Simon Penny re-collects the dimensions of simulation-as-training in martial arts, football, and ballet (not to mention computer games).
Simon Penny recalls that the origins of the human-computer interface, politicized by a military heritage, are now explored by artist-enigineers who chaperone fragmentation and dissent.
Do violent games train us for violence? Drawing on social psychology and cognitive science, Simon Penny examines the “ethics of simulation.”
Simon Penny adds object-context to the talking machines of Natalie Jeremijenko’s essay.