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[…]I do with the native strain. This is not to say, however, that my respondents have failed in their critical duties. Both complain with some justification about the characteristic lack of subtlety in my polemic. Cayley worries that my provocative title sets up an absolute division between its two terms: “I think we have to play more on the ambiguities of ‘play’ here,” he writes, and goes on to argue for “transitional cultural objects” occupying ambiguous positions between market categories and art genres. This is an important and enlightening correction to my dualism, and one which I am inclined to […]
[…]Rather, E-AI is a stance or viewpoint from which all of AI can be rethought and transformed. Critical technical practice Both SS-AI and E-AI are instances of what Agre calls critical technical practice (CTP). Agre defines CTP to refer to a scientific and technical practice which engages in a continuous process of reflective critique of its own foundations. This reflective critique consciously constructs new, contingent myths to heuristically guide the practice. No fixed-point is ever sought or found. A CTP is in a continuous state of revolution. A critical technical practice would not model itself on what Kuhn called “normal […]
[…]as the resulting cognitive differences, Jenkins runs the risk of reducing his comparative media studies into repetitive media studies: seeing, seeking, and finding stories, and nothing but stories, everywhere. Such pannarrativism could hardly serve any useful ludological or narratological purpose. Jenkins’s text is entertaining, but his criteria would turn Zelda into a musical instrument, gardening into a spatial narrative, Picasso’s Guernica into a bombing, and every novel and film describing games into a game. Players, readers and spectators usually need prior knowledge, but there’s no reason to privilege any particular source for that information. Jon McKenzie responds Henry Jenkins […]
[…]First Person essay: So if there already is or soon will be a legitimate field for computer game studies, this field is also very open to intrusions and colonizations from the already organized scholarly tribes. Resisting and beating them is the goal of our first survival game in this paper, as what these emerging studies need is independence, or at least relative independence. One can’t help but note that Eskelinen’s position is significantly more rigid than the one adopted by Frasca and Aarseth. Far from seeing ludology as a “complement” to narratology, Eskelinen wants to barricade the gates against any […]
[…]that to a certain extent, games have evolved in isolation from other media. The practice of using critical theory tools from literature and film to discuss games is a fairly recent phenomenon. Indeed it has really been the mainstreaming of the computer game that has caused these other disciplines to sit up and take notice. In spite of the enormous role of games in popular culture, the vast majority of critical theorists from these disciplines still take the more typical stance of regarding games with either disdain or indifference. Nonetheless, it has become trendy in some circles to throw literary […]
[…]Experience. New York: Harper Perennial. Juul, Jesper (2001). “Games Telling Stories?” Game Studies 1, No.1 (2001). http://www.gamestudies.org/0101/juul-gts/. Marjanovic-Shane, Ana (1989). “`You Are a Pig’: For Real or Just Pretend? — Different Orientations in Play and Metaphor.” Play and Culture 2, yr. 3 (1989): 225-234. Myers, David (1992). “Time, Symbol Transformations, and Computer Games.” Play and Culture 5 (1992): 441-457. Osborne, Scott (2000). “Hitman: Codename 47 review.” Gamespot (2000). http://gamespot.com/gamespot/stories/reviews/0,10867,2658770,00.html. —. (2000). “Giants: Citizen Kabuto review.” Gamespot (2000). http://gamespot.com/gamespot/stories/reviews/0,10867,2664536,00.html. Rau, Anja (2001). “Reload — Yes/No. Clashing Times in Graphic Adventure Games.” Paper Presentation at Computer Games and Digital Textualities, Copenhagen, March […]
[…]at them from a play-centric point of view, gain some perspective as to why they have been both critical and popular successes. The first genre I’d like to look at is the massively multiplayer online role-playing game, or, in game culture parlance “MMORPG.” The two most popular of these are Ultima Online and EverQuest, and second-tier games include Baldur’s Gate, Asheron’s Call, and Diablo. Although they differ in some significant ways, what all these games have in common is that they create fantasy story worlds in which players improvise narratives in real time. These games, all of which share the […]
[…]remarks, which to me do not seem incompatible with his own appeal for a Foucaldian turn in media studies. True, the media history (essentially the “new media” history) as rewritten by Bolter and Grusin is not chronological at all. Yet in spite of all declarations it remains thoroughly teleological. Behind every change since the Renaissance, the authors see indeed one major drive, the desire for a more direct contact with reality. Of course, the discussion on most of the new media (think of “virtual reality”) enables them to offer some convincing examples of this logic. Besides, the very idea of […]
