Search results for "critical code studies working group"
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[…]radically different position can be invaluable simply by forcing the rest of the field to do more critical thinking. If we “naturally” assume that games are cultural texts without questioning that assumption, then we will have very little chance of finding out what is unique about them. We might as well be studying the use of computer graphics in advertising, or the latest Star Wars episode. Only by asking ourselves what games are not, or what they need not be, can we find out what they really are. There are of course reasons why we might not want to do […]
[…]Gernsback’s writings precede the work of a growing number of artists who tinker with code or hardware to create art. These digital tinkerers experiment with medium affordances and, like Gernsback (although often extrapolating and diverting from a tool’s or medium’s original purpose) they too aim to see beyond the conventional and familiar. They also speculate about possibilities while considering media constraints as chances to explore the unknown. In a similar way to Gernsback’s followers, they expose the layered materiality of their devices by tinkering with digits, wires, screens and metaphors. The Perversity of Things successfully examines different aspects of Gernsback’s […]
[…]body’ in a VR environment is the same as ‘the body’ in the real world?” This kind of critical questioning is immediately generative of critical and experimental artworks. The places where dataworlds and the material world intersect, referred to in Europe as “mixed reality boundaries” and in the US more often as “augmented reality,” is a littoral zone, which is and has been a key site for exploration by artist-engineer types for a quarter of a century at least, with key works by Myron Kreuger, Paul Sermon, Jeffrey Shaw and many others. (I hesitate to employ the simple term “artist,” […]
[…]addressing complex social, political, and personal issues. · To improve our understanding of and critical vocabulary for analyzing, playing, and creating games. My favorite aspect of the essay is that Frasca actually proposes specific design strategies for realizing these goals. His pragmatic synthesis of theory and practice is a rare delight in the mushy swamp of new media criticism. I am underscoring my support of his goals to clue you in that the criticisms that follow are coming from the heart. I’m not the enemy: I’m the loyal opposition. The engine which fuels my critique, more than anything else, is […]
[…]mainstream media. “Biohazard Pikachu” is mostly about humor, pleasure, and play, but is also a critical commentary on Nintendo’s production of sanitized cuteness. This kind of appropriation and remaking seems to be at the heart of what Frasca envisions for the videogame community, and is something that cross-cuts media genres, as studies of fan communities have amply demonstrated (Penley 1991; Jenkins 1992; Tulloch and Jenkins 1995). The productions of fan culture are just one piece of the dead serious economic and social negotiations around popular culture, and the ongoing political struggles between producers and consumers. For example, adult action entertainment […]
[…]“videogames of the oppressed” but the top-down approach is also needed. We will not see critical videogames until major games are developed by biased authors that understand that fun is not the only thing that can be conveyed through this medium. back to Critical Simulation […]
[…]increasingly insurmountable problems of integration for me as reader. Two larger fragments — a critical project and the account of an agent system — sit side-by-side in uneasy (dis)association. As a reader I find myself following with growing interest the unfolding narrative of schizophrenia and its implications for AI, when I’m suddenly thrown without warning, like Alice through the looking-glass, into a world of agent systems-building, motivated by that world’s characters, problems, projects, and prospects. The latter narrative becomes increasingly incomprehensible until I realize that this is not a story that can be resolved into any single, familiar frame. What […]
[…]collecting can be studied with intellectual ferocity. Those who look at games need to draw upon studies of communities in sociology and other areas, cognitive psychology, and studies of interaction and use patterns in fields such as industrial design and architecture… Unfortunately, calling for new language and methodologies with which to consider computer games is not the same thing as writing them. Now we begin the “dirty work” to articulate exactly what types of intersections of theories we can use to explore games. Certainly questions concerning authorship, individual and collective action, game world time, perception, and positions in between audience […]
[…]a reading experience. He says: Much of my work is lettristic in the sense that rather than working with words and extended texts, I work with individual letters. Part of my attraction to working this way is philosophical and sonical… but part of it is also out of interest in treating literary objects/material, and individual letters are quite well suited to such treatment. Individual letters are graphically more interesting than whole words… [they] take up less memory, and are thereby manipulated more quickly. And they spin nicer than words do, for instance, because of their shapes. There is more variety […]
[…]concepts in ways that bring insight to their interrelations, with the larger aim of providing critical tools for others who are attempting to create or study the conundrum of the game-story. Four Naughty Terms Play. Games. Narrative. Interactivity. What a motley bunch. Honestly, have you ever seen such a suspicious set of slippery and ambiguous, overused, and ill-defined terms? Indeed, they are all four in need of some discipline, just to make them sit still and behave. Before I roll up my sleeves and get to work on them, however, allow me to lay some of my cards on the […]