@article{Hanke2008,
  author    = {Hanke, Christiane},
  title     = {The epistemic space of the visual : statistics, astronomy and nanospace},
  isbn      = {978-3-930924-13-4},
  year      = {2008},
  language  = {en}
}
@article{Haensel2018,
  author    = {H{\"a}nsel, Sylvaine},
  title     = {Material and expression - reflections on sculptures by Richard Serra and Eduardo Chillida},
  series = {Sculpture Journal},
  volume    = {27},
  journal   = {Sculpture Journal},
  number    = {3},
  publisher = {Liverpool Univ. Press},
  address   = {Liverpool},
  issn      = {1366-2724},
  doi       = {10.3828/sj.2018.27.3.5},
  pages     = {321 -- 331},
  year      = {2018},
  abstract  = {When considering artists from the second half of the twentieth century who used steel as material for their sculptures, Eduardo Chillida and Richard Serra are among the first to come to mind. Both artists are prominent in public spaces and both present large-size sculptures which challenge viewers. Both use clear geometrical patterns, and both develop their oeuvre from an intense involvement with the properties and possibilities of the material. However, their sculptures show fundamentally diverging conceptions not only in the manner of their creation, but also in their reception. Chillida and Serra have almost nothing in common; they never made reference to each other, although their sculptures often stand in neighbourly proximity. Nevertheless a comparison or more precisely a synopsis can illustrate a number of problems that rise in dealing with sculpture today. Serra's works convince mostly when they concentrate on complex formal qualities resulting from constellations of geometrical forms and given spaces. However, sculptures in public space consistently have the difficult task of creating memorial places which ideally speak for themselves. Chillida's sculptures fulfil this purpose because of their expressive pictorial potential. The material COR-TEN steel provides them with power and emphasis.},
  language  = {en}
}
@article{JoeckelDogruel2009,
  author    = {J{\"o}ckel, Sven and Dogruel, Leyla},
  title     = {The appeal of unsuitable video games},
  series = {DIGAREC Lectures 2008/09 : Vortr{\"a}ge am Zentrum f{\"u}r Computerspielforschung mit Wissenschaftsforum der Deutschen Gamestage ; Quo Vadis 2008 und 2009},
  journal   = {DIGAREC Lectures 2008/09 : Vortr{\"a}ge am Zentrum f{\"u}r Computerspielforschung mit Wissenschaftsforum der Deutschen Gamestage ; Quo Vadis 2008 und 2009},
  number    = {2},
  publisher = {Universit{\"a}tsverlag Potsdam},
  address   = {Potsdam},
  isbn      = {978-3-86956-004-5},
  issn      = {1867-6219},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-33311},
  pages     = {148 -- 178},
  year      = {2009},
  abstract  = {Governments all over the world have responded to the offer of violent and sexual-themed video games by inaugurating regulatory bodies. Still, video games with content that is deemed unsuitable for children are played even by young children. With a focus on the situation in Germany the aim of this paper is twofold. On the one hand, the current state of literature on the importance of age ratings for the regulation of video games is scrutinized. Therefore, the focus is on the German rating system by the Entertainment Software Self Control. This scheme is compared in particular to the American Entertainment Software Rating Board scheme and parallels with the Pan-European Game Information-system are drawn. On the other hand, results from an exploratory survey study on the preferences for video games among German 8 to 12 year olds are presented (N=1703), arguing that the preference for video games that are not suitable for them is a widespread phenomenon in particular among boys.},
  language  = {en}
}
@article{Kuecklich2010,
  author    = {K{\"u}cklich, Julian},
  title     = {Seki},
  series = {DIGAREC series},
  journal   = {DIGAREC series},
  number    = {4},
  issn      = {1867-6227},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42700},
  pages     = {36 -- 62},
  year      = {2010},
  abstract  = {Game space can be conceived of as being structured by varying levels of ruledness, i.e. it oscillates between openness and closure, between playability and gameness. The movement through game space can then be described as a vector defined by possibility spaces, which are generated organically out of the interplay between ruled and unruled space. But we can only define rules ex negativo, therefore the possibility of breaking the rules is always already inscribed in this vector of movement. This can be conceptualized as a boundary operation that takes the difference between 'ordinary life' and 'play' as its argument, and which thus generates the difference between 'play' and 'game'.},
  language  = {en}
}
@article{Manovich2011,
  author    = {Manovich, Lev},
  title     = {What is visualization?},
  series = {DIGAREC Series},
  journal   = {DIGAREC Series},
  number    = {6},