[…]Critique of Cyberhybrid-hype,” in Jan Baetens and José Lambert (eds), The Future of Cultural Studies. Leuven: Leuven UP, 153-171. Jan BAETENS (2003). “The Book as Technotext: Katherine Hayles’s Digital Materialism,” in Image and Narrative , 7. n.p. Jay David BOLTER and Richard GRUSIN (1999). Remediation: Understanding New Media. Cambridge, Mass.: MIT. Katherine HAYLES (2002). Writing Machines. Cambridge, Mass.: MIT. Matt KIRSCHENBAUM (1999), Media, Genealogy, History, in ebr. Rem KOOLHAAS (1995) S.M.L.XL: O.M.A. Rotterdam: 010. Peter LUNENFELD (2000). Snap to Grid. A User’s Guide to Digital Arts, Media, and Cultures. Cambridge, Mass.: MIT. Jakob NIELSEN (2000). Designing Web Usability. Indianapolis: New […]
[…]directly addresses the game/story formulation. Well-known for his work with comparative media studies, Jenkins describes a middle ground between narratologists and ludologists, while also focusing attention on the dynamics of space, which he believes neither camp fully appreciates. Jesper Juul, by contrast, is identified with ludology. His topic here, the operation of time in games, is one that he has previously utilized to differentiate between games and narratives. This essay moves further than the basic distinction, beginning to lay the groundwork for a comprehensive understanding of game time. Celia Pearce, a familiar figure in the game development and location-based entertainment […]
[…]it is a matter of the advance of technology. Qua philosopher, Kolakowski possessed no privileged critical capacity and was in no position to deliver a decisive judgement of Lem’s speculations, which is why Lem is right to mock the notion of infallibitas philosophica. The situation is not, however, as simple as Lem suggests. It does not follow from the points I have just made that Lem’s speculations about phantomatics truly have been confirmed by any of the recent developments in virtual reality technology. Not only do those speculations not constitute any single and univocal thesis susceptible to a straightforward empirical […]
[…]Person contributors Phoebe Sengers, Michael Mateas, and Warren Sack combine approaches from both groups.) Yet in general AI and hypertext theorists do not simply diverge, but in fact begin their practices from radically different points. For the authors in this section, Nelson and Engelbart’s hypertext concepts are not simply an unspoken background; these essayists are well-known for their engagement with hypertext, and have directly addressed Nelson and Engelbart’s work, as well as that of hypertexts both preceding and outside of the Web. Thus we have our hypertexts. We find “interactives” in this section’s third essay, by J. Yellowlees Douglas and […]
[…]to know the Huorani who were in this middle-space: already blighted by the Christian identity-codes, they existed away from the traditional villages (about five miles walk into the jungle, forbidden unless you bore the appropriate gifts), yet not yet in the town system. They were at a peculiar, in ways stereotyped scenario, more interesting for me than the river trip I had planned. Living still off the forest, from which they would daily bring in birds and pigs, they were constructing a wooden building in the clearing, in which there would be a canteen – furnished by the family business […]
[…]the linear perspective used in three-dimensional rendering, or the various forms of computer code itself. In my digital works my strategy for this exploration has been to develop interfaces that honor and engage more of the body than just “one eye and one finger.” Interfaces, by providing the connective tissue between our bodies and the codes represented in our machines, necessarily engage them both. How and to what extent new interfaces may engage the body, however, is up for grabs. Practical interfaces are about maintaining the user’s sense of control. In this scenario representations on screen must respond to the […]
[…]narrative structures than others. Even in these instances, the structure of the narrative is critical to the content of the work. In See/Saw, my collaborator Adam Chapman developed a narrative with a structure that is hinged to the physical action of the see-saw. The narrative consists of a cyclical audio monologue that loops without a logical beginning or end, as long as users see-saw continuously. For each phrase in the monologue, Chapman also wrote a split narration – a phrase told from a position of power and a phrase told from a position of compromise. When users stop the see-saw […]
[…]exploring interface, virtual and physical spatiality, and the potential operativeness (read: code-driven manipulation) of media-elements of which text is just one. 2) “How can we use new technologies to provoke us into a more sensually engaged relation to text in ways that don’t immediately re-inscribe these longstanding practices of repressing sensual response?” Computer-related environments open many potential new qualities of media authorship. This new authorship can be more or less embodied, but we must be clear that the body always becomes implicated in the cybernetic loop. The physics of these environments work through matter/energy exchanges — human/machine/human interaction. The question […]
