@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} } @article{Ungelenk2018, author = {Ungelenk, Johannes}, title = {Catastrophic Spectacle}, series = {Catastrophe \& Spectacle: Variations of a Conceptual Relation from the 17th to the 21st Century}, journal = {Catastrophe \& Spectacle: Variations of a Conceptual Relation from the 17th to the 21st Century}, publisher = {Neofelis}, address = {Berlin}, isbn = {978-3-95808-173-4}, pages = {92 -- 101}, year = {2018}, abstract = {The wood-engraving with the caption "The first sight of Paris", published in Cassell's History of the War between France and Germany 1870-1871 (1873), does not depict a spectacular catastrophe. As its title already indicates, it rather illustrates a constellation of sight. What there is to see is not so much a spectacular vista but the fact that one sees - and the way how this works. I would therefore like to use the wood-engraving to analyse the basic setting that is formative for every constellation of 'spectacle'. This prepares for the second step, which brings in the notion of catastrophe: I will argue that the spectacle of catastrophe which has gained prominence especially in the nineteenth century is not merely a phenomenon of representing catastrophe, but involves the constellation of spectacle as such. Spectacular catastrophes perform and derive their force from a catastrophe of spectacle - this is what the following will elaborate on.}, language = {en} } @article{Ungelenk2021, author = {Ungelenk, Johannes}, title = {{\´E}mile Zola and the Literary Language of Climate Change}, series = {Nottingham French Studies}, volume = {60}, journal = {Nottingham French Studies}, number = {3}, doi = {https://doi.org/10.3366/nfs.2021.0331}, pages = {362 -- 373}, year = {2021}, abstract = {On 7 February 1861, John Tyndall, professor of natural philosophy, delivered a historical lecture: he could prove that different gases absorb heat to a very different degree, which implies that the temperate conditions provided for by the Earth's atmosphere are dependent on its particular composition of gases. The theoretical foundation of climate science was laid. Ten years later, on the other side of the Channel, a young and ambitious author was working on a comprehensive literary analysis of the French era under the Second Empire. {\´E}mile Zola had probably not heard or read of Tyndall's discovery. However, the article makes the case for reading Zola's Rougon-Macquart as an extensive story of climate change. Zola's literary attempts to capture the defining characteristic of the Second Empire led him to the insight that its various milieus were all part of the same 'climate': that of an all-encompassing warming. Zola suggests that this climate is man-made: the economic success of the Second Empire is based on heating, in a literal and metaphorical sense, as well as on stoking the steam-engines and creating the hypertrophic atmosphere of the hothouse that enhances life and maximises turnover and profit. In contrast to Tyndall and his audience, Zola sensed the catastrophic consequences of this warming: the Second Empire was inevitably moving towards a final d{\´e}b{\^a}cle, i.e. it was doomed to perish in local and 'global' climate catastrophes. The article foregrounds the supplementary status of Tyndall's physical and Zola's literary knowledge. As Zola's striking intuition demonstrates, literature appears to have a privileged approach to the phenomenon of man-induced climate change.}, language = {en} } @article{Walz2009, author = {Walz, Steffen P.}, title = {Approaches to space in game design research}, 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-33259}, pages = {228 -- 254}, year = {2009}, abstract = {In this contribution, we gather major academic and design approaches for explaining how space in games is constructed and how it constructs games, thereby defining the conceptual dimensions of gamespace. Each concept's major inquiry is briefly discussed, iterated if applicable, as well as named. Thus, we conclude with an overview of the locative, the representational, the programmatic, the dramaturgical, the typological, the perspectivistic, the form-functional, and the form-emotive dimensions.}, language = {en} } @article{Warnke2010, author = {Warnke, Martin}, title = {Logic as a medium}, series = {DIGAREC series}, journal = {DIGAREC series}, number = {4}, issn = {1867-6227}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42710}, pages = {64 -- 78}, year = {2010}, abstract = {Computer games are rigid in a peculiar way: the logic of computation was the first to shape the early games. The logic of interactivity marked the action genre of games in the second place, while in massive multiplayer online gaming all the emergences of the net occur to confront us with just another type of logic. These logics are the media in which the specific forms of computer games evolve. Therefore, a look at gaming supposing that there are three eras of computation is taken: the early synthetical era, ruled by the Turing machine and by mainframe computers, by the IPO principle of computing; the second, mimetical era, when interactivity and graphical user interfaces dominate, the domain of the feedback loop; and the third, emergent era, in which the complexity of networked personal computers and their users is dominant.