.J.T., Picture Theory: Essays on Verbal and Visual Representation. Chicago:
University of Chicago Press, 1994.
Linden Lab post titled, “Sculpted Prims.” The Second Life Wiki, posted on October 9, 2007
http://wiki.secondlife.com/wiki/Sculpted_Prims (Accessed 11-28-07)
Ondrejka, Cory R., "A Piece of Place: Modeling the Digital on the Real in Second Life" (June 7,
2004). http://ssrn.com/abstract=555883
Ondrejka, Cory. “Collapsing Geography: Second Life, Innovation and the Future of National
Power.” Innovations. ed. Philip E. Auerswald and Iqbal Z. Quadir. Volume 2, Issue 3
(2007).
Ondrejka, Cory. “Escaping the Gilded Cage: User-created Content and Building the Metaverse,”
Second Life, http://lindenlab.com/press/whitepapers (accessed on 1-25-07)
Panofsky, Erwin. Studies in Iconology: Humanistic Themes in the Art of the Renaissance. New
York: Harper and Row, 1939.
Pellerin, Cheryl. “U.S. Government Presence Grows in Second Life Online World” U.S.
International Information Programs. http://usinfo.state.gov/xarchives (Accessed on May 8,
2007)
Preziosi, Donald. Rethinking Art History: Meditations on a Coy Science. New Haven: Yale
University Press, 1989.
Reuters Newswire. “US Dollars spent in Second Life over last 24 hours”
http://secondlife.reuters.com/ (As accessed September 19, 2007)
Reuters Newswire. “New Linden CEO could be named within weeks.”
http://secondlife.reuters.com/stories/2008/04/21/new-linden-ceo-could-be-named-within-
weeks/ (As accessed on 5-20-08)
Reuters, Adam. “CTO Ondrejka Out of Linden Lab” Second Life Reuters News Center.
http://secondlife.reuters.com/stories/2007/12/12/cto-ondrejka-out-of-linden-lab/ (As
accessed on 5-18-08)
Reuters, Adam. “EXCLUSIVE - Rosedale to step down as Linden Lab CEO” Second Life
Reuters News Center. http://secondlife.reuters.com/stories/2008/03/14/exclusive-rosedale-
to-step-down-as-linden-lab-ceo/ (As accessed on 5-18-08)
Reuters, Adam. “FBI probes Second Life gambling” Second Life Reuters News Center.
http://secondlife.reuters.com/stories/2007/04/03/fbi-probes-second-life-gambling/ (As
accessed on 4-3-07)
Reuters, Eric. “Interview: Linden Prepares for an OpenSim Future.” Reuters Second Life News
Center. Jul 11, 2008 http://secondlife.reuters.com/stories/2008/07/11/interview-linden-
prepares-for-an-opensim-future/ (as accessed on 2-24-09)
Rosedale, Philip. “Announcing Our New CEO!” Official Second Life blog.
http://blog.secondlife.com/?s=Mark+Kingdon. (As accessed on 5-18-08)
Rosedale, Philip. “Second Life Community Convention Keynote,” trans. Joey Seiler. The Virtual
World News Website, http://www.virtualworldsnews.com/2007/08/bloggingthesl.html
(accessed on August 25, 2007).
Rymaszewski, Michael et al. Second Life: The Official Guide. Indianapolis: Wiley Publishing,
Inc., 2007.
Shang, Desmond. “History of the Independent State of Caledon in Second Life” Posted 4-11-07
http://www.caledonforums.com/viewtopic.php?t=69 (accessed on 5-17-08
Turner, Frederick Jackson. “The Significance of the Frontier in American History.” The Frontier
in American History. http://www.gutenberg.org/files/22994/22994-h/22994-h.htm#Page_1
(As accessed on 5-22-08) 38.
Verkuil, Paul R., “The Values and Limits of Substitutional Sovereignty: Innovations Case
Discussion: Second Life. ” Innovations. Edited by Philip E. Auerswald and Iqbal Z. Quadir.
Volume 2, Issue 3 - Summer 2007.
ii
Rosedale showed an image similar to this. Posted by Ana Lutetia on 13107 on www.slpics.com
iii
Linden Village. Snapshot taken on 91807 by author.
iv
Linden Village. Snapshot taken on 91807 by author.
v
Linden Village. Snapshot taken on 91807 by author.
vi
Orgy Island. Snapshot taken on 91807 by author
vii
viii
Second Louvre. Snapshot taken on 91807 by author.
ix
Second Louvre. Snapshot taken on 91807 by author.
x
Virtual ATM, Currency Converters. Snapshot taken on 91807 by author.
xi
Second Life Capital Exchange. Snapshot taken on 91807 by the author.
xii
DePaul University lecture space. Snapshot taken on 91807 by the author.
xiii
Columbia College lecture room. Snapshot taken on 91807 by the author.
xiv
The MMORPG Dark Life. Snapshot taken on 91807 by the author.
xv
The Hangout. Snapshot taken on 91807 by the author.
xvi
Advertisements featuring Second Life services and products as well as physical world companies
with Second Life presences like Toyota and Reuters. Snapshot taken on 3207 by the author.
xvii
Medieval theme marketplace. Snapshot taken on 3207 by the author.
xviii
Svarga Posted on 10122006 by 2086 Tester on www.slpics.com
xix
Sculpted Prims from http://wiki.secondlife.com/wiki/Sculpted_Prims on 111507.
xx
Stereotypical Japanese castle, Snapshot taken on 3207 by the author.
xxi
Japanese Pagoda. Snapshot taken on 3207 by the author.
xxii
Kimonos and animations for sale. Snapshots taken on 3207 by the author.
xxiii
Japan Pavilion, Epcot, Disney World, Florida, Posted to Flickr on June 2, 2007 by bunnygoth. Last
accessed on 11-2507 at http://flickr.com/photos/bunnygoth/526686503/
xxiv
Welcome area of Caledon in Victoria City. Posted by Primperfect on 112207 on www.flickr.com
xxv
Independent State of Caledon. Posted by Primperfect on 112207 on www.flickr.com
xxvi
Caledon with SteamSkyCity. Uploaded on November 16, 2007 by Simondo Nebestanka to
www.flickr.com This snapshot was taken in the test viewer because the sky and lighting were produced
through the WindLight atmospheric rending available through Linden Lab’s acquisition of Windward
Mark.
xxvii
Dancoyote Antonelli’s “Exploding Starax”, an interactive, animated 3d installation on New Media
Consortium’s Arts and Letters sim. This installation appears to feature Boids (artifical intelligence
forms). Snapshot taken by the author on 10707.