[…]as problems. The map above (17.5a) represents about a month’s worth of messages posted to the group sci.environment. The map below (17.5b) represents the same newsgroup one month later. By comparing the two maps you can get some idea of how the group has changed over time. One thing that has remained stable between the two maps is the connection in the semantic networks between the terms “people” and “problem.” This is a clue that perhaps, in this newsgroup, people are seen to be one of the main causes of environmental problems. But a hypothesis like this that one can […]
[…]be expressed, while severely limiting their actual expressiveness. The command-line, programming code interface can conflict with the literary aspirations of the author. In online MOOs it is common to see verbose descriptions of spaces, whose tone and length evoke bookishness if not literary merit, combined with the restricted code of the command line. These two very different modalities create a discord, which is further heightened if the interactor is engaged in conversation with a character within the story. So IF has certain intrinsic design difficulties, a built-in awkwardness in the way it represents spatial navigation and the inconsistency with which […]
[…]make, really, if a “personality” we meet online has a single body, or instead, a computer or a group of authors behind it? If we assume that the relationship between body and personality (or role, or whatever we call it) is arbitrary (as has been argued of the relationship between sex and gender, for instance), it is surely irrelevant whether Caroline, or indeed Jill Walker, have bodies and hair. The Turing test was devised in 1950, when bodies were thought to determine our lives and the ways in which we act. Bodies and roles weren’t commonly thought of as arbitrary […]
[…]is always tension, dynamism, and a certain ambivalence in this relationship between flesh and code. To extend Hayles’ reading of Lexia to Perplexia, we might take this mediated relationship between bodies and technologies a little further: If the body of the subject engages in a kind of distributed agency in “reading” works such as Lexia to Perplexia, then what happens to the specificity of the embodied subject as marked by gender, race, language, and cultural difference? In other words, Lexia to Perplexia, in articulating a relationship between flesh and code, also puts a challenge to us: to what degree does […]
[…]that is likened to the concept of creole through the environmental neighboring of image, text and code, where the “code” operates on multiple levels. This creole embodies a circulation of “codes” and their disruption including the textual, the imagistic/graphical, and through computer-based code-related text and symbols. This “creolization” is accomplished through a series of textual puns and visual word/graphic/code plays as well as through the operative nature of the interactive encoded environment. The narrative that one gleans through navigation of this environment is associative and generates a rich conceptual field. The operative, mixed-semiotic nature of the environment enables the exploration […]
[…]and perhaps even a framework for integrating what we know about IF – assuming such a game studies theory does not react against “story” so strongly as to not admit something like IF, which generates narratives in response to typed text. To see IF as “new media,” and to add “play” and “conversation” to the ten perspectives I originally mentioned, offers thirteen ways of looking at interactive fiction, perhaps enough for a clear vision of sorts. The thirteen ways Wallace Stevens offered are, after all, also one way; they build on and speak to each other. Seeing IF as riddle […]
[…]John Tynes; Pagan Publishing. 1997. Dungeons and Dragons. Gary Gygax and Dave Arneson; Tactical Studies Rules (TSR). 1974. GURPS. Steve Jackson et al.; Steve Jackson Games. 1986. Unknown Armies. Greg Stolze and John Tynes; Atlas Games. […]
[…]version. Notice 1) The tone: you can hear the earnest “writer” trying to choose details, working to set the scene, to elicit emotion through the crude tactics of fiction writing. Here, it’s the writer as doe-eyed manipulator, so busy looking for the “meaningful detail” that the kid’s name, something that is an actual fact (arbitrary as a name is, in non-fiction) might be wrong. 2) You can see the difference a detail makes, especially when the next paragraphs read: Crystal was petite, just five-feet-one in her stocking feet. Crystal was petite, just five-feet- two in her lizard skin line-dancing boots. […]
[…]distinction between elements that are transferred and elements that are not. While he calls for a critical attitude towards computer games, he seems to believe that we uncritically introject integral virtual experiences. When acting in a simulation, we acquire skills. We will become better players and our reaction time, tactical insight and self-control may improve. Some of these skills will be transferred to the real world and there they can be used for better or for worse. However, I really do not see how killing a monster in Doom will make it any easier for me to kill another person. […]
