TY - JOUR A1 - Wolf, Mark J. P. T1 - Theorizing navigable space in video games JF - DIGAREC Series N2 - 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. Y1 - 2011 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-49809 SN - 1867-6219 SN - 1867-6227 IS - 6 SP - 18 EP - 49 ER - TY - JOUR A1 - Wiemer, Serjoscha T1 - Playing on the plane of immanence BT - notes on the resonance between body and image in music video games JF - DIGAREC series N2 - 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. Y1 - 2010 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-42765 SN - 1867-6227 SN - 1867-6219 IS - 4 SP - 166 EP - 195 ER - TY - JOUR A1 - Wenz, Karin T1 - Narrative logics of digital games JF - DIGAREC series N2 - 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. Y1 - 2010 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-42750 SN - 1867-6227 SN - 1867-6219 IS - 4 SP - 146 EP - 164 ER - TY - JOUR A1 - Weilandt, Maria ED - Edtstadler, Katharina ED - Folie, Sandra ED - Zocco, Gianna T1 - Nationality as Intersectional Storytelling BT - Inventing the "Parisienne" JF - New Perspectives on Imagology N2 - 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 Honoré 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. KW - Komparatistik KW - Allgemeine und Vergleichende Literaturwissenschaft KW - Imagologie KW - Intersektionalität KW - Honoré de Balzac KW - Henry James Y1 - 2022 UR - https://brill.com/display/title/58016 SN - 978-90-04-45012-7 SN - 978-90-04-51315-0 U6 - https://doi.org/10.1163/9789004513150_016 SP - 297 EP - 311 PB - Brill CY - Leiden ER - TY - JOUR A1 - Weilandt, Maria ED - Lehnert, Gertrud ED - Weilandt, Maria ED - Textor, Ursula T1 - Ways of Worldmaking BT - Die Miniaturen von Willard Wigan, Tessa Farmer und Rithy Panh JF - Materielle Miniaturen : zur Ästhetik der Verkleinerung Y1 - 2020 SN - 978-3-8260-6679-5 SP - 185 EP - 202 PB - Königshausen & Neumann CY - Würzburg ER - TY - JOUR A1 - Warnke, Martin T1 - Logic as a medium JF - DIGAREC series N2 - 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. Y1 - 2010 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-42710 SN - 1867-6227 SN - 1867-6219 IS - 4 SP - 64 EP - 78 ER - TY - JOUR A1 - Walz, Steffen P. T1 - Approaches to space in game design research JF - DIGAREC Lectures 2008/09 : Vorträge am Zentrum für Computerspielforschung mit Wissenschaftsforum der Deutschen Gamestage ; Quo Vadis 2008 und 2009 N2 - 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. Y1 - 2009 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-33259 SN - 978-3-86956-004-5 SN - 1867-6219 IS - 2 SP - 228 EP - 254 PB - Universitätsverlag Potsdam CY - Potsdam ER - TY - BOOK A1 - Venus, Jochen T1 - Simulation of self-action : on the morphology of remote-controlled role playing N2 - 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 Y1 - 2010 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-42770 ER - TY - JOUR A1 - Ungelenk, Johannes T1 - Satyrs, Spirits and Dionysian Intemperance in Shakespeare's 'Tempest' JF - Cahiers Élisabéthains N2 - 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. N2 - Le présent article s’intéresse à l’intrigue secondaire de La Tempête, de William Shakespeare, qui s’organise autour de la rébellion de Caliban, de Stephano, de Trinculo, abordée comme drame satyrique. Il démontre comment cette intrigue secondaire dionysiaque comporte des liens analogiques étroits avec l’action principale. L’auteur avance également que la trame de l’action souligne une dimension de la pièce qui s’avère importante pour l’analyse des implications métathéâtrales. Les correspondances entre l’action principale et le drame satyrique mettent en relief le rôle important de l’intempérance, de l’excès et du dérèglement dans un contexte dramatique shakespearien. KW - metatheatre KW - alcohol KW - weather KW - satyr play KW - animal Y1 - 2020 U6 - https://doi.org/10.1177/0184767819897082 SN - 0184-7678 SN - 2054-4715 VL - 101 IS - 1 SP - 45 EP - 64 PB - Sage Publications CY - London ER - TY - JOUR A1 - Ungelenk, Johannes T1 - Kiss me (not!), Cressida - or: the social touch of lips and tongue JF - Arcadia : international journal of literary culture N2 - 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. KW - Friedrich Nietzsche KW - Carl Schmitt KW - social cohesion KW - Troilus and KW - Cressida KW - touch