@article{Waterfeld2018,
  author    = {Waterfeld, Sarah},
  title     = {B6112—Art after All},
  series = {Theatre Survey},
  volume    = {59},
  journal   = {Theatre Survey},
  number    = {2},
  publisher = {Cambridge Univ. Press},
  address   = {New York},
  issn      = {0040-5574},
  doi       = {10.1017/S0040557418000108},
  pages     = {276 -- 281},
  year      = {2018},
  abstract  = {B6112 is a collective anticapitalist, feminist, antiracist, and queer transmedial theatre production. Welcome to our artwork! Our theatre, our art, our poetry, and our work are weapons of struggle. Art does not take place in a political, social, or economic vacuum. Art takes place in world structured by imperialism and its slaughter, war, destruction, commerce, and slavery. Art must engage with this in both content and form. Otherwise it is obsolete. B6112 advocates a theatre that calls for revolution, reveals relationships of domination, denounces grievances, names guilty parties, presents resistance strategies, explores them, rejects them. B6112 stands for the elimination of nationalisms and gender inequality, for a global citizenship, for a world community in which all people peacefully coexist in equal living conditions. B6112 stands for self-organization and emancipation, for a hierarchy-free theatre that has a mimetic and thus exemplary effect on society. In the face of global disasters, we reject an entertainment theatre or a theatre of display that acts as an opiate in the society. Only when our goals have been achieved will we be able to renegotiate the role of the theatre for our society, redefine its content, and redefine the question of relevance.},
  language  = {en}
}
@periodical{OPUS4-56077,
  title     = {Imagines},
  editor    = {Carl{\`a}-Uhink, Filippo and Lindner, Martin},
  publisher = {Bloomsbury Academic},
  address   = {London},
  year      = {2017},
  abstract  = {This series seeks to broaden the scholarly community's understanding of the reception of classical antiquity in the visual and performing arts. A particular focus will be drawn on the 20th and 21st centuries and on media that have been traditionally neglected because considered "commercial" and/or "popular", such as comics, advertising, digital media, design, fashion, and theme parks. It challenges traditional, and still very widespread, assumptions that distinguish "high" from "popular" culture, but also demonstrates the indisputable importance that classical antiquity enjoys in the modern and postmodern world, and all across the planet, carefully looking at forms of Classical Receptions outside the "traditional" regions object of such studies. Through a consistent shift from the traditional, academic approach, the series is the product of a continuous dialogue between scholars on the one side, and "producers" of classical reception - painters, sculptors, photographs, architects, designers, etc. -on the other, who write about their mechanisms of appropriation of the Ancient world . Each book highlights the popularity of antiquity today and reveals the forms and mechanisms of its reception. The series thus explains the choice of subjects and motives, the elaboration and re-mediatization processes taking place in the creative act, as well as the complexity of the "reception chains", which make it today impossible, for instance, to visualize the ancient world without the filter of historical movies.},
  language  = {en}
}
@inproceedings{Neitzel2008,
  author    = {Neitzel, Britta},
  title     = {Metacommunicative circles},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24647},
  year      = {2008},
  abstract  = {The paper uses Gregory Bateson's concept of metacommunication to explore the boundaries of the 'magic circle' in play and computer games. It argues that the idea of a self-contained "magic circle" ignores the constant negotiations among players which establish the realm of play. The "magic circle" is no fixed ontological entity but is set up by metacommunicative play. The paper further pursues the question if metacommunication could also be found in single-player computer games, and comes to the conclusion that metacommunication is implemented in single-player games by the means of metalepsis.},
  language  = {en}
}
@inproceedings{JennettCoxCairns2008,
  author    = {Jennett, Charlene and Cox, Anna L. and Cairns, Paul},
  title     = {Being "in the game"},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24682},
  year      = {2008},
  abstract  = {When people describe themselves as being "in the game" this is often thought to mean they have a sense of presence, i.e. they feel like they are in the virtual environment (Brown/Cairns 2004). Presence research traditionally focuses on user experiences in virtual reality systems (e.g. head mounted displays, CAVE-like systems). In contrast, the experience of gaming is very different. Gamers willingly submit to the rules of the game, learn arbitrary relationships between the controls and the screen output, and take on the persona of their game character. Also whereas presence in VR systems is immediate, presence in gaming is gradual. Due to these differences, one can question the extent to which people feel present during gaming. A qualitative study was conducted to explore what gamers actually mean when they describe themselves as being "in the game." Thirteen gamers were interviewed and the resulting grounded theory suggests being "in the game" does not necessarily mean presence (i.e. feeling like you are the character and present in the VE). Some people use this phrase just to emphasize their high involvement in the game. These findings differ with Brown and Cairns as they suggest at the highest state of immersion not everybody experiences presence. Furthermore, the experience of presence does not appear dependent on the game being in the first person perspective or the gamer being able to empathize with the character. Future research should investigate why some people experience presence and others do not. Possible explanations include: use of language, perception of presence, personality traits, and types of immersion.},
