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[…]the films of Ed Wood) the essential humanity of the actors playing the characters somehow manages to come through. We believe the actor is attempting to convey a specific character within a specific scene, and we respond by agreeing to pretend that the actor has become that character, responding to the psychological challenges of the moment. Yet imagine that film or theater did not have acting as we know it ó but that instead all cast members were constrained to act in the most rotely mechanical way, repeating lines of dialogue and movements without any feeling that was specific to […]
[…]number of games use narratives as affective hooks to draw readers in and hold their interest, and to appeal to a wider audience (see the Douglas and Hargadon chapter for online surveys calling strongly for more backstory), an audience not necessarily interested in the gratifications offered by shoot-`em-up skill-based games or by strategy-based simulations. X-Files: The Game, for example, like The Last Express derives its entire intelligibility and appeal from blending the trappings and satisfactions of traditional narratives to the exploratory and agency-based pleasures of interactivity. In both X-Files and Last Express, as well as Sega’s Shenmue, virtually none of […]
[…]fundamentally solved only after Empire comes, virtually making nationality lose its relevance: “[W]e insist on asserting that the construction of Empire is a step forward in order to do away with any nostalgia for the power structures that preceded it and refuse any political strategy that involves returning to that old arrangement, such as trying to resurrect the nation-state to protect against global capital” (43). Yet, of course, they do not identify Empire as the utopian: “Flirting with Hegel,” as they say, they indicate that “the construction of Empire is good in itself but not for itself ” (42). It […]
[…]science education, and a means of interesting people in science, did not catch on” because “[l]ike many of Gernsback’s ideas, the notion that science fiction could be used as a teaching aid was substantially ahead of his time” (Lerner, 1985: 38). Though this matter is not absent from Wythoff’s thorough introduction, an alternate perspective is rather emphasized by this edition of Gernsback work. In The Perversity of Things, Gernsback is portrayed as the main figure around which gravitates a community of tinkerers (or experimenters) focused on interchanging ideas, creating knowledge together and learning by doing. The Perversity of Things splendidly […]
[…]society though the programmed breakdown of social game rules [Ellington, Addinal, Percival, 1982]. Comment 3: Curriculum design, not game design It seems to me that Forum Videogames isn’t a problem of software design – it’s really a question of curriculum design, of integrating the kind of personal expression and collaboration that might be found in an art class into a more technological environment. Given that plenty of ready-made tools already exist, if Frasca wishes to provide a scenario for the use of games to “discuss real life situations,” he should focus less on technological manipulation and more on the actual […]
[…]structures of narratives and adventure games) and Gonzalo Frasca’s introduction of ludology to computer game studies at the first Digital Arts and Culture conference in 1998. A discussion of the present topic, which ignores these works, cannot hope to break new ground. A few facts of cultural history wouldn’t hurt either: as the oldest astragals (forerunners of dice) date back to prehistory I’m not so sure “games fit within a much older tradition of spatial stories.” From the highly variable viewpoints of formal narratology (Genette, Prince, Chatman), deconstruction and experimental fiction, Jenkins’s “spatial story” is a bit of a naive […]
[…]programs. [ link to Aaron Pease’s 2003 review of Manual DeLanda’s philosophy of the virtual] Fortunately, however, not everyone will be convinced by sweeping claims about virtual reality. A badly needed element of sobriety has recently been introduced by that foremost of futurologists and speculators, Stanislaw Lem. In an essay entitled “Thirty Years Later,” Lem speaks directly to the issue of the bedazzling “newness” of the idea of virtual reality, pointedly debunking some of the more ridiculous and exaggerated claims. Citing extensively from his 1962 Summa Technologiae, Lem establishes quite convincingly that recent talk of “virtual reality” was clearly anticipated […]
[…]in Steps to an Ecology of Mind). The technographical brain narrows the parameters of this concept to examine the ways in which the changing tools we use to write with effect physical changes in our brains. The technographical brain takes as its premise Merlin Donald’s idea that “We act in cognitive collectivities, in symbiosis with external memory systems. As we develop new external symbolic configurations and modalities, we reconfigure our own mental architecture in nontrivial ways” (382). This premise informs Vannevar Bush’s work, particularly the 1945 article often invoked as an origin for hypertext. Bush envisioned that information retrieval networks […]
[…]of a mouse and keyboard as input devices, and the computer screen as display mechanism, it is easy to forget the body whose eyes perceive the screen, and whose hands and fingers manipulate the mouse and keyboard. In her book How We Became Posthuman, N. Katherine Hayles (1999) has eloquently explored how “information lost its body.” Hayles investigates the theoretical, historical, and literary maneuvers through which modern society has dissociated information from a body or medium. The consequent elevation of abstraction over embodiment is mirrored by a corresponding lack of computer interfaces that meaningfully engage our bodies with the information […]
[…]letting go of the idea of “control” we inherited from cybernetics and the industrial approach to computing. As we move into the age of bioinformatics, these systems are clearly not working for the advancement of social consciousness or collective intelligence. The Internet provides us with a space to address some of these issues, but in order to use this environment effectively, the meaning of “networking” has to be extended beyond the physical computer communication infrastructure. But how does this impact the context that the artist usually works in; i.e., exhibiting the work in cultural institutions, working with the organizers and […]