Y1 - 2022 U6 - https://doi.org/10.1515/arcadia-2022-9051 SN - 0003-7982 SN - 1613-0642 VL - 57 IS - 1 SP - 25 EP - 46 PB - De Gruyter CY - Berlin ER - TY - GEN A1 - Ungelenk, Johannes T1 - Narcissus and Echo BT - A Political Reading of George Eliot's Daniel Deronda N2 - George Eliot’s late novel Daniel Deronda tackles big, fundamental political questions that radiate from the societal circumstances of the novel’s production and reach deep into our present-day life. The novel critically analyses the capitalistic, morally flawed and standard-less English society and narrates the title hero’s proto-Zionist mission to found a Jewish nation that re-establishes history, meaning and ethical values. This study attempts to trace the novel’s two models of society and time by bringing them into resonance with the myth of Narcissus and Echo famously rendered by Ovid. The unloving, self-referential, visual Narcissus is read as the model for the capitalistic world of spectacle and speculation. Echo’s loving, memory-bearing voice forms an important part in the construction of the sublating unity of the Jewish nation-to-come. Guided by this resonance between George Eliot’s novel and Ovid’s myth pieces of critical theory and philosophy are woven into the study’s fabric. The resulting analysis dissects and deconstructs the novel’s fascinating and highly complex patterns of conditions of possibility for the fabrication of the redeeming Jewish nation, the very same conditions that the novel presents as the conditions of possibility for narrating a meaningful story. T3 - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 186 Y1 - 2012 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-599966 SN - 1866-8380 IS - 186 ER - TY - JOUR A1 - Ungelenk, Johannes T1 - Émile Zola’s Climate History of the Second Empire JF - Ecozon@: European Journal of Literature, Culture and Environment N2 - This article looks at Émile 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. N2 - El artículo hace una lectura del ciclo de novelas Les Rougon-Macquart y argumenta que describe su sujeto, el Segundo Imperio, como un clima que se calienta y se dirige hacia una catástrofe climática. La afinidad de Zola con la noción de clima está expuesta en la connexion con su uso poetológico del concepto de ‘milieu’, inspirado en Hippolyte Taine. El artículo hace una lectura detallada de Rougon-Macquart para diferenciar entre la “vieja” y la “nueva París” y el proceso de calentamiento que caracteriza al Segundo Imperio. El gran almacén de Octave Mouret tiene un lugar protagónico en el artículo, por medio de su análisis se propone el concepto “meteorotopos”: una locación con unas condiciones climáticas intensificadas, que da cuenta de una elevada interacción entre actors humanos y no-humanos. El almacén es uno de varios espacios en el ciclo de novelas que prefiguran localmente la situación en la que el Segundo Imperio perece: la catástrofe ‘global’ de París en llamas. KW - Rougon-Marcquart KW - climate KW - milieu KW - Hippolyte Taine KW - global warming Y1 - 2020 UR - http://ecozona.eu/article/view/3181/4137 U6 - https://doi.org/10.37536/ECOZONA.2020.11.1.3181 SN - 2171-9594 VL - 11 IS - 1 SP - 9 EP - 26 PB - Alcalá de Henares CY - Instituto Universitario de Investigación en Estudios Norteamericanos "Benjamín Franklin", Universidad de Alcalá ER - TY - JOUR A1 - Ungelenk, Johannes T1 - Catastrophic Spectacle BT - The Debacle of the Sublime in Émile Zola’s Rougon-Macquart JF - Catastrophe & Spectacle: Variations of a Conceptual Relation from the 17th to the 21st Century N2 - 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. KW - Zola KW - shipwreck KW - absence of distance KW - Blumenberg Y1 - 2018 SN - 978-3-95808-173-4 SP - 92 EP - 101 PB - Neofelis CY - Berlin ER - TY - JOUR A1 - Ungelenk, Johannes T1 - Émile Zola and the Literary Language of Climate Change JF - Nottingham French Studies N2 - 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. Émile 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 débâcle, 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. N2 - Le 7 février 1861, le professeur de philosophie naturelle John Tyndall donna une communication historique: il pouvait prouver que des gaz différents absorbent la chaleur de manière différente, ce qui implique que les conditions tempérées fournies par