[…]of depth or hiddenness, typically followed by a drama of exposure, that has been such a staple of critical work of the past four decades’ (8). This is because there is a certain `ease with which beneath and beyond turn from spatial descriptors into implicit narratives of, respectively, origin and telos’ (ibid). The crucial issue here is that the task cultural theory sets for itself is both unenviable and unnecessary: Beneath and behind are hard enough to let go of; what has been even more difficult is to get a little distance from beyond, in particular the bossy gesture of […]
[…]be true: neither is there `fiction.’ The categories of fiction and non-fiction belong to the critical system which I argue is found wanting in the context of `participatory media.’ Van Looy here is attesting to the significance of ongoing experiential engagement in participatory media. This is precisely the argument I make in my paper. Simon Penny, May 2004 back to Critical Simulation […]
[…]opportunities for dialogue about their emerging ubiquity in our everyday lives and support public, critical awareness of new media and technologies in a highly accessible way. Here, I think of the Citywide Project and the Equator Project, groups that have for several years now argued for the importance of staging public, technological performances as a design research tactic. In short, cyberdrama could make digital media and computer technologies visible in a way that has nothing to do with computer graphics. In conclusion, I believe that the dramatic story-game can be performed not only on PCs or consoles, as Murray, Mateas […]
[…]go go…home,” “Stay, don’t leave/ I need you to/ make my frontiers weaker” – and many critical remarks to us (the “you” on the page) – “You will never be me” and “You will never be able to understand me.” One of the commands says to go away; the other says to stay. One is asking, demanding even, that the viewer keep physical distance from her. The other is saying in a needy kind of a way that the viewer must stay close by. These commands nag at us. The first one says that being me is better than being […]
[…]the interactive entertainment world is high, meaning that every few years an almost entirely new group encounters and attempts to address the same craft-language deficit, with little or no success. (I have seen this happen myself at least three times in the past ten years, and my fear is that the academic community – through essays like Murray’s – is now embarking on a fourth iteration.) Worse, significant problems can arise when new definitions ignore (or are oblivious of) practical lessons that have already been learned. For example, here’s Murray at the end of her essay, talking about ‘agency’: “But […]
[…]of philosophical thought from Marxism to deconstructivism, not to mention communication and media studies, semiotics, gender studies, cognitive science, postcolonial studies etc. etc.? The field of game studies is now large enough to welcome these migrants from other theoretical discourses to its own area. Clearly, this process of integration will not be an easy one; it will require tolerance, diplomacy and patience. However, Markku’s attempt to “use the theories of colonizers against themselves” (36) runs counter to such an integrative strategy as it pours gasoline into the embers of the fiery debate between narratologists and ludologists. Not that we need […]
[…]and language for private communications beyond the male domain. My appropriation of programming code had taken on ontological elements; not only did the code create a programmatic, computer based universe which users could interact with, but it referred to, and reprised interesting traditions in women’s spirituality. The medieval mystic tradition that Christine alluded to seemed to have come full circle in the semi-medieval narrative of The Princess Murderer. Fear of reifying the machine as an entrée to metaphysical hermeneutics aside (which, as Victoria Nelson (280-284) points out, is an element of recent rhetoric surrounding the Internet and other computer-based media), […]
[…]take away Cyrus’ first pages while he hides behind a curtain. Perhaps I am following Dom’s Code of Welcomed Interruption, which “sprang from [his] sense that our state is now a Field-State of InterPoly force Vectors multimplicitly plodding toward Coordinate Availability and away from the hierarchical subordinations of the old tour-de-force antropols…” (141). For a long time, I had difficulty articulating what it was about McElroy’s writing that I found so captivating, so important. I found some help in an unlikely place: the introductory note to the second book of Lawrence Durrell’s Alexandria Quartet, Balthazar. “Modern literature offers us no […]