  issn      = {1867-6219},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49849},
  pages     = {116 -- 156},
  year      = {2011},
  abstract  = {Over the last 20 years, information visualization became a common tool in science and also a growing presence in the arts and culture at large. However, the use of visualization in cultural research is still in its infancy. Based on the work in the analysis of video games, cinema, TV, animation, Manga and other media carried out in Software Studies Initiative at University of California, San Diego over last two years, a number of visualization techniques and methods particularly useful for cultural and media research are presented.},
  language  = {en}
}
@article{Mersch2011,
  author    = {Mersch, Dieter},
  title     = {Aspects of Visual Epistemology : on the "Logic" of the Iconic},
  year      = {2011},
  language  = {en}
}
@article{MaeyraeErmi2011,
  author    = {M{\"a}yr{\"a}, Frans and Ermi, Laura},
  title     = {Fundamental components of the gameplay experience},
  series = {DIGAREC Series},
  journal   = {DIGAREC Series},
  number    = {6},
  issn      = {1867-6219},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49831},
  pages     = {88 -- 115},
  year      = {2011},
  abstract  = {This co-authored paper is based on research that originated in 2003 when our team started a series of extensive field studies into the character of gameplay experiences. Originally within the Children as the Actors of Game Cultures research project, our aim was to better understand why particularly young people enjoy playing games, while also asking their parents how they perceive gaming as playing partners or as close observers. Gradually our in-depth interviews started to reveal a complex picture of more general relevance, where personal experiences, social contexts and cultural practices all came together to frame gameplay within something we called game cultures. Culture was the keyword, since we were not interested in studying games and play experiences in isolation, but rather as part of the rich meaning- making practices of lived reality.},
  language  = {en}
}
@article{MoeringLeino2016,
  author    = {M{\"o}ring, Sebastian and Leino, Olli},
  title     = {Beyond games as political education - neo-liberalism in the contemporary computer game form},
  series = {Journal of gaming \& virtual worlds},
  volume    = {8},
  journal   = {Journal of gaming \& virtual worlds},
  publisher = {Intellect Ltd.},
  address   = {Bristol},
  issn      = {1757-191X},
  doi       = {10.1386/jgvw.8.2.145_1},
  pages     = {145 -- 161},
  year      = {2016},
  abstract  = {This article introduces the juxtaposed notions of liberal and neo-liberal gameplay in order to show that, while forms of contemporary game culture are heavily influenced by neo-liberalism, they often appear under a liberal disguise. The argument is grounded in Claus Pias' idea of games as always a product of their time in terms of economic, political and cultural history. The article shows that romantic play theories (e.g. Schiller, Huizinga and Caillois) are circling around the notion of play as 'free', which emerged in parallel with the philosophy of liberalism and respective socio-economic developments such as the industrialization and the rise of the nation state. It shows further that contemporary discourse in computer game studies addresses computer game/play as if it still was the romantic form of play rooted in the paradigm of liberalism. The article holds that an account that acknowledges the neo-liberalist underpinnings of computer games is more suited to addressing contemporary computer games, among which are phenomena such as free to play games, which repeat the structures of a neo-liberal society. In those games the players invest time and effort in developing their skills, although their future value is mainly speculative - just like this is the case for citizens of neo-liberal societies.},
  language  = {en}
}
@article{MoeringLeino2016,
  author    = {M{\"o}ring, Sebastian and Leino, Olli Tapio},
  title     = {Beyond games as political education},
  series = {Journal of Gaming \& Virtual Worlds},
  volume    = {8},
  journal   = {Journal of Gaming \& Virtual Worlds},
  number    = {2},
  publisher = {Intellect},
  address   = {Bristol},
  issn      = {1757-191X},
  doi       = {10.1386/jgvw.8.2.145_1},
  pages     = {145 -- 161},
  year      = {2016},