l’atmosphère terrestre dépendent de sa composition particulière en gaz. Le fondement théorique de la science climatique était posé. Dix ans plus tard, de l'autre côté du Channel, un jeune auteur ambitieux était en train de faire une analyse littéraire globale de la France du Second Empire. Émile Zola n'avait probablement pas entendu parler de la découverte de Tyndall. Cependant, cet article propose de lire les Rougon Macquart de Zola comme une vaste histoire du changement climatique. Les tentatives littéraires entreprises par Zola pour capturer la caractéristique déterminante du Second Empire l'amena à réaliser que ses différents milieux faisaient tous partie du même « climat »: celui d'un réchauffement global. Zola suggère que ce climat est créé par l'humain et que le succès économique du Second Empire est basé sur l'action de chauffer dans un sens littéral et métaphorique, ainsi que sur l'alimentation des machines à vapeur et la création de l'atmosphère hypertrophiée d'une serre qui enrichit la vie et maximise l'écoulement et le profit. Contrairement à Tyndall et à son auditoire, Zola pressentit les conséquences catastrophiques d'un tel réchauffement: le Second Empire s'approchait inévitablement d'une débâcle finale, c'est-à-dire qu'il était voué à périr dans des catastrophes locales et « globales ». KW - Rougon-Macquart KW - climate change KW - John Tyndall KW - global warming KW - climate catastrophe KW - Second Empire KW - changement climatique KW - réchauffement planétaire KW - catastrophe climatique KW - Second Empire Y1 - 2021 U6 - https://doi.org/https://doi.org/10.3366/nfs.2021.0331 VL - 60 IS - 3 SP - 362 EP - 373 ER - TY - BOOK A1 - Ungelenk, Johannes T1 - Touching at a Distance BT - Shakespeare's Theatre T3 - Edinburgh Critical Studies in Shakespeare and Philosophy : ECSSP N2 - 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 Y1 - 2023 SN - 978-1-4744-9784-8 SN - 978-1-4744-9785-5 SN - 978-1-4744-9782-4 U6 - https://doi.org/10.1515/9781474497848 PB - Edinburgh University Press CY - Edinburgh ER - TY - JOUR A1 - Tobias, James T1 - Fun and frustration BT - style and idiom in the Nintendo Wii JF - DIGAREC Lectures 2008/09 : Vorträge am Zentrum für Computerspielforschung mit Wissenschaftsforum der Deutschen Gamestage ; Quo Vadis 2008 und 2009 N2 - 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. Y1 - 2009 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-33301 SN - 978-3-86956-004-5 SN - 1867-6219 IS - 2 SP - 94 EP - 112 PB - Universitätsverlag Potsdam CY - Potsdam ER - TY - JOUR A1 - Sternagel, Jörg T1 - Barker, J., The tactile eye; Berkeley [u.a.], Univ. of California Press, c2009 BT - The tactile eye : touch and the cinematic experience Y1 - 2009 SN - 0163-5069 ER - TY - JOUR A1 - Sternagel, Jörg T1 - Levinas and the cinema of redemption time, ethics, and the feminine JF - Film criticism Y1 - 2011 SN - 0163-5069 VL - 36 IS - 1 SP - 97 EP - 99 PB - Michigan Publishing CY - Meadville ER - TY - JOUR A1 - Soell, Anne T1 - Pollock in Vogue : American fashion and avant-garde art in Cecil Beaton's 1951 photographs N2 - 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. Y1 - 2009 UR - http://www.ingentaconnect.com/content/berg/jdbc U6 - https://doi.org/10.2752/175174109x381346 SN - 1362-704X ER - TY - CHAP A1 - Schrape, Niklas T1 - Playing with information : how political games encourage the player to cross the magic circle N2 - The concept of the magic circle suggests that the experience of play is separated from reality. However, in order to interact with a game’s rule system, the player has to make meaningful interpretations of its representations – and representations are never neutral. Games with political content refer in their representations explicitly to social discourses. Cues within their representational layers provoke the player to link the experience of play to mental concepts of reality. