Being in the World of Warcraft

1)  Is Golub’s group/guild a legitimate source for the “world” of Warcraft, or perhaps more representative of a particular guild’s culture?
Is this “world” a society, or collection of such?
2) Golub says that a place needs to be disassociated with the idea of “real” space or locality. How, in your opinion, can space be defined if it’s not fixed in a locale?

3) The “adds” to the game such as Vent communication or the Threatmeter,”intrude on the graphical realism of the game” while enhancing the social aspects of the game. How does the gamer’s ability to transform this world through using add-ons or plugins affect the way this “world” is constructed? What about differences in language?


4) How is realness related to shared experience rather than sensory immersion?

5) A lot of debate in anthropology is around the fact that since you weren’t born into or raised in the society/community you’re observing you can never really fully understand them. But WOW is a community/culture you enter into at some point and Golub emphasizes that there are people from all walks of life (although seemingly limited in ethnicity in his guild)  and different genders that are playing this game. Discuss.

Hidden Graffiti

The discussion of Graffiti often revolves around its public presence and the message that it carries with it, whether it be political, gang-related, or a social commentary.

However, graffiti also appears in places where it is not easily seen, and doesn’t actively work as a strong message. Well hidden under a North Vancouver Bridge is an improvised art gallery of graffiti that is constantly painted over and changed. It is situated near a popular hiking, trail, but most pieces are hidden behind the columns, which support the bridge, or deep in the shadows. In most cases, the artwork requires a good amount of hiking to even be seen.

In Jessie L. Whitehead’s article on the connection between students and art in a public space, he suggests that graffiti is a familiar occurrence in almost every city setting, and that it “offers an effective example of the connection between art and the world of everyday life”. In an area like North Vancouver, a large amount of the population consists of high school students, and graffiti can be seen as a more playful, quiet, well-hidden form of rebellion. Instead of on a popular building in the center of a city, these pieces are located in the wilderness, with very few viewers. This style can be seen as a personal expression, but not to the public as a whole. It is an expression only visible to those who know where to look.  This suggests that graffiti has a more personal use as well.

– by Charlotte Z
Graffiti: The Use of the Familiar
Jessie L. Whitehead
Art Education , Vol. 57, No. 6 (Nov., 2004), pp. 25-32