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THE SOCIAL CONSTRUCTION OF VIRTUAL SPACE
Author(s): Keith McIntosh

Source: Michigan Sociological Review, Vol. 22 (Fall 2008), pp. 196-214
Published by: Michigan Sociological Association
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THE SOCIAL CONSTRUCTION OF VIRTUAL

SPACE
KeithMclntosh
GrandValleyStateUniversity
ABSTRACT
The MMORPG, Second Life,is exploredin an attemptto
understand
thesocial meaningimbuedin theconstruction
of
itsenvironment
SecondLifeenablesits usersto contribute
tothecreationofitsvirtualspaces,alteringthelandscapein
whichtheirinteractions
are embedded.Drawinguponand
it is arguedthatthis
developingtheconceptof "themeing"
the
creation
allows
a
virtual
milieurich in
ability
for
of
symbolicmeaningthoughdisconnected
from the power
relationsof capitalistmodesofproduction.The spaces of
Second Life are, instead,given order by theirresidents,
whichallow such spaces to retaina benignand culturally
sensitivequalitythatcannotbe achievedin thereal world
builtenvironment.
is increasingly
Computermediatedcommunication
thetexture
of everydaylife.
pervasiveand arguablyaltering
- email, instantmessaging,chat
Its various expressions
- changetheway individualsrelateto
roomsand websites
one anotherand perceivethe world.One typeof virtual
online rolecalled a massivelymultiplayer
environment,
a
three-dimensional
uses
playing game (MMORPG),
whichprovidesa realworldqualitythatis lacking
platform
One
mediatedcommunication.
in othermodesof computer
not
onlyto
popularMMORPG, Second Life,allows users
- via
of theirreal world identities
escape the constraints
196
MCINTOSH: CONSTRUCTION OF VIRTUAL SPACE

- but to contribute
to the construction
of its built
avatars
in
the
virtual
which
their
environment,
landscape
altering
are embedded.Drawingupon and developing
interactions
the conceptof "themeing"(Gottdiener,1997) this paper
exploresSecond Life in orderto betterunderstandwhat
virtualworldspace construction
holdsand how
significance
itdiffers
fromsimilarrealworldprocesses.
SecondLifewas launchedon June23, 2003 by San
Franciscobased LindenResearchIncorporated,
commonly
called LindenLab (Sege, 2006). It was inspired,in part,by
the science fictionbook Snow Crash by Neal Stephenson
(1992). Stephenson'snovel depictsa metaverseor virtual
worldin whichrealpeople are represented
by theiravatars
of
in virtualspace. An avatar is a virtualreproduction
character
one
the
virtual
world.
the
oneself,
guidesthrough
AlthoughSecondLiferesemblesa video game,to referto it
as such wouldbe misleading.It has no goal in thetypical
sense. Thereare no levels or obligatory
objectivesand no
the
virtual
world
from
One
explores
by"teleporting"
ending.
island to island.Each is distinct,specializedto meet the
for
variousneedsof its diverseresidents.Ohio University,
example,has a virtualcampus wherecourses are taught
vein,aspiringmusicians
(Outlook,2007). In a verydifferent
in virtualnightclubs
and cafes for
hold live performances
There
are
science
interested.
museums,shopping
anyone
centersand parksall insidethevirtualworld.In fact,there
are nearly69,000 users,called residents,logged into the
virtualworld at any given time (Second Life, 2008).
itfunctions
as a platform
forcommunication
and
Ultimately,
include
World
of
MMORPG's
socializing.Otherpopular
Warcraft,
There,IMVU and ActiveWorlds.Aside fromthe
sheervolumeand varietyof its virtualspaces,whatmakes
of exploration,
Second Lifeworthy
comparedto othersuch
to createand amend
MMORPG's is theabilityof residents
the virtuallandscapethemselves.Residentscan construct,
197
MICHIGAN SOCIOLOGICAL REVIEW, 22 FALL 2008