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24668 ER - TY - JOUR A1 - Schneider, Birgit A1 - Walsh, Lynda T1 - The politics of zoom BT - Problems with downscaling climate visualizations JF - Geo: Geography and Environment N2 - 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. KW - climate change KW - climate services KW - climate visualization KW - connectivity KW - downscaling KW - spherical KW - synopticism KW - zoom Y1 - 2019 U6 - https://doi.org/10.1002/geo2.70 SN - 2054-4049 VL - 6 IS - 1 PB - Wiley-Blackwell CY - Hoboken ER - TY - GEN A1 - Schneider, Birgit A1 - Walsh, Lynda T1 - The politics of zoom BT - Problems with downscaling climate visualizations T2 - Postprints der Universität Potsdam Philosophische Reihe N2 - 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. T3 - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 159 KW - climate change KW - climate services KW - climate visualization KW - connectivity KW - downscaling KW - spherical KW - synopticism KW - zoom Y1 - 2019 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-424819 SN - 1866-8380 IS - 159 ER - TY - JOUR A1 - Salen, Katie T1 - Pokéwalkers, mafia dons, and football fans BT - play mobile with me JF - DIGAREC Series N2 - 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. Y1 - 2011 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-49824 SN - 1867-6219 SN - 1867-6227 IS - 6 SP - 70 EP - 86 ER - TY - CHAP A1 - Pohl, Kirsten T1 - Ethical reflection and emotional involvement in computer games N2 - This paper focuses on the way computer games refer to the context of their formation and ask how they might stimulate the user’s understanding of the world around him. The central question is: Do computer games have the potential to inspire our reflection about moral and ethical issues? And if so, by which means do they achieve this? Drawing on concepts of the ethical criticism in literary studies as proposed by Wayne C. Booth and Martha Nussbaum, I will argue in favor of an ethical criticism for computer games. Two aspects will be brought into focus: the ethical reflection in the artifact as a whole, and the recipient’s emotional involvement. The paper aims at evaluating the interaction of game content and game structure in order to give an adequate insight into the way computer games function and affect us. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24652 ER - TY - CHAP A1 - Pinchbeck, Dan T1 - Trigens can’t swim : intelligence and intentionality in first person game worlds N2 - This paper explores the role of the intentional stance in games, arguing that any question of artificial intelligence has as much to do with the co-option of the player’s interpretation of actions as intelligent as any actual fixed-state systems attached to agents. It demonstrates how simply using a few simple and, in system terms, cheap tricks, existing AI can be both supported and enhanced. This includes representational characteristics, importing behavioral expectations from real life, constraining these expectations using diegetic devices, and managing social interrelationships to create the illusion of a greater intelligence than is ever actually present. It is concluded that complex artificial intelligence is often of less importance to the experience of intelligent agents in play than the creation of a space where the intentional stance can be evoked and supported. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-27609 ER - TY - THES A1 - Pflaumer, Valerie T1 - Haunted houses, haunted selves – feminist readings of uncanny domesticity BT - Charlotte Perkins Gilman, Shirley Jackson and Francesca Woodman N2 - The aesthetic phenomenon of the uncanny in literature and art is a spatial and gendered aesthetic concept, which is expressed in the spatial characteristics of a literary or photographic narrative. The intention of this thesis is to evaluate the entanglement of the uncanny, space, domesticity and femininity in the context of Gothic literature and photography. These four objects can only be read in their interplay with each other and how they each function as structural principles in the framework of Gothic fiction and photography. The literary texts, Charlotte Perkins Gilman’s “The Yellow Wall-Paper” (1892) and Shirley Jackson’s “The Lovely House” (1950) and The Haunting of Hill House (1959) as well as Francesca Woodman’s self-portraits that will be discussed further share one particular quality; they use the haunted house motif to express the protagonist’s psychological state by transferring mental hauntings onto the narrative’s spatial layer. The establishment of a connection between the concepts at hand, the uncanny, domesticity, spatiality and femininity, is the basis for the first half of the thesis. What follows is an overview of