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Amazing Maze On the Concept of Diegese, Possible Worlds, and the Aesthetics of Illness NELE UHL Scenario: A new computer game developed by Allegra Geller for the company Antenna Research, called eXistenZ, is presented to a small number of invited guests and journalists. The players are connected to the virtual world of the game via the video game console, which is physically connected to the nervous system of the players by a bioport. During the presentation Allegra is attacked by a man from the audience. She manages to escape with the inexperienced

Literaturverzeichnis [Aar01] Espen J. Aarseth. Computer game studies, year one. Game Studies. The International Journal of Computer Game Re- search, 1(1), 2001. [Aar05] Espen J. Aarseth. Doors and Perception: Fiction vs Simu- lation in Games. Proceedings, Digital Arts and Culture Conference, 2005. [Aar07] Espen J. Aarseth. Semiotics vs. Mechanics, or Ficti- on/Simulation/Reality? Two game-ontological models. Vor- trag, Informatik-Kolloquium, Univ. Bremen, 5. Dez 2007. Eig. Mitschr. [Abt70] Clark C. Abt. Serious Games. New York

-actualization (particularly through playfulness), which will define much of the (seemingly) hedonistic tendencies of the anti-war and ecological movements of that period. Minka Stoyanova80 production is reflected throughout the emancipatory rhetoric and practices of the technologist culture in the 1960s and 1970s. As Turner (2006) recognizes, Stewart Brand (whose Whole Earth Catalog is associated with the foundations of the current maker movement) saw in the technological achievements of computer gamers and AI researchers “countercultural pioneers” who were “inventing a new

existed prior to this upspring of game studies (Bateson, 1955; Caillois, 1961; Huizinga, 1971; Avedon, 1971; Sutton-Smith, 1997), the demarcation of game studies as a field of study runs in parallel with the relative popularity and economic success of the digitally-mediated games in software packages usually known as video/com- puter/digital games (Aarseth, 2003, p. 1). The increase in academic institutions that employ scholars who research games and gamers therefore motivates a retro- spective that traces the history of computer game research. Concurrently, it is

Literatur Aarseth, Espen: Cybertext – perspectives on ergodic literature, Baltimore, MD, 1997 Aarseth 2001: Aarseth, Espen: Allegorien des Raums: Räumlichkeit in Computer- spielen, In: Wenz, Karin [Hrsg.]: Spiele und Spielen. Zeitschrift für Semiotik. Bd. 23, Nr. 3-4, Tübingen, 2001, S. 301-319 Aarseth 2001a: Aarseth, Espen: Computer Game Studies, Year One, In:, Vol. 1: Nr. 1, 2001, editorial.html [01.05.2012] Aarseth, Espen: Playing Research. Methodological Approaches to Game Analysis, MelbourneDAC

Fokalisierung nach Gérard Genette widmet sich Neitzel in ihrem Aufsatz Point of View und Point of Action (Neitzel, Britta: Point of View und Point of Action. Eine Perspektive auf die Perspektive in Com- puterspielen, in: Bartels, Klaus/Thon, Jan-Noël (Hg.): »Computer/ Spiel/ Räume. Materialien zur Einführung in die Computer Game Studies«, in: Hamburger Hefte zur Medienkultur Nr. 5 (2001), S. 8-29). Vgl. ferner Atkins, Barry: More than a game: the computer game as fictional form, Manchester [u.a.]: Manchester Uni- versity Press 2005: Barry Atkins macht sich die Methode

. These recent headlines are fascinating marks on the history of eSports. Such sway from legacy sports, tied to ongoing community support, and the staging of eSports will certainly come to affect how we-the fans-can engage with competitwe computer game­ pleylplayers. But just as importantly, a deeper consideration of how players and teams do professional play is brought on by such growth. This talk will address the changing eSports ecosystem from the perspectwe of players and the liveliness of their practice­ how they play, how they think of performance, and what it


NPC and Me How to become a Non-Player Character Günter Hack As everyday life and game mechanics converge in ever new digital media re- mixes, like Augmented Reality or the “Internet of Things”, it might pay off to have a look at some of the concepts derived from computer game design. One of them is the Non-Player Character (NPC), a more or less complex actor con- trolled by more or less simple software routines. NPCs are often the most inter- esting part of the game, shaping interaction between the user and the rest of the game mechanics. But, however

Experience, Activity and Materiality within Computer Game Play,” in: John Sageng/ Hallvard Fossheim/Tarjei Mandt Larsen (eds.), The Philosophy of Computer Games, New York, NY: Springer 2012, pp. 57-75, here p. 72. 16 Wirman, Hannah and Olli Tapio Leino: “For Interface, against Regression!: An Exploratory Surgery of the Transhuman Umbilical Cord,” Proceedings of ISEA 2008: The 14th International Symposium on Electronic Art, 2008, pp. 461-463, here p. 461. 17 Klevjer, Rune: “Enter the Avatar: The Phenomenology of Prosthetic Telepresence in Computer Games,” in: John

initi- ate a positive social consciousness in light of China’s flight to become an economic and political superpower. 2 | Homi Bhabha, The Location of Culture, New York: Routledge, 1994: 148. CHAN DAVID HO YEUNG126 TAKE T WO: 2008.06.21 The exhibition 2008.6.21 makes reference to the computer game Sims, a 1990’s simulation programme which focuses on the creation of virtual life. To play this game, the users first designate a piece of land; they are then given funds to cultivate a viable urban setting. The objective of this game is to align infrastructure and