and the objects
manipulateand editthe builtenvironment
insideas theysee fit,transforming
thevirtualmilieu.
Previousstudieson such MMORPG's tendto fall
withinone of four categories:the social, referring
to
and
interactions
2005;
interpersonal
relationships
(Chee,
Coombe
Chang and Whang,2005; Hakken,1999; Herman,
andKaye,2006); thepsychological,
to issues such
referring
as gendertransformation
in online communities(Battle,
1996; Ornebring,
2007; WanandChiou,2007; Turkle,1996;
Krzywinska,
2006); thenarratological,
focusingon thestory
elementsin such communities(Beusch, 2007; Klastrup,
2003; Martey and Stromer-Galley,
2007); and the
to
the
internal
structure
of rulesand
technological,
referring
sometimes
as
game play by design,
specified ludological
2004; Zerzan,2007;
(Lugo and Lossada, 2002; Jorgensen,
Zackariasson and Wilson, 2004). This study differs,
of virtual
however,in examiningthephysicalconstruction
and
the
social
it.
embedded
within
space
meaning
For example,whileKrzywinska(2006) has written
abouttheroleplayedbymythology
in theusermanipulation
of theenvironment
in Worldof Warcraft
and Hermanet al.
has
examined
nature
the
of
(2006)
cooperationand
intellectual
property
rightswithinthe gamingworld,little
has beensaid aboutuserconstructed
in
virtualenvironments
relationto sociologicaltreatments
of space and the built
In orderto initiate
environment.
a discussionofvirtualspace
of
as social spacejust as legitimate
as anyother,recognition
of
the most significant
contributors
to an understanding
social spatialconstruction
is merited.
Lefebvre'sProduction
of Space (1991) and Gottdiener'
s Social Productionof
Their
UrbanSpace (1985) givethisanalysisits foundation.
of the built
contribution
to theoryon the construction
framework
this
work
drawsfrom.
environment
the
provides
In particular,
theirconceptualization
of the productionof
a
manifestation
of
the
internal
as
space
dynamicsof
physical
thesocial structure
thatcreatedit. This concept,previously
198

applied to the constructionof the real world built
environment,
may help in understandingthe virtual
as well. Whatfollowsis a briefdescription
environment
of
of
earliest
an
some
experiencesduring ethnographic
my
Life and an application of
of
Second
exploration
theories
of
spaceto thoseexperiences.
sociological
Introductionto theVirtualWorld: OrientationIsland
New participants
begin theirvirtualSecond Life
on
Orientation
Island.The island'spurposeis to
experience
a senseof whatthevirtualworldis like.
givenew residents
It presentsthe opportunity
to familiarizeoneselfwith its
In addition,it allowsa chanceto get
controlsand functions.
to know the "feel" of controllingone's avatar in a
consequencefree zone. In my firstvisit to Orientation
Island,I feltanxiousas the island loaded.9I watchedmy
avatarappearon the screenalong with,to my surprise,a
handfulof othernew residents.My virtualself dropped
down onto the island,bent at the knees, then stood up
motionless.
We lookedaroundat each other,pivotingfrom
side-to-side
as ourrealworldselvestouchedthecontrols.
As I rotated
of
around,a pathcameintoviewin front
me,I tappedthe'up' arrowon mykeyboardand myavatar
thrustforward.I walked towardthe path,away fromthe
group.Aftera shortdistanceI stopped,turnedaround,and
stoodwatchingtheothers.Most werestillslowlyspinning,
admiringthe landscape,I think.Realizing,though,they
couldsee mewatching
as easilyas I couldsee them,I turned
andwalkedoffagain.Thismomentillustrates
how different
SecondLife is froma video game.A video game,however
9
This ethnographicmode of MMORPG descriptioncan be further

elucidated withreferenceto concepts of identitytransformation
and
embodiment,and notionsof the self in which the work of Erving
Goffmanand Mihly Cskszentmihlyiproves insightful.Although
beyondthe scope of thispaper, such an analysis would contributeto a
comprehensiveunderstandingof virtualenvironments.
199