  abstract  = {This article introduces the juxtaposed notions of liberal and neo-liberal gameplay in order to show that, while forms of contemporary game culture are heavily influenced by neo-liberalism, they often appear under a liberal disguise. The argument is grounded in Claus Pias' idea of games as always a product of their time in terms of economic, political and cultural history. The article shows that romantic play theories (e.g. Schiller, Huizinga and Caillois) are circling around the notion of play as 'free', which emerged in parallel with the philosophy of liberalism and respective socio-economic developments such as the industrialization and the rise of the nation state. It shows further that contemporary discourse in computer game studies addresses computer game/play as if it still was the romantic form of play rooted in the paradigm of liberalism. The article holds that an account that acknowledges the neo-liberalist underpinnings of computer games is more suited to addressing contemporary computer games, among which are phenomena such as free to play games, which repeat the structures of a neo-liberal society. In those games the players invest time and effort in developing their skills, although their future value is mainly speculative - just like this is the case for citizens of neo-liberal societies.},
  language  = {en}
}
@article{Nitsche2010,
  author    = {Nitsche, Michael},
  title     = {Games as structures for mediated performances},
  series = {DIGAREC series},
  journal   = {DIGAREC series},
  number    = {4},
  issn      = {1867-6227},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42730},
  pages     = {110 -- 129},
  year      = {2010},
  abstract  = {Video games structure play as performance in both the virtual and the physical space. On the one hand, the player encounters game worlds as virtual stages to act upon. On the other hand, the game world stages the player and re-frames the play space. This essay sets out to suggest some of the elements that are at work in this dualism of games as performative media. The two key elements here are the mediation of the game environment and the transformation of the player through virtual puppetry. Both cases will be argued with a focus on spatiality in performance.},
  language  = {en}
}
@article{Nohr2010,
  author    = {Nohr, Rolf F.},
  title     = {The naturalization of knowledge},
  series = {DIGAREC series},
  journal   = {DIGAREC series},
  number    = {4},
  issn      = {1867-6227},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42746},
  pages     = {130 -- 145},
  year      = {2010},
  abstract  = {Reflecting on how and with what kind of consequences something artificial, something manufactured becomes naturalized in video games will be the central issue of this text. It deals with the question of how the video game hides its artificiality in terms of technique. In a certain sense this retrieves one of the fundamental questions of modernity and industrialization: How does the manufacturing of our environment become a naturalized, self-evident and indubitable process?},
  language  = {en}
}
@article{Salen2011,
  author    = {Salen, Katie},
  title     = {Pok{\´e}walkers, mafia dons, and football fans},
  series = {DIGAREC Series},
  journal   = {DIGAREC Series},
  number    = {6},
  issn      = {1867-6219},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49824},
  pages     = {70 -- 86},
  year      = {2011},
  abstract  = {This paper addresses a theoretical reconfiguration of experience, a repositioning of the techno-social within the domains of mobility, games, and play, and embodiment. The ideas aim to counter the notion that our experience with videogames (and digital media more generally), is largely "virtual" and disembodied - or at most exclusively audiovisual. Notions of the virtual and disembodied support an often-tacit belief that technologically mediated experiences count for nothing if not perceived and valued as human. It is here where play in particular can be put to work, be made to highlight and clarify, for it is in play that we find this value of humanity most wholly embodied. Further, it is in considering the design of the metagame that questions regarding the play experience can be most powerfully engaged. While most of any given game's metagame emerges from play communities and their larger social worlds (putting it out of reach of game design proper), mobile platforms have the potential to enable a stitching together of these experiences: experiences held across time, space, communities, and bodies. This coming together thus represents a convergence not only of media, participants, contexts, and technologies, but of human experience itself. This coming together is hardly neat, nor fully realized. It is, if nothing else, multifaceted and worthy of further study. It is a convergence in which the dynamics of screen play are reengaged.},
  language  = {en}
}
@article{Schneider2022,
  author    = {Schneider, Birgit},
  title     = {Rendering visible the climate: Humboldt's 1817 climate zone map},
  series = {MLN},
  volume    = {137},
  journal   = {MLN},
  number    = {3},
  publisher = {Johns Hopkins Univ. Press},
  address   = {Baltimore, Md.},
  issn      = {0026-7910},
  doi       = {10.1353/mln.2022.0038},
  pages     = {545 -- 565},
  year      = {2022},
  language  = {en}
}
@article{SchneiderWalsh2019,
  author    = {Schneider, Birgit and Walsh, Lynda},
  title     = {The politics of zoom},
  series = {Geo: Geography and Environment},
  volume    = {6},
  journal   = {Geo: Geography and Environment},
