Search results for "critical code studies working group"
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[…]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 […]