sophisticated,
presentsa world that must emerge from
withwhich
preprogrammed
responses.The otherindividuals
one interacts
willrepeatcertainphrasesandgenerally
posses
a mechanized,
thus,lifelessquality.In SecondLife,though,
theresidents
reallyare people.Theiractionsactuallycome
whichimbuesSecond Lifewith
fromrealworldindividuals
in thevirtualworlda real
a spontaneousquality;instilling
worldsensibility.
is the
A key partof this"real worldspontaneity"
The island is
visual landscapeof the virtualenvironment.
beautiful.It is tropical,and laced withwalkwayswhich
tall grassesand clumpsof trees.The skyis
weave through
blue at itscenter,slowlyfadingtoward
cloudlessandbright
as it approachestheperfecthorizon.Flowers
an off-white
sproutin clusteredpatternswhich resemblereal world
Throughmy headphonesI could
growthconfigurations.
occasionally hear the deep gurgle of distant water.
Eventually,I made my way to the shoreand looked out
towardthesea. I was struck
bythepresenceofwaves.
A ConstructedEnvironment
need forresidentsto realistically
The self-imposed
in a clearlyvirtualsetting
thenaturalenvironment
reproduce
of virtualspace. The nature/culture
attribute
is an important
virtually
collapses:everynaturalobjector force
dichotomy
virtual
milieu is constructedthrough
in
the
present
conscious effortto create a convincing real world
Overthecourseof severalweeks I beganto get
sensibility.
thesensethatthevirtualworldhas a pulse,thatitis a living,
It's notthatSecondLifeis a realistic
environment.
breathing
of
previously,
lookingrepresentationreallife.As mentioned
SecondLifeappearslikea videogame,realisticin a general
sense, thoughwhollydistinctfromactual life. Once one
amountof timein the virtualworld,
spendsa significant
effectoccurs: one's eyes become
an
though, intriguing
Of course,one still
accustomedto itsvisualrepresentation.
200

remainsconsciousof itsparticular
aestheticbutit growsso
familiar
one doesn'tsee it anymore;itbecomesa nonfactor.
Thisfacilitates
virtualimmersion
in thevisuallandscape.
This immersioncomes, in large part, from the
atmospheric
qualityderivedfromsubtledetailsin thevirtual
worldwhichhintat a realworldresonance.Weedssprouting
betweenthecracksin front
ofa building,forexample,orthe
of
a
tree
branch
slightbobbing
implyreal world forces.
These forces,however,are of course an illusion. The
depictionof naturalobjects is meticulouslyconstructed
theefforts
of thousandsof residents.Interestingly,
through
since this world emergesfromits residents,everything
insideis the resultof someone'sconsciousdecision.Real
world environmental
forcesthat furnishlandscapeswith
tumbleweeds, drippingwater,and erodingbuildingsare
intentionallycreated here. Consequently,the physical
construction
of virtualworld space is embeddedwith a
symbolicintentionality
lackingintherealworld.
As mentionedabove, weeds- the unwantedgrass
- carrya
one sees intrudingon the edges of sidewalks
certainsymbolicsignificance.For instance,the outside
entranceof an expensivenew officebuildingwill nothave
any weeds growing.This isn't the consciouseffortof the
buildingplanners;rather,it's a naturalconsequenceof the
officehavingbeen recentlybuilt. Regardless,when one
makesthisobservation
it doesn'tslip away meaninglessly.
The absenceof weeds ultimately
becomesassociatedwith
thenewness,hencesuccess,of a company.So muchso, the
ownersof an olderbuildingmayallocatemoneyeach year
to have the weeds removed. In this case a level of
abstraction
is addedto themeaningof weeds- now thatits
- illustrating
absence is a conscious effort
its symbolic
an
significance.Comparatively, unsuccessfulcompany
won't have the fundsfor superfluousspendingand the
weedswill creepin. However,whatifweedsaregrowingin
thecracksin frontof a virtualbuilding?Althoughexactly
201
MICHIGAN SOCIOLOGICAL
REVIEW, 22 FALL 2008
what it may signify can vary, weeds obviously have a

