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[…]early adolescent (ten- to fifteen-year-old). Play is a powerful impulse for students to engage in group activities, to grow, and socialize. However, a student must see success, particularly as part of a group effort to grow a positive sense of self. Finally, to understand each other a little better, they must be able to exercise understanding outside of themselves. Most importantly, developing such understanding must be an act freely engaged upon by the early adolescent. I believe that I saw my students reaching their writing potential in Puppetland because they were engaged with their imagination, and reaching deep within to […]
[…]of our lives in consumer society. A lot of your neighbors feel that they spend all their time working at jobs they hate, in order to get the money to buy things that are supposed to make them happy, but don’t. Do you ever feel that way?” “Yes, I sure do.” “Great. Well, the solution we are working on with the support of you and your neighbors is to create a new society, based on sharing and mutual aid. But to do that, we will first have to smash the State and bring down the capitalist system. Does that sound […]
[…]She also has a blog-based link to a Web page associated with the key object, which contains a key code that will allow her to gain access to critical game-related information. Once accessed, her initial quest is completed, her stats are updated, and a new blog post and quest are made available. Next time she thinks she may even want to try the 3D client. But for now, she’s had enough of Guy and his chaotic […]
[…]is limited to WotC products. The association sponsors gaming events and provides individual player groups with role-playing scenarios. Member groups are expected to play the scenarios in a certain timeframe and report back the results to the RPGA. The events that occur most commonly among the player groups affect the campaign world and are reflected in the next group of scenarios released by the RPGA. So, for example, if a majority of the participating player groups succeed in defeating a particular villain, that villain’s defeat becomes canonical, and he will not play a part in future RPGA adventures. If, however, […]
[…]terms at arm’s length. For Stefans, the instantaneous nature of electronic discourse creates a critical challenge that needs to be met. With materials and methods this fluid, we may not have the luxury either of a long critical overview or staying in permanent attack mode. When surfing the Internet, the original context of a work of art has a way of being subsumed in the flow, morphing into other forms, and being sampled in various contexts having nothing to do with what the artist intended. Instead of bemoaning this centerless state, Stefans lets “Before Starting Over” be a similarly multi-centric, […]
[…]whose movements are constrained to emulate karate chops. However, the gestures ARE in the code, coded in by a number entered in the script at the end of each robot response. reasmb: Please go on with whatever it is you are inadequately expressing.5 reasmb: Do you feel strongly about discussing arcane and peculiar things?2 reasmb: It seems inconceivable that you would lie to me.4 reasmb: Tell me more about that, but hurry up.7 reasmb: Does talking about this bother you? More than it bothers me?6 reasmb: Let’s just pretend I don’t have feelings.8 That number corresponds to pre-programmed arm, eye […]
[…]space, rehearsals in this medium were the equivalent of a micro performance, as we practiced working with our avatars and lines, as well as responding to folks (in character) who come there to be social. Being “inside” the piece (and the culture of the online public arena) and being “outside” of this culture in the physically proximal public space produced an utterly different experience of the piece. Projecting the output from the shared virtual space into an auditorium, and scattering live performance-ready terminals throughout the audience, completely shifted the space of creative play. The initial instincts of the people who […]
[…]as a natural result of what was already there at the beginning. Actors in scripted theater are working to reach a point where they are not recalling memorized dialogue and actions, but know the characters and the material so well that their responses are compelled by what is happening on stage. At that point they may not be able to recall their lines in the play without the stimulus that provokes such a response. Improvisational theater, then, relies on an implied playwright, an imaginary author who has written every conceivable story it is possible to write. Each performer is simply […]
[…]a bit too hard only in the catch-all chapter on Marx, Locke and Smith, which bridges superb studies of Swift and Rousseau. From the beginning, Farrell shows, critical thought has involved imagining the world as illusory and riddled with error. Thus, although he doesn’t say so, what Farrell actually documents is something like the critique of ideology before the letter. Don Quixote, for instance, does not simply mock its protagonist; it uses Quixote’s complaints to mount a vigorous critique of mass media and the ideology of chivalry. Cervantes mocks Quixote’s absurd sense of victimization to show that he has been […]
[…]experiences of Façade. Conducted as part of my final project for the seminar in computer game studies, this informal study involved video taping participants as they played Façade (see Figure 1) and post-game interviews in which we watched and analyzed a recording of the Façade session the player had just completed. Reasoning that differences in the amount and quality of experience with computer games in general would lead to differences in game playing strategy, and, relatedly, differences in player experiences of high agency, I selected two participants with little experience playing videogames (“non-gamers”) and two participants from the computer games […]