[…]of McElroy’s handling of scientific knowledge and cross-disciplinary information systems. Critical readings of Joseph McElroy’s work, so often compared to, say, that of Thomas Pynchon, tend to overlook how much McElroy has in common with Grace Paley, herself a rigorous, avant-garde practitioner of complex fractured fictions. Paley, like McElroy, is a savvy surrealist of New York’s mental neighborhoods and a proponent of how, as she says, “history happens to you while you’re doing the dishes.” Sixteen of the “stories” that make up Women and Men appeared independently in literary magazines over the course of ten years (during the 1970s heyday […]
[…]and so forth are well documented in this work. These are the same problems confronting those working in networked screen based media more broadly and the misrecognition of hypertext as being little more than point and click branching structures shows that the division between text and image in our community is perhaps as profound as that in C.P. Snow’s famous “two cultures” thesis. Bernstein and Greco’s “Card Shark and Thespis” is illustrative in this regard. It offers a thumbnail sketch of the three major forms of literary hypertext, derived from their deep knowledge of the history of hypertext literature. From […]
[…]the kidnap, visit the pier by the hospital” (1). The definite article of “the” kidnap is critical, for now Hind’s solicitousness comes into sharper focus. Seven years before, a small boy, Hershey Laurel, was kidnapped from his country home under rather unusual circumstances. Jack Hind is not a sleuth, nor a police specialist or social worker, nor even a member of the extended Laurel family. Hind supports his unusual lifestyle by recording conversations, audio vèritè -style, for a radio program entitled “Naked Voice” (although it is never clear whether he is an engineer, a journalist, or simply a radio personality). […]
[…]for Beauty – ed. ] By the most conservative estimates of the London Institute of Strategic Studies, terrorist groups stand a better than 70% chance of detonating a nuclear “dirty” bomb in a major American city in the next ten years. The oil-rich royal family of Saud could soon be dethroned, giving way to the political ascendancy of Osama bin Laden in Saudi Arabia. The collapse of the Mid-East peace process owes as much to Jerry Falwell and Pat Robertson as is it does to Yasir Arafat and Ariel Sharon. These are not postings from a conspiracy nut’s weblog. Malise […]
[…]more about the life that goes on at the Laundromat where Zanes meets with Seemyon Stytchin and a group of young punks that disturb the community. Zanes starts a friendship with Lung, a member of this group. However, this summary contradicts the story’s original presentation of Zanes’ world because it reassembles what is purposefully fragmented in “Canoe Repair.” We only achieve this vision of the story retrospectively because it is not told linearly. Our expectations as readers are challenged, as David Porush notes when associating the technique of “de-automatization” provoked by the unsettling language of McElroy’s novel Plus. Plus ‘ […]
[…]rhymes with our occluded sense of things even when we know it’s only partial, or even wrong, working on it to work against it, to make something else of it, not more durable but springy, tensile, elastic. Draft back at what springs, at what springs back, as what bounces back against the springs, against the giant of gravity. A rebound that calls attention to the screen on which you view what is taking place, and yet the screen or blocking-out preceded the rebound. There is a sense that what’s first arises out of this secondhand, ” off hand” version of […]
[…]to something decidedly un-intellectual: that is, the new breed of light, commercial urban-working-girl-looking-for-love novels the industry calls “Chick-Lit.” In my Chick-Lit anthology introduction, I referred to my use of “postfeminism” in the call-for-mss as a joke, and I thought the title Chick-Lit carried obvious satire. Thus my new essay, “Who’s Laughing Now / A Short History of Chick-Lit and the Perversion of a Genre,” which should appear in the winter 05 issue of Poets & Writers. (And I must thank my co-editor Elisabeth Sheffield for the first three words of this title, as it is the essence of her comments […]
[…]the more sophisticated concatenation of “signal” and “purpose.” However, in the critical environment in which this process occurs with organic smoothness, its clear-cut causal relations rapidly become skewed by the interference of a non-causally-explicit affect: It is a silent flash in the great city’s grid […] From my height the detonation noise is a signal of light only. My cabin responds by at once easing its forward motion […]. We have a new purpose. […] Up in the cockpit the flash has been seen and the man in the right-hand seat is reporting it. But something is happening to our […]
[…]and analyzed by theories uncritically imported from other fields (including literary and film studies). This uncritical tendency of ignoring and downplaying dominant game-specific features, and not interdisciplinarity, was what the ludologists opposed and did so rather fiercely in 2001 when I wrote my First Person essay as a response to the first wave of narrativist nonsense. It was and it is clear to me that also the premises and presuppositions of reception studies and “generations of audience research” should be modified before they could be used in computer game research. This is based on three modest observations: first, by definition […]