symbolic functionhere. In the real world, everyday life
presents individuals frequent opportunities to make
connectionsbetween uncontrollablenaturalobjects like the
weeds and potential symbolic meaning. These casual
observationsare second nature and rarely merit any real
consideration,however. In fact,an observationmay be so
subtle and the judgment so reflexive that one barely
becomes conscious of its presence. For example, a practical
illustrationof this process occurs when walking along an
unfamiliarstretchof city blocks. As the buildings pass by
and one enters into and out of various zoning districts,
brokensidewalk blocks become more common,the patches
of lawn are mowed less frequentlyand the chippingpaint
becomes more severe. The broken concrete, overgrown
lawns, and chipping paint become instant, seemingly
intuitivesigns of economic and politicalundercurrents.
Inconspicuous symbols,which in the real world are
noticed though barely noted, are value laden cultural
signifiers in Second Life. What, exactly, does broken
concrete,overgrownlawns, chippingpaintor "weeds" mean
in Second Life? What functiondoes "Free Tibet" serve
scrawled on a building in a virtualworld withoutpotential
legal repercussionsfor graffiti?And does the presence of
these symbolsin the virtualworld tell us anythingabout the
in thereal world? The workof
meaningof theircounterparts
Mark Gottdienermay hold some clues. Expandingupon his
earlierwork on the social productionof urban space (1985;
1991; 1997; 1999), which is, in turn,a development and
applicationof Lefebvre's centraltheses (1984; 1991; 1996;
2002), Gottdienercontends that a new formof space has
emerged, beginning in 1950's America, in which
commercial spaces are increasingly "themed" to attract
consumers.By thishe means,forexample, thedecoratingof
such as Hard Rock Cafe or Planet Hollywood, or
restaurants
202

such as Disneylandor
perhapsmoreobviously,attractions
Las Vegas.
observesthatthe centralproblemfaced
Gottdiener
capitalistsis no longerhow to transform
by contemporary
in the mostefficient
wealthintocommodities
way. It has
that
since
workers
are also
understood
been long
in paying
have an economicinterest
consumers capitalists
their employeesrelativelyhigherwages, thus enabling
to also purchasethegoodstheyproduce.Gottdiener
workers
that
by the end of the 20thcenturya new facetin
argues
had become most important.
Not
economicrelationships
between a workerand their products,but between a
consumerand theirpurchases.The emphasisin modern
commodities
back
Americais nowon howbestto transform
intocapital.Putanother
way:whatis themosteffective
way
to seduceconsumers?
has emergedas a way of
The themedenvironment
The
in Second
this
built
environment
answering question.
Life is distinct,of course,because unlike the themeing
doesn'tfunction
whichGottdiener
describes,thisthemeing
to seduce consumers.How, then,does it relateto Second
Life?The name,of course,SecondLifeimpliesan escape of
fromtheconventional
hum-drum
of
sorts;a place to retreat
In
much
the
same
that
life.
way
Disneyworld
everyday
worldseparatefromreallife.The
itselfas a fantasy
presents
line forLas Vegas also capturesthis,
modernmarketing
"What happensin Vegas, stays in Vegas." These places
realityin whichone isn'tconstrained
promisean alternative
by one's real life identity.Las Vegas is a particularly
example.The cityis marketedas an environment
striking
butevenexpectedto act in
one
is notonlypermitted,
where
fromtheireveryday
a way at odds withwhatis anticipated
identity.
The depictionof Second Life as a tropicalisland
as well. Like Disneyworldor
paradiseis a kindof themeing
Las Vegas, however,theparadiseis an illusion.Touching
203

the rock formationsof Disneyland would reveal a
fundamental
irony,the illusionis, itself,a reality:they're
underneath.
The
hollowed,paintedplasterwithscaffolding
brightlightswhichcreatedayduringthenightin Las Vegas
are runningon a streamof moneyvisitorslose there.The
masktheir
spectacular
sightsof Las Vegas andDisneyworld
actualsocial relations.The truth
is, of course,thattheseare
to
lucrativebusinesseswhich design theirenvironments
makeas muchmoneyas possible.Second Life,althoughit
of theseenvironments
displaysmanyof the characteristics
Thereare
doesn'tsharethisunderlying
capitalistfunction.
someparallels.For example,some moreinvolvedresidents
do pay a monthlyfee to own land in Second Life. This,
indeed,resemblesDisneyland:moneyis paid to enteran
thatremovesone fromeverydaylife.Though
environment
this fee is small and doesn't accountforthe majorityof
those, like myself,who neverpaid a cent. What, then,
to thethemedreadingofvirtualspaces?
contributes
in Second Life are
The themed environments
to residentsfor two main reasons: one is the
attractive
highlyspecializednatureof itsvirtualspaces and theother
is its abilityto providemeaningful
space to its inhabitants,
which,intriguingly,
parallelsthe use of ancientthemed
of
therunning
The logic used to orchestrate
environments.
Disneyworldor Las Vegas has one goal: whateverattracts
is best. If the
the mostpeople of the targetdemographic
themed environmentis a carefullydeployed illusion
thememakes
whatever
designedto hidetruesocialrelations,
consumersmost eager to partwiththeirdollars is best.
thegoal is to
or standards;
Thereare no pretensions
rather,
makethemostmoneyas possible.Disneyworld,
then,will
location
as a familyfriendly
moreprofitable
be immensely
Las
20's.
in
their
those
for
thanas one specifically
designed
Vegas, likewise, will only stand to lose profitsif it
Second
classpeoplefromparticipating.
working
discourages
to a muchnarrower
Life,however,has theabilityofcatering
204