how domestic politics and gendered perceptions of and behaviors in spaces are expressed in the Gothic mode in particular. In the literary analysis two ways in which the Freudian uncanny constitutes itself in the haunted house narrative, first the house as the site of repetition and second the house as a stand-in for the maternal body, are examined. Drawing from Gernot Böhme’s and Martina Löw’s theoretic work on space and atmosphere the thesis focuses on the different aesthetic strategies that produce the uncanny atmosphere associated with the Gothic haunted house. The female subjects at the narratives’ center are in the ambiguous process of disappearing or becoming, this (dis)appearing act is facilitated by their haunted surroundings. In the case of the unnamed narrator in “Wall-Paper” her suppressed rage at her husband is mirrored in the strangled woman trapped inside the yellow wallpaper. Once she recognizes her doppelganger the union of her two selves takes place in the short story’s dramatic climax. In Shirley Jackson’s literary works the haunted houses, protagonists in themselves, entrap, transform, and ultimately devour their female daughter-victims. The haunted houses are symbols, means and places of the continuous tradition of female entrapment within the domestic sphere, be it as wives, mothers or daughters. In Francesca Woodman’s self-portraits the themes of creation/destruction and becoming/disappearing within the ruinous (post)domestic sphere are acted out by the fragmented and blurry female figure who intriguingly oscillates between self-empowerment and submission to destruction. N2 - Der Arbeit liegt die These zugrunde, dass literarische Heimsuchungen auf mentaler Ebene stattfinden und auf das Haus als Projektionsfläche des Inneren übertragen werden. Das Haus selbst ist dabei aber nicht vernachlässigbarer Hintergrund; das Gegenteil ist der Fall. Zu untersuchen ist, wie die intime Beziehung zwischen den Protagonistinnen und ihren heimgesuchten Häusern bedeutungsstiftend wird. Als theoretische Grundlage dient einerseits der Essay „Das Unheimliche“ (1919) von Sigmund Freud, welcher den Eindruck des unheimlichen, im verdrängten Altvertrauten verortet. Etymologisch ist der Ursprung des Wortes im „heimischen“, also einerseits im Vertrauten und andererseits im buchstäblichen Häuslichen zu finden, sodass sich die Bedeutung des Wortes heimlich „nach einer Ambivalenz hin entwickelt, bis es endlich mit seinem Gegensatz unheimlich zusammenfällt.“ Ausgehend von Freuds Text werden zwei Quellen des unheimlichen Effekts, die Wiederholung und der Mutterleib, auf das Setting des heimgesuchten Hauses („haunted house“) übertragen und anhand von vier Beispielen (drei literarischen und vier fotografischen) des „gothic mode“ untersucht. Das Hauptanliegen besteht darin aufzuzeigen wie die Kategorien unheimlich, Räumlichkeit, Domestizität und Weiblichkeit in der gothic mode weiblicher Autorschaft untrennbar miteinander verwoben sind. Dabei geht es nicht darum konkrete intertextuelle Bezüge zu finden oder einen bewussten Einfluss gar nachzuweisen. Die Texte und Fotografien in eine Verwandschaftsbeziehung setzend, wird der Topos haunted house anhand der Verortung des Unheimlichen untersucht. Als Beispiele dienen die Kurzgeschichten „The Yellow Wall-paper“ (1898) von Charlotte Perkins Gilman und „The Lovely House“ (1952) von Shirley Jackson, ihr Roman The Haunting of Hill House (1959) sowie eine Auswahl von Francesca Woodman’s Fotografien aus House und Space2 (1975-1979). Die untersuchten Kategorien sind aufgeteilt auf die Phänomene Wiederholung/Doppelgänger und Mutterleib, wobei Wiederholung von Trauma und die Rückkehr zum Mutterleib beide Grundthemen der Schauerliteratur sind. Bezogen auf die Räumlichkeit wird verdeutlicht wie die Grenze zwischen Körper und Raum verwischt wird und Platz für unheimliche Effekte schafft. Im Fazit wird betont welche Erkenntnisse über das Motiv des „haunted house“ über die Interpretation der vier Texte und Photographien hinausgehen. Alle Häuser sind von gegenderten Konventionen, Erwartungen und historisch bedingten Idealen gegenderten Verhaltens heimgesucht. Das Unheimliche, Räumlichkeit und Weiblichkeit sind ein verflochtenes Strukturprinzip in dem gothic mode. Die Beziehung zwischen den Figuren und ihren Räumen wird zu einem identitätsstiftenden, - bedrohenden, und -stabilisierenden Faktor. Der unheimliche Effekt der durch ihre Synthese des Raumes erzeugt wird, wird zum Katalysator ihrer Handlungen und Entwicklung. Die Heimsuchungen sind in diesem Kontext die Mediatoren von Ängsten und Wünschen der Protagonistinnen. Das heimgesuchte Haus ist ein Zeichen welches sich durch Assoziationen und Bezügen aus weitern textuellen und visuellen Quellen speist. Die Texte und Bilder reihen sich in die „Gothic“ Tradition ein und kommunizieren durch Verweise auf die geteilten visuellen Formeln. Es ist gleichzeitig eine Projektionsfläche für das Innenleben der Protagonistinnen und kann deren emotionalen Impulse räumlich veranschaulichen. KW - gothic KW - uncanny KW - haunted house KW - domesticity KW - separate spheres KW - doppelganger KW - haunting KW - space KW - Shirley Jackson KW - Francesca Woodman KW - Charlotte Perkins Gilman KW - Gothic KW - Heimsuchung KW - unheimlich KW - Raum KW - Fotografie Y1 - 2023 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-575664 ER - TY - JOUR A1 - Nohr, Rolf F. T1 - The naturalization of knowledge BT - games between common sense and specialized knowledge JF - DIGAREC series N2 - 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? Y1 - 2010 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-42746 SN - 1867-6227 SN - 1867-6219 IS - 4 SP - 130 EP - 145 ER - TY - JOUR A1 - Nitsche, Michael T1 - Games as structures for mediated performances JF - DIGAREC series N2 - 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. Y1 - 2010 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-42730 SN - 1867-6227 SN - 1867-6219 IS - 4 SP - 110 EP - 129 ER - TY - CHAP A1 - Neitzel, Britta T1 - Metacommunicative circles N2 - 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. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24647 ER - TY - CHAP A1 - Müller, Petra A1 - Coppock, Patrick A1 - Liebe, Michael A1 - Mersch, Dieter A1 - Bogost, Ian A1 - Bartle, Richard A1 - Juul, Jesper A1 - Løvlie, Anders Sundnes A1 - Pohl, Kirsten A1 - Schrape, Niklas A1 - Hoffstadt, Christian A1 - Nagenborg, Michael A1 - Liboriussen, Bjarke A1 - Meldgaard, Betty Li A1 - Günzel, Stephan A1 - Ljungström, Mattias A1 - Jennett, Charlene A1 - Cox, Anna L. A1 - Cairns, Paul A1 - Mukherjee, Souvik A1 - Pinchbeck, Dan A1 - Glashüttner, Robert ED - Günzel, Stephan ED - Liebe, Michael ED - Mersch, Dieter T1 - Conference proceedings of The Philosophy of Computer Games 2008 N2 - This first volume of the DIGAREC Series holds the proceedings of the conference “The Philosophy of Computer Games”, held at the University of Potsdam from May 8-10, 2008. The contributions of the conference address three fields of computer game research that are philosophically relevant and, likewise, to which philosophical reflection is crucial. These are: ethics and politics, the action-space of games, and the magic circle. All three topics are interlinked and constitute the paradigmatic object of computer games: Whereas the first describes computer games on the outside, looking at the cultural effects of games as well as on moral practices acted out with them, the second describes computer games on the inside, i.e. how they are constituted as a medium. The latter finally discusses the way in which a border between these two realms, games and non-games, persists or is already transgressed in respect to a general performativity. T3 - DIGAREC Series - 01 Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-20072 SN - 978-3-940793-49-2 PB - Universitätsverlag Potsdam CY - Potsdam ER - TY - JOUR A1 - Möring, Sebastian A1 - Leino, Olli Tapio T1 - Beyond games as political education BT - Neo-liberalism in the contemporary computer game form JF - Journal of Gaming & Virtual Worlds N2 - 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. Y1 - 2016 U6 - https://doi.org/10.1386/jgvw.8.2.145_1 SN - 1757-191X VL - 8 IS - 2 SP - 145 EP - 161 PB - Intellect CY - Bristol ER - TY - JOUR A1 - Möring, Sebastian A1 - Leino, Olli T1 - Beyond games as political education - neo-liberalism in the contemporary computer game form JF - Journal of gaming & virtual worlds N2 - 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. KW - liberalism KW - neo-liberalism KW - gameplay KW - play theory KW - game studies KW - freedom KW - industrialization KW - free to play Y1 - 2016 U6 - https://doi.org/10.1386/jgvw.8.2.145_1 SN - 1757-191X SN - 1757-1928 VL - 8 SP - 145 EP - 161 PB - Intellect Ltd. CY - Bristol ER - TY - CHAP A1 - Möring, Sebastian A1 - Aarseth, Espen T1 - The game itself? BT - Towards a Hermeneutics of Computer Games T2 - International Conference on the Foundations of Digital Games (FDG ’20) N2 - In this paper, we reassess the notion and current state of ludohermeneutics in game studies, and propose a more solid foundation for how to conduct hermeneutic game analysis. We argue that there can be no ludo-hermeneutics as such, and that every game interpretation rests in a particular game ontology, whether implicit or explicit. The quality of this ontology, then, determines a vital aspect of the quality of the analysis. Y1 - 2020 U6 - https://doi.org/10.1145/3402942.3402978 SP - 1 EP - 8 PB - ACM CY - New York ER - TY - CHAP A1 - Möring, Sebastian A1 - Aarseth, Espen T1 - The game itself? BT - Towards a Hermeneutics of Computer Games T2 - International Conference on the Foundations of Digital Games (FDG ’20) N2 - In this paper, we reassess the notion and current state of ludohermeneutics in game studies, and propose a more solid foundation for how to conduct hermeneutic game analysis. We argue that there can be no ludo-hermeneutics as such, and that every game interpretation rests in a particular game ontology, whether implicit or explicit. The quality of this ontology, then, determines a vital aspect of the quality of the analysis. Y1 - 2020 U6 - https://doi.org/0.1145/3402942.3402978 SP - 1 EP - 8 PB - ACM CY - New York ER - TY - JOUR A1 - Mäyrä, Frans A1 - Ermi, Laura T1 - Fundamental components of the gameplay experience BT - analysing immersion JF - DIGAREC Series N2 - 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. Y1 - 2011 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-49831 SN - 1867-6219 SN - 1867-6227 IS - 6 SP - 88 EP - 115 ER - TY - CHAP A1 - Mukherjee, Souvik T1 - Gameplay in the "Zone of Becoming" : locating action in the computer game N2 - Extending Alexander Galloway’s analysis of the action-image in videogames, this essay explores the concept in relation to its source: the analysis of cinema by the French philosopher Gilles Deleuze. The applicability of the concept to videogames will, therefore, be considered through a comparison between the First Person Shooter S.T.A.L.K.E.R. and Andrey Tarkovsky’s film Stalker. This analysis will compellingly explore the nature of videogame-action, its relation to player-perceptions and its location within the machinic and ludic schema. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24638 ER - TY - CHAP A1 - Mitsuishi, Yara T1 - Différance at play : unfolding identities through difference in videogame play N2 - 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 différance. Initially, différance 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 différance to understand gameplay as process; questioning its boundaries. Finally, the focus shifts toward the implications of the interplay of identities and differences during gameplay. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24697 ER - TY - JOUR A1 - Mersch, Dieter T1 - Aspects of Visual Epistemology : on the "Logic" of the Iconic Y1 - 2011 ER - TY - CHAP A1 - Meldgaard, Betty Li T1 - Perception, action, and game space N2 - This paper examines the use of the ecological approach to visual perception in relation to action in game spaces. By applying the ecological approach it is believed that we can gain new insights into the mechanisms of perceiving possibilities for action. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24624 ER - TY - JOUR A1 - Manovich, Lev T1 - What is visualization? JF - DIGAREC Series N2 - 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. Y1 - 2011 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-49849 SN - 1867-6219 SN - 1867-6227 IS - 6 SP - 116 EP - 156 ER - TY - CHAP A1 - Løvlie, Anders Sundnes T1 - The rhetoric of persuasive games : freedom and discipline in America's Army N2 - This paper suggests an approach to studying the rhetoric of persuasive computer games through comparative analysis. A comparison of the military propaganda game AMERICA’S ARMY to similar shooter games reveals an emphasis on discipline and constraints in all main aspects of the games, demonstrating a preoccupation with ethos more than pathos. Generalizing from this, a model for understanding game rhetoric through balances of freedom and constraints is proposed. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24616 ER - TY - CHAP A1 - Ljungström, Mattias T1 - Remarks on digital play spaces N2 - 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. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24602 ER - TY - CHAP A1 - Liebe, Michael T1 - There is no magic circle : on the difference between computer games and traditional games N2 - 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. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24597 ER - TY - CHAP A1 - Liboriussen, Bjarke T1 - The landscape aesthetics of computer games N2 - 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). Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24586 ER - TY - JOUR A1 - Kücklich, Julian T1 - Seki BT - ruledness and the logical structure of game space JF - DIGAREC series N2 - 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’. Y1 - 2010 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-42700 SN - 1867-6227 SN - 1867-6219 IS - 4 SP - 36 EP - 62 ER - TY - JOUR A1 - Jöckel, Sven A1 - Dogruel, Leyla T1 - The appeal of unsuitable video games BT - An exploratory study on video game regulations in an international context and media preferences of children in Germany JF - DIGAREC Lectures 2008/09 : Vorträge am Zentrum für Computerspielforschung mit Wissenschaftsforum der Deutschen Gamestage ; Quo Vadis 2008 und 2009 N2 - 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. Y1 - 2009 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-33311 SN - 978-3-86956-004-5 SN - 1867-6219 IS - 2 SP - 148 EP - 178 PB - Universitätsverlag Potsdam CY - Potsdam ER - TY - CHAP A1 - Juul, Jesper T1 - The magic circle and the puzzle piece N2 - 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. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24554 ER - TY - CHAP A1 - Jennett, Charlene A1 - Cox, Anna L. A1 - Cairns, Paul T1 - Being "in the game" N2 - 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. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24682 ER - TY - JOUR A1 - Hänsel, Sylvaine T1 - Material and expression - reflections on sculptures by Richard Serra and Eduardo Chillida JF - Sculpture Journal N2 - 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. Y1 - 2018 U6 - https://doi.org/10.3828/sj.2018.27.3.5 SN - 1366-2724 SN - 1756-9923 VL - 27 IS - 3 SP - 321 EP - 331 PB - Liverpool Univ. Press CY - Liverpool ER - TY - CHAP A1 - Hoffstadt, Christian A1 - Nagenborg, Michael T1 - The concept of war in the World of Warcraft N2 - MMORPGs such as WORLD OF WARCRAFT can be understood as interactive representations of war. Within the frame provided by the program the players experience martial conflicts and thus a “virtual war.” The game world however requires a technical and as far as possible invisible infrastructure which has to be protected against attacks: Infrastructure means e.g. the servers on which the data of the player characters and the game’s world are saved, as well as the user accounts, which have to be protected, among other things, from “identity theft.” Besides the war on the virtual surface of the program we will therefore describe the invisible war concerning the infrastructure, the outbreak of which is always feared by the developers and operators of online-worlds, requiring them to take precautions. Furthermore we would like to focus on “virtual game worlds” as places of complete surveillance. Since action in these worlds is always associated with the production of data, total observation is theoretically possible and put into practice by the so-called “game master.” The observation of different communication channels (including user forums) serves to monitor and direct the actions on the virtual battlefield subtly, without the player feeling that his freedom is being limited. Finally, we will compare the fictional theater of war in WORLD OF WARCRAFT to the vision of “Network-Centric Warfare,” since it has often been observed that the analysis of MMORPGs is useful to the real trade of war. However, we point out what an unrealistic theater of war WORLD OF WARCRAFT really is. Y1 - 2008 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-24674 ER -