  number    = {1},
  publisher = {Wiley-Blackwell},
  address   = {Hoboken},
  issn      = {2054-4049},
  doi       = {10.1002/geo2.70},
  pages     = {11},
  year      = {2019},
  abstract  = {Following the mandate in the Paris Agreement for signatories to provide "climate services" to their constituents, "downscaled" climate visualizations are proliferating. But the process of downscaling climate visualizations does not neutralize the political problems with their synoptic global sources—namely, their failure to empower communities to take action and their replication of neoliberal paradigms of globalization. In this study we examine these problems as they apply to interactive climate-visualization platforms, which allow their users to localize global climate information to support local political action. By scrutinizing the political implications of the "zoom" tool from the perspective of media studies and rhetoric, we add to perspectives of cultural cartography on the issue of scaling from our fields. Namely, we break down the cinematic trope of "zooming" to reveal how it imports the political problems of synopticism to the level of individual communities. As a potential antidote to the politics of zoom, we recommend a downscaling strategy of connectivity, which associates rather than reduces situated views of climate to global ones.},
  language  = {en}
}
@article{Soell2009,
  author    = {Soell, Anne},
  title     = {Pollock in Vogue : American fashion and avant-garde art in Cecil Beaton's 1951 photographs},
  issn      = {1362-704X},
  doi       = {10.2752/175174109x381346},
  year      = {2009},
  abstract  = {Why does Cecil Beaton choose Jackson Pollock paintings as backdrops for his fashion shoot for American Vogue in March of 1951? Beaton's photographs represent a special, highly ambivalent moment in the development of an American aesthetic identity in and through Vogue. His clearly "European gaze" instrumentalizes Pollock's paintings for his own purposes and highlights the long-lasting ideological conflict between European design and American identity. A close examination of the role of the magazine in shaping the self-image of America's upper classes, as well as of the function of these images within the parameters of the magazine itself and of abstract art within the series, offers an enriched understanding of the relationship of art and fashion in Vogue. These notorious images become the occasion for an analysis of the relationship between America's avant-garde and Vogue, the integration of their works into the structure of the magazine and their function therein. Situating the photographs within the socio- historical context of the magazine offers insight, as well, into Beaton's photos as a factor in an internal conflict at the magazine arising from the clash of Vogue's orientation on European and French fashion and lifestyle and its identity as a magazine for a specific, American upper-class audience. While Beaton's pictures incorporate the "strength" of American creativity, these images do not assert the equality of American with French design. The issue is no longer a fundamental legitimization of American design; much more, the newly reestablished dominance of the French as a creative force in fashion after the introduction of Dior's New Look had to be balanced with American reality. Beaton's images attempt to stage the newly reborn longing for a "feeling of Frenchness" and to integrate it with an essentially-American creativity in the New World through the use of Pollock's paintings.},
  language  = {en}
}
@article{Sternagel2009,
  author    = {Sternagel, J{\"o}rg},
  title     = {Barker, J., The tactile eye; Berkeley [u.a.], Univ. of California Press, c2009},
  issn      = {0163-5069},
  year      = {2009},
  language  = {en}
}
@article{Tobias2009,
  author    = {Tobias, James},
  title     = {Fun and frustration},
  series = {DIGAREC Lectures 2008/09 : Vortr{\"a}ge am Zentrum f{\"u}r Computerspielforschung mit Wissenschaftsforum der Deutschen Gamestage ; Quo Vadis 2008 und 2009},
  journal   = {DIGAREC Lectures 2008/09 : Vortr{\"a}ge am Zentrum f{\"u}r Computerspielforschung mit Wissenschaftsforum der Deutschen Gamestage ; Quo Vadis 2008 und 2009},
  number    = {2},
  publisher = {Universit{\"a}tsverlag Potsdam},
  address   = {Potsdam},
  isbn      = {978-3-86956-004-5},
  issn      = {1867-6219},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-33301},
  pages     = {94 -- 112},
  year      = {2009},
  abstract  = {This paper draws on Bernard Stiegler's critique of "hyperindustrialism" to suggest that digital gaming is a privileged site for critiques of affective labor; games themselves routinely nod towards such critiques. Stiegler's work adds, however, the important dimension of historical differentiation to recent critiques of affective labor, emphasizing "style" and "idiom" as key concerns in critical analyses of globalizing technocultures. These insights are applied to situate digital play in terms of affective labor, and conclude with a summary analysis of the gestural-technical stylistics of the Wii. The result is that interaction stylistics become comparable across an array of home networking devices, providing a gloss, in terms of affect, of the "simple enjoyment" Nintendo designers claim characterizes use of the Wii-console and its complex controllers.},