demographic.It is culturallyexclusivein a way thatan
international
attraction
could neverbe. To betterillustrate
thisI will presenta detaileddescription
of a Second Life
location:HippieIsland.
Examinationof a VirtualThemed Environment:Hippie
Island
HippieIslandwelcomesitsvirtualvisitorswiththeir
slogan "Come Join the Revolution."An advertisement
showsa virtualhippy,completewithlongblondhair,tight
blue jeans and a psychedelict-shirt
nextto a pictureof a
Barack
clear
itspoliticalallegiance.
Obama,making
smiling
Visitorswho teleportto the island findthemselves,first,
insideof an impressive
building.The ceilingis highwhich
gives the room a lofty,important
quality.The inside is
lit
and
flower-like
dimly
patterns
slowlyswirlaroundon the
floor.The buildingis furnished
withgiantpostersof Barack
Obama. "Yes we can" slogansplasterthewalls and direct
residentsto barackobama.com.
Obama's O-logo withred,
whiteandbluestripesis sewnintothecarpeting.
On my visit to the island I walked out of this
building,downstairsand ontoa woodendeckbelow. There
I scannedthehorizon.It was dusk- an unchanging
dusk,I
would laterrealize- and the surrounding
island was dark
withlarge,silhouetted
treesrustling
in thewind.Therewere
Tikilanterns
on poles,peppering
thelawnin front
ofme.An
eagle in the distancewas slowlycirclingroundand came
downtoperchin a tree.The deckwas appointedwithcomfy
chairsand beanbags.A varietyof itemslay scatteredon a
long table.I surveyedthemand found,to my amusement,
I strolledoffthedeckontothegrassand
drugparaphernalia.
walkedtowardthetrees.Old Volkswagenbuseslayamongst
picnicblanketsand lawn chairs,decoratedin peace signs
and coveredin brightpaint.I approachedthetopof a small
hillandwas able to see campfires
theterrain
in front
dotting
of me. I casually twistedthroughthe picnic scenes and
205

parkedvehicleswhose side doors all restedopen, spilling
out their contentsonto the ground. Sprawled bodies
accompaniedmostofthesescenes,doinglittlebutwatching
me walk past. As I twisteddeeperintothe woods I came
upon a motherdeer and herdoe who stood frozenon the
edgeofa hill.
of the island
I made my way aroundtheperimeter
around
bushesand
and came uponmushrooms
growingup
withyellowspotson
trees.Theyweregiant,purplegrowths
to
the
them
came
of
up
heightof my knees. I
top. Some
cameupona giantwillowtreewiththicklimbs.I lookedup
intothetreeto finda fort.A girlsat up therewithpillows
downa kindof colorful
and blankets.Fromthetreedrifted
the
air
and
floated
that
filled
awayovertherestofthe
pollen
island.I passedby a smalllakewitha canoepulledhalfway
onto the shoreand could hearthe distantsoundsof birds
A concertstagelay on the
myheadphones.
through
chirping
otherside of the island. There were vivid, multicolored
abovethe
fromtwoareasin thescaffolding
lightsemanating
flowers
and
cartoon-like
stage.Theyprojectedpeace signs
on thestagefloor.Avatarsdressedin hippyclothingloitered
aroundon the stage talkingto one another.I decided to
circle back to the main buildingand found,at its rear,
importedphotographsfrom real world counterculture
events.One of themconsistedof two womenat a concert,
holdinghands,gleefullyspinningaroundeach otherwith
shoelessfeet.Anothershowedtanned,skinny,long-haired
on thegroundtalking.
kidssitting
cross-legged
I continuedto exploreand foundmore signs of a
whatany
kindofhippienostalgia.I keptwondering,
though,
initial
the
from
Aside
Barack
Obama.
of thishad to do with
andthehugepostersinside,nothing
advertisement
appeared
is a
there
the
Obama-specific.I realized,though, point:
certainidiosyncratic
qualitythatmade thecontentson this
to itsresidents.
Obama,meaningful
island,including
206

