Search results for "critical%20code%20studies%20working%20group"
| Results 911 - 920 of 1097
|
Page 92 of 110
|
|
Sorted by: Relevance | Sort by: Date
|
Results per-page: 10 | 20 | 50 | All
|
[…]its scope to any one media form. In fact, the term ludology was introduced to computer game studies in the Cybertext Yearbook According to Gonzalo Frasca, who is credited with introducing ludology and operates ludology.org. Markku Eskelinen is coeditor of the Cybertext Yearbook, with Raine Koskimaa. — named for Aarseth’s term — and has been partly popularized by the community around the journal Game Studies, of which Aarseth is the general editor. Aarseth’s theoretical positions were influenced by those of Stuart Moulthrop, whose work as a critic and artist (which rose to prominence with the dual 1991 publications of the […]
[…]to continually reinscribe the mind/body split. Sensorial immersion, I argue, can also be a form of critical awareness. Such complex experiences in simulations may not be games in the strict sense, but are certainly configurative practices, and configurative practices that engage our bodies in very direct ways—and in ways that question the social and material conditions of our felt experience. Yet this strategy is reliant on a sense of immersion. What then is the relation of such a form of immersion to the notion of transparency? It would be easy to dismiss “immersive” virtual reality (VR) as simply an example […]
[…]a cultural object generates undisputed affect and significance in an unfamiliar way, then familiar critical schemata are not going to help us either to understand or make more of it. Narrative, closure, and pleasure are only any good at helping us to see why bad stories are bad. The formulation: configuration for the sake of interpretation = art/work; interpretation for the sake of configuration = game/play is highly suggestive and useful as an articulation of distinct practices. However, the formulation itself implies and necessitates both an interplay of these overarching “user functions” (as they are called in the Aarseth/Eskelinen schemes) […]
[…]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 […]