@book{Aarseth2009,
  author    = {Aarseth, Espen},
  title     = {Locating the Game in Computer Games : from game structure to game semantics : Ringvorlesung 2009-12-03},
  publisher = {Univ. Potsdam},
  address   = {Potsdam},
  year      = {2009},
  abstract  = {The talk will focus on a few central problems in Game Studies: The question of where to locate game meaning, game defintions and how to avoid them, and the conundrum of games vs stories. In all these problems, the choice of ludic perspective (e.g. are games artifacts, systems or activities?) limits our ability to discuss games across disciplinary boundaries. What is needed is a metaperspective that will offer the field a chance to move on.},
  language  = {en}
}
@book{GuenzelLiebeMerschetal.2010,
  author    = {G{\"u}nzel, Stephan and Liebe, Michael and Mersch, Dieter and K{\"u}cklich, Julian and Warnke, Martin and Cermak-Sassenrath, Daniel and Michael, Nitsche and Nohr, Rolf F. and Wenz, Karin and Wiemer, Serjoscha and Venus, Jochen and Butler, Mark},
  title     = {Logic and structure of the computer game},
  editor    = {G{\"u}nzel, Stephan and Liebe, Michael and Mersch, Dieter},
  isbn      = {978-3-86956-064-9},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42695},
  publisher      = {Universit{\"a}t Potsdam},
  year      = {2010},
  abstract  = {The fourth volume of the DIGAREC Series holds the proceedings to the conference "Logic and Structure of the Computer Game", held at the House of Brandenburg- Prussian History in Potsdam on November 6 and 7, 2009. The conference was the first to explicitly address the medial logic and structure of the computer game. The contributions focus on the specific potential for mediation and on the unique form of mediation inherent in digital games. This includes existent, yet scattered approaches to develop a unique curriculum of game studies. In line with the concept of 'mediality', the notions of aesthetics, interactivity, software architecture, interface design, iconicity, spatiality, and rules are of special interest. Presentations were given by invited German scholars and were commented on by international respondents in a dialogical structure.},
  language  = {en}
}
@book{Venus2010,
  author    = {Venus, Jochen},
  title     = {Simulation of self-action : on the morphology of remote-controlled role playing},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-42770},
  publisher      = {Universit{\"a}t Potsdam},
  year      = {2010},
  abstract  = {Computer games may be defined as artifacts that connect the input devices of a computer (such as keyboard, mouse or controller) with its output devices (in most cases a screen and speakers) in such a way that on the screen a challenge is displayed. On the screen we see pictorial elements that have to be manipulated to master a game, that is to win a competition, to solve a riddle or to adopt a skill. Therefore the characteristics of the representational function of computer games have to be contrasted phenomenologically with conventional games on the one hand and cinematic depictions on the other. It shows that computer games separate the player from the playing field, and translate bodily felt concrete actions into situational abstract cinematic depictions. These features add up to the situational abstract presentation of self-action experience. In this framework computer games reveal a potential as a new means of shared cognition that might unfold in the 21st century and change the beingin- the-world in a similar way as cinematic depiction did in the 20th century},
  language  = {en}
}
@book{OPUS4-32710,
  title     = {Spaces of desire - spaces of transition : space and emotions in modern literature},
  editor    = {Lehnert, Gertrud and Siewert, Stephanie},
  publisher = {Lang Peter GmbH Internationaler Verlag der Wissenschaften},
  address   = {Frankfurt},
  isbn      = {978-3-631-60617-9},
  pages     = {108 S.},
  year      = {2011},
  language  = {en}
}
@book{Ungelenk2023,
  author    = {Ungelenk, Johannes},
  title     = {Touching at a Distance},
  series = {Edinburgh Critical Studies in Shakespeare and Philosophy : ECSSP},
  journal   = {Edinburgh Critical Studies in Shakespeare and Philosophy : ECSSP},
  publisher = {Edinburgh University Press},
  address   = {Edinburgh},
  isbn      = {978-1-4744-9784-8},
  doi       = {10.1515/9781474497848},
  pages     = {296},
  year      = {2023},
  abstract  = {Studies the capacity of Shakespeare's plays to touch and think about touchBased on plays from all major genres: Hamlet, The Tempest, Richard III, Much Ado About Nothing and Troilus and CressidaCentres on creative, close readings of Shakespeare's plays, which aim to generate critical impulses for the 21st century readerBrings Shakespeare Studies into touch with philosophers and theoreticians from a range of disciplinary areas - continental philosophy, literary criticism, psychoanalysis, sociology, phenomenology, law, linguistics: Friedrich Nietzsche, Maurice Blanchot, Jacques Lacan, Luce Irigaray, Jacques Derrida, Roland Barthes, Niklas Luhmann, Hans Blumenberg, Carl Schmitt, J. L. AustinTheatre has a remarkable capacity: it touches from a distance. The audience is affected, despite their physical separation from the stage. The spectators are moved, even though the fictional world presented to them will never come into direct touch with their real lives. Shakespeare is clearly one of the master practitioners of theatrical touch. As the study shows, his exceptional dramaturgic talent is intrinsically connected with being one of the great thinkers of touch. His plays fathom the complexity and power of a fascinating notion - touch as a productive proximity that is characterised by unbridgeable distance - which philosophers like Friedrich Nietzsche, Maurice Blanchot, Jacques Derrida, Luce Irigaray and Jean-Luc Nancy have written about, centuries later. By playing with touch and its metatheatrical implications, Shakespeare raises questions that make his theatrical art point towards modernity: how are communities to form when traditional institutions begin to crumble? What happens to selfhood when time speeds up, when oneness and timeless truth can no longer serve as reliable foundations? What is the role and the capacity of language in a world that has lost its seemingly unshakeable belief and trust in meaning? How are we to conceive of the unthinkable extremes of human existence - birth and death - when the religious orthodoxy slowly ceases to give satisfactory explanations? Shakespeare's theatre not only prompts these questions, but provides us with answers. They are all related to touch, and they are all theatrical at their core: they are argued and performed by the striking experience of theatre's capacities to touch - at a distance},
  language  = {en}
}