[…]a particular meaning. It draws on a deliberately impure and hybridized methodology that blends a critical engagement with the complexity sciences with a critical engagement with French post-structuralist thought. The example of raciology demonstrates that it is possible to take possession of the profound transformations of thought made available by structural transformations in the discourses of the sciences and the humanities and “somehow set [them] to work against the tainted logic that produced [them]” (15). Refusing the logic of fragmentation that separates and isolates categories of knowledge in order to establish hierarchies of meaning, Gilroy demonstrates the value of instantiating […]
[…]to bring complex behavior within the scope of rational analysis. Analogous theories in literary studies, by contrast, are often embraced because they are seen as resisting totalizing theories” (xiv). She further claims that I argue “the convergence of interests must be evidence of a singular event which shifts the singular epistemic structure from which both disciplines are produced.” Although she then goes go to use two phrases central to my argument – “cultural context” and “feedback loop” – she apparently does not know what these terms imply. The very idea of a feedback loop, which I use to show that […]
[…]of the agrarian and the environmental, which is still a fundamentally neglected aspect of ecocritical and environmental thought, becomes the centerpiece of Smith’s reading of Berry’s oeuvre, and it colors all of his writings. So Berry’s agrarian politics become a lens through which we all might achieve a more environmental vision. The problem, of course, is that when we think of agrarianism, per se, we naturally think of farming; and Berry does to. Berry may “insist that the family farm is the chief repository of virtues critical to the republic,” but these values are “ecological rather than political” and are […]
[…]marked increase in high-end ads with sophisticated dynamic textuality. We need tools for its critical reading. The major exposition of Saul Bass’s graphic and film title work at London’s Design Museum was, therefore, essential. Saul Bass was the first film title designer to be given a screen credit by the Director’s Guild of America (for Preminger’s Carmen Jones 1954) and remains an all but uniquely name-checkable artist in the film titles field. Yet his fame derives equally if not in greater measure from his related, more purely graphic work, where he is a central figure in that late-50s, early-60s school […]
[…]in our heads). The horizontal is associated with the immanent and the lateral, as with two authors working side by side passing ideas from brain to brain. H&N’s methods of thinking, their style of writing, and the content of their thoughts all imply each other, as with their openness to hybrids and miscegenation. Their books are self-exemplifying, and as such stand as autonomous poetic structures. They write from within, and in behalf of, a world-design that is radically different from the world-designs of most of their critics. Their materialist world-design should be thought of as their world-poem, surely reflecting their […]
[…]in feminism … characterized by a sustained interest in reassessing feminism through the critical lens of poststructuralist and postmodern thinking.” I take this to mean that the implementation of the hacktivism, that is `how’ the hacktivism is carried out, is what is more important than whether I belong to a cyberfeminist collective or not, and furthermore, must be demonstrative in someway of the `critical lens of poststructuralist and postmodern thinking’, whether in reference to the discourse on feminism, or society as a whole. Two central premises, however, must still hold true: cyberfeminists are not anti-technology nor are they anti-feminist (Guertin). […]
[…]culture” is through the establishment of a creative commons exemplified in the actions of such groups as the nonprofit group Creative Commons. He writes that the aim of the Creative Commons is “to build a layer of reasonable copyright on top of the extremes that now reign” (282). Under such a system authors (construed broadly) decide what protections they want their works to have. “Content is marked with the CC mark, which does not mean that copyright is waived, but that certain freedoms are given” (283). The Creative Commons website states that they “use private rights to create public goods: […]
[…]what David MiallMiall, David. 2004. Reading Hypertext: Theoretical Ambitions and Empirical Studieshas described as the “additional complications that the digital medium places on the work of interpretation”; what poet John Cayley has called the “literal art” of “networked and programmable media”; and what the electronic book review has probingly called electropoetics. My own insistence on attending to forms of digital writing that not only maintain but also perhaps intensify the interpretive role of reader as audience, viewer, or critic should not detract from the overall contribution of this review, which clearly has a divergent focus. All in all, the authors […]