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. Publikationen u. a.: Die Oberflächlichkeit des Digitalen, in: Christina Lechtermann, Stefan Rieger (Hg): Das Wissen der Oberfläche, Berlin, Zürich (diaphanes) 2015; Handschrift im digitalen Umfeld, in: Osnabrücker Bei- träge zur Sprachtheorie, Nr. 85, 2014; «Tap, tap, flap, flap.» Ludic Seriality, Digitality, and the Finger, in: Eludamos. Journal for Computer Game Culture, Vol. 8, Nr. 1, 2014, 33 – 46. Rosalind C. Morris ist Anthropologin, Kulturtheoretike­ rin und Medienkünstlerin. Sie lehrt als Professorin am Department of Anthropology der

in the 20th century and the ‘fine-motor-skills- digital sports’ that are on the rise today. Traditional sports are characterized by a movement towards standardized, rationalized, medialized and commercialized competitive arenas. When we view esports through the lens of sportification theory and compare it to historical examples from other sports, current developments in competitive computer gaming (e. g. esports) come across as the latest addition in a relatively long tradition of activities that have gone through sportification processes. We argue that

, ethnographic field work. Markus Appel is a Psychologist and a Professor of Media Communication at the Human Computer Media-Institute, University of Würzburg, Germany. He is in- 350 | CULTURES OF COMPUTER GAME CONCERNS terested in psychological questions of media communication, such as the pro- cessing and the effects of fictional stories, the impact of the Internet and mobile communication and user responses to humanoid robots. Sandra Aßmann is an educational researcher with a focus on Media Education. Following her occupation as Research Assistant at

, how such a transfer of urban, archi- tectural- and spatial structures or configurations in general appears in regard to the visual and navigational aspects. This idea has already been raised by the Norwegian game researcher Espen Aarseth, who in 2001 wrote in a key essay of computer game studies that spaces in video games must be under- stood as allegories,6 hence as metaphors, that have been made interactive. Inspired by this idea, Jenkins’ term of “narrative architecture” can be revised, as a narration not specific to computer games, which first and foremost

needed. Gamified applications for businesses were originally conceived within a framework of product development and design (Deterding et al. 2011), similar to the configuration of the computer game industry today, focusing on product sales and surveying potential markets. The original approach attempts to condition users through reward mechanics with the purpose of ‘hooking’ players to the gamified service, based on the general belief that “[v]ariable-rate reinforcement is effective at shaping a steady increase in the desired behaviour, apparently affecting the

Prizes, Endorsements and Recommendations: Positive Regulation of Computer Games FELIX RACZKOWSKI Media regulation is a nebulous concept with vastly different meanings, depending on the involved institutions and parties, the practices and procedures that are em- ployed and the issues that are to be addressed through them. In this chapter I am interested in computer game regulation insofar as it can be considered a govern- mental strategy following Foucault, which implies that there is a specific form of productivity at play in the way computer

artistic artefacts in a “space machine”: This aspect of space is central to understanding computer games as a medium. Historically, since the game Tennis for Two in 1958, the computer game image has moved ever fur ther into space—from simple, two-dimensional representa- tions to highly complex, three-dimensional environments. [...] The subjective view of the user into the space of the computer game is called the arbitrary perspective. This new kind of gaze concludes the exploration of the computer game as a space machine.3 Schwingeler has also researched spatial

– Introduction to user-created content in computer ga- ming, Tampere, 2005, S. 10 Abb. 5: Simpsons Map, Screenshots eines YouTube-Videos, URL: com/watch?v=34LtrnnXQTc [05.05.2012] Abb. 6: Hammer Editor zur Modifikation des Spiels Half-Life (Valve Software, 1998). Vgl. Laukkanen, Tero: Modding Scenes – Introduction to user-created content in computer gaming, Tampere, 2005, S. 35 Abb. 7: Joan Leandre: retroYou r/c series (1999-2001), Screenshots, URL: http://retro [04.05.2012] Abb. 8

von Spiel und Spielen und warf einen bemerkens- wert kritischen Blick auf die genannte öffentliche Verbots-Debatte (vgl. a. den Ausstellungskatalog Deutsches Hygienemuseum Dresden 2005). Christine Hanke 8 offen.2 Aus dem heterogenen interdisziplinären Feld hat sich mit den (Digital bzw. Computer) Game Studies mittlerweile in den USA und Skandinavien ein neues Stu- dien- und Forschungsfach herausgebildet und beginnt sich zu etablieren. Doch gibt es weiterhin keine kohärente Theoriebildung, werden unterschiedlichste Per- spektiven eingeschlagen und Akzente gesetzt

, J. (1967): Human Robots in Myth and Science. A. S. Barnes. Crawford, C. (1984): The Art of Computer Game Design. New York, NY: McGraw-Hill. Deep Mind. AlphaGo Zero: Learning from scratch: alphago-zero-learning-scratch [Accessed 14.11.2017]. De Paoli, S. (2013): Automatic Play and Player Deskilling in MMORPGs. Game Studies 13 (1). Retrieved May 17, 2017, from depaoli_automatic_play Dyer-Witheford, N. (2015): Cyber-Proletariat. Global Labour in the Digital Vortex. Chicago: University of Chicago Press