Search results for "critical code studies working group"
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[…]exploration of the new genres. But I think our best contribution as scholars would be to provide a critical theory of games, with a discerning and analytical vocabulary. Such a theory would help both game designers and ourselves understand and respect the unique potential of the rich and diverse field of gaming. Bryan Loyall responds Janet Murray […]
[…]between stories and games, but rather to recombine and reinvent their primitive elements. In working to build these systems we have found that this is not just useful, but necessary. Interactive drama allows us to tell stories that we couldn’t tell before. It combines strengths and elements of stories and games, and is both and yet neither. If we are to reach the potential of expression that it offers, we must work directly in the new medium to explore, experiment and build. Janet Murray […]
[…]way of dealing with the limitations of the current state of a medium. I am looking forward to (and working on) an interactive medium which contains virtual actors capable of greater fidelity in the direct representation of a character’s mood, personality, and intentionality. I am also quite eager to see what Will Wright will do with such tools in The Sims III or IV. I suspect that he will find ways to use his non-linear botanical garden as a vehicle to allow people to explore character in new and fascinating ways. back to Cyberdrama […]
[…]The Johns Hopkins University Press Eskelinen, Markku (2001) “The Gaming Situation” in Game Studies 1. http://www.gamestudies.org/0101/eskelinen/ Frasca, Gonzalo (2001) “Ephemeral Games: Is it barbaric to design videogames after Auschwitz?” in Cybertext Yearbook 2001. Research Centre for Contemporary Culture, University of Jyväskylä. Also available at: http://www.jacaranda.org/frasca/ephemeralFRASCA.pdf Kelso, M.T., Weyhrauch, P. & Bates, J. Dramatic Presence. PRESENCE: The Journal of Teleoperators and Virtual Environments, Vol 2, No 1, MIT Press. Also available at: http://www-2.cs.cmu.edu/afs/cs.cmu.edu/project/oz/web/papers/CMU-CS-92-195.ps Brenda Laurel responds Michael Mateas […]
[…]upon which to build a theory of interactive media. Ludologists generally come out of game studies [e.g. Avedon and Sutton-Smith 1971], take the computer game as the paradigmatic interactive form, and seek to build an autonomous theory of interactivity (read: free of the English department), which, while borrowing from classical games studies, is sensitive to the novel particularities of computer games (this is sometimes described as a battle against the colonizing force of narrative theory, as Eskelinen does in First Person). Both camps take issue with an Aristotelian conception of interactive drama, finding it theoretically unsophisticated, an impossible combination of […]
It seems that Jane Douglas never got as far as the title of my piece. Otherwise she would have understood that I was addressing computer games, not interactive art. I don’t think Richard Schechner’s “I don’t think” carries the intellectual weight it was perhaps intended to carry. In fact I don’t think it even qualifies as a commentary. Together these two cases of non-communicative self-promotion show the current sad state of discussion on and around computer games: you can say pretty much anything you like if you don’t care to define the concepts you use. Douglas and Schechner won’t or […]
[…]its purported subjects. First published in France in 1986 and culled from manuscripts Genet was working on when he died, Prisoner of Love, in a translation by Barbara Bray, has been republished by New York Review of Books. Hailed by Edward Said as a “grand and fearless” account of a struggle that even before the intifada of 1987 has seemed doomed, Prisoner of Love moves seamlessly between polemical deduction and poetic meditation. Genet’s narrative is more philosophical than psychological, flashing back in time from his first two-year “visit” to the West Bank in 1971, during King Hussein’s offensives against the […]
[…]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) […]