The themedenvironment
of Hippie Island unites
elementsthat cater to a specific demographicwhich
otherwisewould not be addressed,especiallyin the topdown mannerthatcharacterizes
urbanspaces
postmodern
1992
and
Second
Schiller,1971, 1991).
(see Davis,
Life,in
thiscase, servesas a perfecttool forunitinga divisionof
individualswhose cultural perspectivewould not be
addressedin otherspheres.In thisway,SecondLife is able
to give residentsa fairlyintimate,culturallyexclusive
experienceotherwise
lackingin themodernrealworldbuilt
environment.
The Freedomto Theme
In additionto this culturallyexclusiveexperience,
thethemeing
of Second Life also providesresidentswitha
meaningfulspace distinctfromthose which typifythe
and which,in some respects,
capitalistbuiltenvironment
parallels the logic underpinning ancient themed
environments.
Gottdiener
describesthe layoutof a cityin
ancient Greece, "Classical Athens was constructed
accordingto a combinedcosmologicaland religiouscode
thatbothsituatedthesettlement
in harmony
withnatureand
endoweditsbuildingswithhomagesto thegods. The entire
city, its environmentalspace, and its buildings
thebeliefin thepantheonof Greekgods,so that
signified...
its inhabitants
lived withina sacredand meaningful
space
(p. 22)."
Gottdiener
is notjust showinghow thethemeingof
environments
has pervadedhumansettlements
sinceancient
He
is
also
in
how, ancienttimes,the
history.
demonstrating
internal
on religious
systemof societiesrestedsignificantly
beliefs. These beliefs, then, floweredin the physical
construction
of itsspaces. In moderntimes,as thecapitalist
has
system replacedthe logic cementinghumanrelations,
themedenvironments
have become an extensionof that
The
difference,though,rests in the internal
system.
207

conflictat theheartof
dynamicsof capitalism.The internal
betweenthosewhoownthemeansofproduction
capitalism,
and those who do not, underpinsthe modernthemed
environment.
Ancientthemedenvironments
resonatedon a
moreprofound,
infused
dimension.
spiritually
Walkingthe
layoutof a city space was livingone's beliefs.African
villagers, the Dogon, for example, constructedtheir
in alignmentwith a cosmologicalorderthat
settlements
refersbothto the axis of the worldand to the gendersof
theirpeople (Gottdiener,
1997). Theirthemedspaces were
as
rich
as
ours
with symbolicmeaning,theirs,
clearly
a systemrootedin the infiniterather
however,referenced
monetary
exchange.
SecondLife,then,can be viewedas an escape from
an escape.It is a wayto leavethemodernrealworldthemed
environment
which is a physical manifestation
of the
in capitalism,
conflictinherent
and to enterinto,instead,an
at itsheart.It is an
environment
whichbearsno antagonism
environment
constructed
by someonewithno motiveother
thanto createan interesting
space. The Second Life built
This
is endowedwithan intrinsic
environment
benignity.
foundationalpurpose, coupled with highly specialized
contentaccountsformuchof thepleasurederivedfromthe
SecondLifelivedexperience.
I
to thetypeof symbolism
Returnnowfora moment
earlierwiththe exampleof weeds. The annual
illustrated
officeadds to
removalof weedsfromoutsideof a corporate
the overall impressionof the space. The washing of
windowsalong with the mowingof grass, repairingof
brokenbricksand generalupkeepenhancetheimpactof the
in a
building.The spectacleof a polishedbuildingfunctions
social
the
and
enforce
to
fashion
reify
legitimate,
hegemonic
relationsin which it is embedded.What is it doing in
Second Life, then? It is providinga shell of the built
have been stripped
whose internalstructures
environment
away so new ones can taketheirplace. The meaningof the
208