  language  = {en}
}
@article{Ungelenk2020,
  author    = {Ungelenk, Johannes},
  title     = {Satyrs, Spirits and Dionysian Intemperance in Shakespeare's 'Tempest'},
  series = {Cahiers {\´E}lisab{\´e}thains},
  volume    = {101},
  journal   = {Cahiers {\´E}lisab{\´e}thains},
  number    = {1},
  publisher = {Sage Publications},
  address   = {London},
  issn      = {0184-7678},
  doi       = {10.1177/0184767819897082},
  pages     = {45 -- 64},
  year      = {2020},
  abstract  = {The article focuses on the rebellious subplot of William Shakespeare's The Tempest that forms around Caliban, Stephano, and Trinculo, and reads it as a satyr play. Demonstrated is how the Dionysian subplot stands in close analogical connection with the play's main action. It is also argued that the storyline emphasises a dimension of the play that is of high relevance to the analysis of its metatheatrical implications. The correspondences between the main action and the satyr play elements highlight the important role that intemperance, excess and the suspension of control play in the Shakespearean theatrical setting.},
  language  = {en}
}
@article{Ungelenk2022,
  author    = {Ungelenk, Johannes},
  title     = {Kiss me (not!), Cressida - or: the social touch of lips and tongue},
  series = {Arcadia : international journal of literary culture},
  volume    = {57},
  journal   = {Arcadia : international journal of literary culture},
  number    = {1},
  publisher = {De Gruyter},
  address   = {Berlin},
  issn      = {0003-7982},
  doi       = {10.1515/arcadia-2022-9051},
  pages     = {25 -- 46},
  year      = {2022},
  abstract  = {The article is dedicated to the problem of social bonds that is negotiated in Troilus and Cressida. Troilus and Ulysses embody an old, traditional order of the world that is out of joint, while Cressida's behaviour and her way of interacting indicate a different and new regime of social regulation that is about to take over. With its complex superposition of (touches of) love and war, Troilus and Cressida brings together rituals of touch, anarchic speech acts, and a gendered perspective on the world that associates touch and temporality with 'frail' femininity and temptation. With unrivalled intensity, the play puts to the spectator that the basic condition of touch, i.e. exposing oneself to another, entails an incalculable risk. Hector tragically falls for the vulnerability inherent in touch and the audience suffers with him because they share this existential precondition on which modern society is 'founded.' The gloomy, inescapable atmosphere of societal crisis that Troilus and Cressida creates emphasises the fact that the fragility of touch is not to be overcome. The fractions - no matter whether Greek, Trojan, or those of loving couples - cannot simply be reunited to form a new, authentic entity. Generating at least some form of social cohesion therefore remains a challenge.},
  language  = {en}
}
@article{Ungelenk2020,
  author    = {Ungelenk, Johannes},
  title     = {{\´E}mile Zola's Climate History of the Second Empire},
  series = {Ecozon@: European Journal of Literature, Culture and Environment},
  volume    = {11},
  journal   = {Ecozon@: European Journal of Literature, Culture and Environment},
  number    = {1},
  publisher = {Alcal{\´a} de Henares},
  address   = {Instituto Universitario de Investigaci{\´o}n en Estudios Norteamericanos "Benjam{\´i}n Franklin", Universidad de Alcal{\´a}},
  issn      = {2171-9594},
  doi       = {10.37536/ECOZONA.2020.11.1.3181},
  pages     = {9 -- 26},
  year      = {2020},
  abstract  = {This article looks at {\´E}mile Zola's novel cycle Les Rougon-Macquart and argues that it describes its subject, the Second Empire, as a warming climate tending toward climate catastrophe. Zola's affinity to the notion of climate is shown to be linked to his poetic employment of the concept of 'milieu', inspired by Hippolyte Taine. Close readings of selected passages from the Rougon-Macquart are used to work out the climatic difference between 'the old' and 'the new Paris', and the process of warming that characterises the Second Empire. Octave Mouret's department store holds a special place in the article, as it is analysed through what the article suggests calling a 'meteorotopos': a location of intensified climatic conditions that accounts for an increased interaction between human and non-human actors. The department store is also one of the many sites in the novel cycle that locally prefigure the 'global' climate catastrophe of Paris burning, in which the Second Empire perishes.},
  language  = {en}
}