}, language = {en} } @article{Weilandt2022, author = {Weilandt, Maria}, title = {Nationality as Intersectional Storytelling}, series = {New Perspectives on Imagology}, journal = {New Perspectives on Imagology}, editor = {Edtstadler, Katharina and Folie, Sandra and Zocco, Gianna}, publisher = {Brill}, address = {Leiden}, isbn = {978-90-04-45012-7}, doi = {10.1163/9789004513150_016}, pages = {297 -- 311}, year = {2022}, abstract = {Nationality traditionally is one of imagology's key terms. In this article, I propose an intersectional understanding of this category, conceiving nationality as an interdependent dynamic. I thus conclude it to be always internally constructed by notions of gender, sexuality, race, class, religion, age, ability, and other identity categories. This complex and multi-layered construct, I argue, is formed narratively. To exemplify this, I analyse practices of stereotyping in Honor{\´e} de Balzac's Illusions perdues (1843) and Henry James's The American (1877) which construct the so-called Parisienne as a synecdoche for nineteenth-century France.}, language = {en} } @article{Weilandt2020, author = {Weilandt, Maria}, title = {Ways of Worldmaking}, series = {Materielle Miniaturen : zur {\"A}sthetik der Verkleinerung}, journal = {Materielle Miniaturen : zur {\"A}sthetik der Verkleinerung}, editor = {Lehnert, Gertrud and Weilandt, Maria and Textor, Ursula}, publisher = {K{\"o}nigshausen \& Neumann}, address = {W{\"u}rzburg}, isbn = {978-3-8260-6679-5}, pages = {185 -- 202}, year = {2020}, language = {en} } @article{Wenz2010, author = {Wenz, Karin}, title = {Narrative logics of digital games}, series = {DIGAREC series}, journal = {DIGAREC series}, number = {4}, issn = {1867-6227}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42750}, pages = {146 -- 164}, year = {2010}, abstract = {The debate whether to locate the narrative of digital games a) as part of the code or b) as part of the performance will be the starting point for an analysis of two roleplaying games: the single-player game ZELDA: MAJORA'S MASK and the Korean MMORPG AION and their respective narrative logics. When we understand games as abstract code systems, then the narrative logic can be understood as embedded on the code level. With a focus on the player's performance, the actualization of the possibilities given in the code system is central. Both logics, that of code and that of performance, are reflected in players' narratives based on the playing experience. They do reflect on the underlying code and rules of the game system as they do reflect on the game world and their own performance within. These narratives rely heavily on the source text - the digital game -, which means that they give insights into the underlying logics of the source text. I will discuss the game structure, the players' performance while playing the game and the performance of the player after playing the game producing fan narratives. I conceive the narrative structure and the performance of the player playing as necessarily interconnected when we discuss the narrative logics of a game. Producing fan narratives is understood as a performance as well. This performance is based on the experience the players made while playing and refers to both logics of the game they use as their source text.}, language = {en} } @article{Wiemer2010, author = {Wiemer, Serjoscha}, title = {Playing on the plane of immanence}, series = {DIGAREC series}, journal = {DIGAREC series}, number = {4}, issn = {1867-6227}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42765}, pages = {166 -- 195}, year = {2010}, abstract = {In recent years computer games have been discussed by a variety of disciplines from various perspectives. A fundamental difference with other media, which is a point of continuous consideration, is the specific relationship between the viewer and the image, the player and the game apparatus, which is a characteristic of video games as a dispositive. Terms such as immersion, participation, interactivity, or ergodic are an indication of the deep interest in this constellation. This paper explores the resonance between body and image in video games like REZ, SOUL CALIBUR and DANCE DANCE REVOLUTION from the perspective of a temporal ontology of the image, taking particular account of the structuring power of the interface and its subject positioning aspects.}, language = {en} } @article{Wolf2011, author = {Wolf, Mark J. P.}, title = {Theorizing navigable space in video games}, series = {DIGAREC Series}, journal = {DIGAREC Series}, number = {6}, issn = {1867-6219}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-49809}, pages = {18 -- 49}, year = {2011}, abstract = {Space is understood best through movement, and complex spaces require not only movement but navigation. The theorization of navigable space requires a conceptual representation of space which is adaptable to the great malleability of video game spaces, a malleability which allows for designs which combine spaces with differing dimensionality and even involve non-Euclidean configurations with contingent connectivity. This essay attempts to describe the structural elements of video game space and to define them in such a way so as to make them applicable to all video game spaces, including potential ones still undiscovered, and to provide analytical tools for their comparison and examination. Along with the consideration of space, there will be a brief discussion of navigational logic, which arises from detectable regularities in a spatial structure that allow players to understand and form expectations regarding a game's spaces.}, language = {en} }