and transformed.
A decrepitinnerspace can be reinvented
cityis strippedof the oppressionthatcreatedit. Instead,
graffitilitters its buildings as a study in aesthetic
construction.Dominating bureaucratic structuresare
undermined.
The structure
is leftto be re-envisioned
and
new meaningseclipsetheold ones. Internalsocial relations
in theformofthebuiltenvironment
andtheirphysicality
are
liberatedin SecondLife.One mustask,then:whycopythe
real world built environmentat all? Breaking or
real worldmeaningsand social relationscan
transforming
which
onlybe realizedif one startswithan environment
those
A
vital
relations.
dimensionof Second Life
captures
wouldbe absentif everyenvironment
resembleda wholly
and
abstract
location.
It
mustalign itselfwith
imaginative
therelationsof thereal worldsignificantly-enough
in order
to breakthem.In thisway,SecondLifeis stilldependent
on
the real worldbuilt environment
for its significanceand
pleasure.
Conclusions
The virtualworldis a way to transform
the power
relationsembeddedin theconstruction
of real worldspace.
The layoutof the virtualworld is not directedby profit
of
seeking.It is, instead,a way to escape the antagonisms
thatspace whilesimultaneously
the
of
enjoying sensibility
itsphysicalpresence.For thatexperienceto exist,however,
it mustresemblethe real worldconvincingly.
The weeds
and similarsymbolsservethisfunction.
Theyprovidethe
patinathatenhancesthe illusion.These symbolsmustbe
presentto give the virtualworldmeaning.It enrichesthe
and depththat
experienceand givesa levelof sophistication
would otherwisebe missing.The presenceof physically
functionless
but culturally
significant
symbolsis vital for
thisenvironment.
It mustconvincingly
createtheillusionof
real world forces before it can make meaningout of
them.
breaking
209
MICHIGAN SOCIOLOGICAL
REVIEW, 22 FALL 2008
The virtualenvironmentis significantnot only as an

increasingly prominent mode of computer mediated
communication,but also as a way forusers to reorienttheir
The ability
relationtowardreal worldthemedenvironments.
of users to constructand edit the built environmentallows
for the creation of a landscape rich in symbolic meaning,
thoughdisconnectedfromthe power relationsof everyday
life. These spaces are, instead, given order by the cultural
perspectives of their residents, embedding virtual
environmentswith a benign quality and culturalspecificity
that could never be achieved in real world constructions.
These virtualconstructionsprovide freedom,paradoxically,
fromreproducingculturalconventionsin the formof real
world symbols.These symbolsare thendisplaced fromtheir
position in a capitalist order and allowed to take on new
meaningsand significancein thevirtualworld.
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THE SOCIAL CONSTRUCTION OF VIRTUAL SPACE

Author(s): Keith McIntosh

THE SOCIAL CONSTRUCTION OF VIRTUAL

MCINTOSH: CONSTRUCTION OF VIRTUAL SPACE

MICHIGAN SOCIOLOGICAL REVIEW, 22 FALL 2008

MCINTOSH: CONSTRUCTION OF VIRTUAL SPACE

This ethnographicmode of MMORPG descriptioncan be further

MICHIGAN SOCIOLOGICAL REVIEW, 22 FALL 2008

MCINTOSH: CONSTRUCTION OF VIRTUAL SPACE

REVIEW, 22 FALL 2008

what it may signify can vary, weeds obviously have a

MCINTOSH: CONSTRUCTION OF VIRTUAL SPACE

MICHIGAN SOCIOLOGICAL REVIEW, 22 FALL 2008

MCINTOSH: CONSTRUCTION OF VIRTUAL SPACE

MICHIGAN SOCIOLOGICAL REVIEW, 22 FALL 2008

MCINTOSH: CONSTRUCTION OF VIRTUAL SPACE

MICHIGAN SOCIOLOGICAL REVIEW, 22 FALL 2008

MCINTOSH: CONSTRUCTION OF VIRTUAL SPACE

REVIEW, 22 FALL 2008

The virtualenvironmentis significantnot only as an

MCINTOSH: CONSTRUCTION OF VIRTUAL SPACE

MICHIGAN SOCIOLOGICAL REVIEW, 22 FALL 2008

Klastrup,Lisbeth.2003. "A Poetics of VirtualWorlds."

MCINTOSH: CONSTRUCTION OF VIRTUAL SPACE

MICHIGAN SOCIOLOGICAL REVIEW, 22 FALL 2008

New York,NY: Simon& Schuster.

Wan, Chin-Sheng and Wen-Bin Chiou. 2007. "The

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