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2009/2010, pp. 3-18. 4 Gotto, Lisa: "Types and Bytes. Ludic Seriality and Digital Typography," Eludamos. Journal for Computer Game Culture 8/1 (2014), pp. 1 15-128. 5 Denson, Shane/Jahn-Sudrnann, Andreas: "Digital Seriality: On the Serial Aesthetics and Practice of Digital Games," in: Eludamos. Journal for Computer Game Culture 7/1 (20 13), pp. 1-32 and Maeder, Dorninik: "Transrnodalitat transrnedialer Expansion. Die TV -Serie zwischen Femsehen nnd Online-Medien," in: Dorninik Maeder/Daniela Wentz (eds.), Navigationen: Der Medienwandel der Serie 13/1 (2013

: Jeffrey Goldstein/Joost Raessens (Hg.), Hand- book of Computer Game Studies, Cambridge/London: MIT Press 2005, S. 219-226, hier S. 219. [Herv. i.O.] 2 Der Terminus »Ludology« geht auf Gonzalo Frasca aus dem Jahr 1998 zurück, der den studies games in general, and video games in particular.« (Frasca, Gonzalo: »Simulation versus Narrative. Introduction to Ludology«, in: Mark J. P. Wolf/Bernard Perron (Hg.), The Matter? Some Interpretive Problems on Comparative Ludology«, in: The Behavioral and Brain Science 5 (1982), Nr. 1, S. 160. 3 Die Kontinuität von herkömmlicher

. Minne- apolis: University of Minnesota Press. Consalvo, M. (2007): Cheating: Gaining Advantage in Videogames. Cambridge: MIT Press. Crawford, C. (1982): The Art of Computer Game Design. Retrieved from http:// Crogan, P. (2011): Gameplay Mode: War, Simulation, and Technoculture. Minneapo- lis: University of Minnesota Press. Deleuze, G./Guattari, F. (1987 [1980]): A Thousand Plateaus. Minneapolis: Univer- sity of Minnesota Press. Dyer-Witherford, N./de Peuter, G. (2009): Games of Empire. Minneapolis

Computer Game Culture 4(1), pp. 1–6. Massanari, A. (2017): “#Gamergate and The Fappening: How Reddit’s Algorithm, Governance, and Culture Support Toxic Technocultures.” New Media & Society 19(3), pp. 329–346. DOI: 10.1177/1461444815608807. Maxwell, R./Raundalen, J./Vestberg, N. L. (2014): Media and the Ecological Crisis. New York/London: Routledge. The Polit ical Economy of Cultural Memor y in the Videogames Industr y 81 May, T. (2011): Social Research: Issues, Methods and Research. 4th ed. Berkshire, England: Open University Press. Mitchell, K. (2008): Intention and

understood beyond lines of code. (Victor 2012, 2012) Within the genre of programming games insights can be gleaned into visu- alising computational phenomena. SpaceChem is a computer game by Zach- tronics that explores systems thinking and computational concepts. SpaceChem is a puzzle game contextualized around a chemical manufacturing company, in which a player performs the role of a Chemical Engineer who must configure atoms into molecular combinations which are processed by chemical reactors to produce a final product. The interactive process of building chemical

in digitalen Spielen (Boizenburg: vwh 2013) S. 179- 191. Homepage: Crawford, Chris, Gamedesigner und Autor. Studium der Physik an der University of Missouri, Lehrtätigkeit an verschiedenen US-Universitäten, ab 1979 Gamedesigner für Atari, Leiter der »Games Research Group«. 1987 Gründer des »Journal of Computer Game Design« , 1988 Gründer der »Computer Game Developers’ Conference«. Games u.a.: TANKTICS (1978), EXCALIBUR (1983), TRUST & BETRAYAL. THE LEGACY OF SIBOOT (1987). Publikationen u.a.: The Art of Computer Game Design (New York

:// pdf (accessed May 28, 2018), p. 2. James Delaney278 in particular—cannot be overstated. In this chapter, I propose that infor- mation and communication technology (ICT), and more specifically the computer game Minecraft (2009), can both improve and facilitate public engagement in the planning process, unlike traditional consultation pro- cesses. DIGITAL ENGAGEMENT The ICT revolution has transformed the way in which both individuals and communities communicate, interact, and engage. Youth are at the center of this technological revolution and are twice as

). Casual Power 119 Conclusion While a comparison between an old computer game and a movement centred on self-tracking and self-assessment may seem inane at first, they are both rooted in a cultural shift from analogue to digital platforms. Such a shift prioritises a move to a clear and immediate display of numerical information, giving a sense of purpose to an otherwise messy reality. My autoethnography of the map was to show how the mundane actions performed on the screen are informed by the necessary reductions that mapped media exert on the physical world. Such

horizon, or whether I should complete the circle by moving north and east and thus back to south (ibid., 8-9). Kant is obviously not interested in providing a toolset for lost hikers, but he is interested in the role of subjectivity for the process of reasoning. This is of rele- vance for the ideas on mapping and cartography that this essay wants to develop. Historic maps and navigation techniques in computer and videogames are to a substantial degree inf luenced by a priori concepts of space. Cartography and computer game design are attempts of coming to terms

digital game design. References Aardse, K. (2014): The other side of the valley; or, between Freud and videogames. Journal of Games Criticism, 1(1), pp. 1–14. Abend, P./Beil, B. (2015): Editors of Play: The Scripts and Practices of Co-creativity in Minecraft and LittleBigPlanet. DiGRA Conference. Brock, T. (2017): Videogame consumption: The apophatic dimension. Journal of Consumer Culture, 17(2), pp. 167–183. Brock, T./Fraser, E. (2018): Is computer gaming a craft? Prehension, practice, and puzzle-solving in gaming labour. Information, Communication & Society, 21