  language  = {en}
}
@inproceedings{Mitsuishi2008,
  author    = {Mitsuishi, Yara},
  title     = {Diff{\´e}rance at play : unfolding identities through difference in videogame play},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24697},
  year      = {2008},
  abstract  = {This paper approaches the debate over the notion of "magic circle" through an exploratory analysis of the unfolding of identities/differences in gameplay through Derrida's diff{\´e}rance. Initially, diff{\´e}rance is related to the notion of play and identity/difference in Derrida's perspective. Next, the notion of magic circle through Derrida's play is analyzed, emphasizing the dynamics of diff{\´e}rance to understand gameplay as process; questioning its boundaries. Finally, the focus shifts toward the implications of the interplay of identities and differences during gameplay.},
  language  = {en}
}
@inproceedings{Juul2008,
  author    = {Juul, Jesper},
  title     = {The magic circle and the puzzle piece},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24554},
  year      = {2008},
  abstract  = {In a common description, to play a game is to step inside a concrete or metaphorical magic circle where special rules apply. In video game studies, this description has received an inordinate amount of criticism which the paper argues has two primary sources: 1. a misreading of the basic concept of the magic circle and 2. a somewhat rushed application of traditional theoretical concerns onto games. The paper argues that games studies must move beyond conventional criticisms of binary distinctions and rather look at the details of how games are played. Finally, the paper proposes an alternative metaphor for game-playing, the puzzle piece.},
  language  = {en}
}
@inproceedings{Glashuettner2008,
  author    = {Glash{\"u}ttner, Robert},
  title     = {The perception of video games : from visual power to immersive interaction},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24578},
  year      = {2008},
  abstract  = {This paper highlights the different ways of perceiving video games and video game content, incorporating interactive and non-interactive methods. It examines varying cognitive and emotive reactions by persons who are used to play video games as well as persons who are unfamiliar with the aesthetics and the most basic game play rules incorporated within video games. Additionally, the principle of "Flow" serves as a theoretical and philosophical foundation. A small case-study featuring two games has been made to emphasize the numerous possible ways of perception of video games.},
  language  = {en}
}
@inproceedings{Liboriussen2008,
  author    = {Liboriussen, Bjarke},
  title     = {The landscape aesthetics of computer games},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24586},
  year      = {2008},
  abstract  = {Landscape aesthetics drawing on philosophy and psychology allow us to understand computer games from a new angle. The landscapes of computer games can be understood as environments or images. This difference creates two options: 1. We experience environments or images, or 2. We experience landscape simultaneously as both. Psychologically, the first option can be backed up by a Vygotskian framework (this option highlights certain non-mainstream subject positions), the second by a Piegatian (highlighting cognitive mapping of game worlds).},
  language  = {en}
}
@inproceedings{Liebe2008,
  author    = {Liebe, Michael},
  title     = {There is no magic circle : on the difference between computer games and traditional games},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24597},
  year      = {2008},
  abstract  = {This text compares the special characteristics of the game space in computer-generated environments with that in non-computerized playing-situations. Herewith, the concept of the magic circle as a deliberately delineated playing sphere with specific rules to be upheld by the players, is challenged. Yet, computer games also provide a virtual playing environment containing the rules of the game as well as the various action possibilities. But both the hardware and software facilitate the player's actions rather than constraining them. This makes computer games fundamentally different: in contrast to traditional game spaces or limits, the computer-generated environment does not rely on the awareness of the player in upholding these rules. - Thus, there is no magic circle.},
  language  = {en}
}
@inproceedings{Ljungstroem2008,
  author    = {Ljungstr{\"o}m, Mattias},
  title     = {Remarks on digital play spaces},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24602},
  year      = {2008},
  abstract  = {Most play spaces support completely different actions than we normally would think of when moving through real space, out of play. This paper therefore discusses the relationship between selected game rules and game spaces in connection to the behaviors, or possible behaviors, of the player. Space will be seen as a modifier or catalyst of player behavior. Six categories of game space are covered: Joy of movement, exploration, tactical, social, performative, and creative spaces. Joy of movement is examined in detail, with a briefer explanation of the other categories.},
  language  = {en}
}