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most iconoclastic fi gure on the Finnish literary scene.” Currently he is writing a two-volume history of Finnish literature due to be published in 2009. He is also one of the editors of Game Studies: The international journal of computer game research, and with Raine Koskimaa, he edits Cybertext Yearbooks. Frank Furtwängler is a physicist and scholar of Literature, Media and Art; he is currently a fellow at the Ph.D. scholarship programme Bild—Körper—Medium: Eine anthropologische Perspektive at the Hochschule für Gestaltung Karlsruhe. A selection of

- flecting upon historical and methodological aspects, specifically in their re- lation to the theoretical concepts in question. The final part discusses the terms ‘transparency’ and ‘understanding’ within a historical context. Hence, putting the concept of participation to the test he concludes pleading to think digital cultures differently from a pre-modern perspective, to be more exact in “the terms of the Arcanum”. Benjamin Beil and Pablo Abend (University of Cologne, Germany) study participation within the co-creative processes of computer game de- sign in their

Krzywinska (Hg.), Screenplay. Cinema/Videogame/Interface, Lon- don: Wallflower Press 2002, S. 81-97. Übersetzung mit freundlicher Ge- nehmigung der Autorin und Wallflower Press, London. James Newman: »The Myth of the Ergodic Videogame«, in: Game Studies. The International Journal of Computer Game Research 2 (1/2002), online: http://www.gamestudies.org/0102/newman/, zuletzt gelesen am 01. Juli 2006. Übersetzung mit freundlicher Genehmigung des Autors und Game Studies. Nam June Paik: »Cybernated Art«, in: Manifestos (Great Bear Pamphlets), New York: Something Else Press 1966

Kooperationspartner von In- teresse, die digitale Medien herstellen, vertreiben oder einsetzen möchten und zum Beispiel Partner im Bereich Forschung und Entwicklung suchen. Worin liegen die Herausforderungen für zukünftige Kreativschaffende und Medienspezialisten? Schaut man sich die Personalstrukturen in der Me- dien- und Spieleindustrie an, fällt auf: Die Teams könnten nicht heterogener sein. Menschen mit sehr differenzierten Ausbildungen und Bildungswegen 1 Crawford, Chris: The Art of Computer Game Design, Berkeley

. It is then more than a mere text-image-issue. The image and the voice/the sound together form a new, multimodal complex meaning for the viewers, or the users, such as the players of the computer game “Frontiers—You’ve reached fortress Europe”8, produced by gold extra art- ists from Salzburg (Austria). It enables its players to experience in a 3D world with authentic sound elements life on both sides of the military border at the Maroccan-Spanish fenceline in Ceuta. The gamers using avatars, play either a refugee or the border patrol in challenging stations

virtu- 256 Frank Fetzer ality. That is, the lived body of the player has to become part of the virtual world. Merleau-Ponty (1964) states: “Visible and mobile, my body is a thing among things, it is one of them. […]Theworld ismade of the very stuff of the body” (124). To extend the player’s embodied existence into the game world, it is essential that the capa- bilities of the body for movement and perception are transformed into the virtual: “[…] to inhabit a computer game the player has to be able to perform her embodied intentionality, or, motility, in the game

digital fabrication technologies with ‘traditional’ constructionist workshops. 2. THE ‘FAB-TAST-O-MATIC’ In the one-year Bachelor project FabLabs, 15 students were asked to create ‘incredible machines’ known from the computer game The Incredible Machine by Sierra Entertainment. The challenge was to combine digital fabrication technolo- gies known from FabLabs with digital media. The project was split into five phases: (1) imagination and rapid-prototyping, (2) general introduction to digital fabrication technology and research, (3) ideation, (4) main development

) vermitteln können. 3 | David Myers, The Nature of Computer Games. Play as Semiosis, New York u. a. 2003, S. 9. 4 | Steven Poole, Trigger Happy. Videogames and the Entertainment Revolution, New York 2000, S. 14. 5 | Henry Jenkins, Games, the New Lively Art, in: Joost Raessens/Jeffrey Goldstein (Hrsg.), Handbook of Computer Game Studies, Cambridge, London 2005, S. 175–192, hier S. 177. 6 | Gegründet wurde das Computerspielemuseum bereits 1997, erhielt aber erst 2011 ein eigenes Ausstellungshaus. Zur Eröffnung vgl. Karin Wehn, Computerspiele – Kunstform des di- gitalen

Welten, Berlin 2002, S. 7 f. 43 | Genannt seien hier nur die zentralen Zeitschriften der Community: Game Studies. The International Journal of Computer Game Research, url: http://www.gamestudies.org, seit 2001; 30 | Mittelalter Computer Spiele very idea [...] is to study games and especially computer games as games, and not as a derivative of something else like narratives, drama or film or their interactive and/or remediated offshoots. In short, games should be studied as their own transme- dial discursive mode.«44 Die Vorschläge zur methodischen wie epistemologischen

, pp. 94-123. 88 | I GAMES the more or less hyperrealistic virtualities: ‘pictures on a computer screen are not some- thing to look at, but to click at …’”19 This quality of operativity influences the specific imagery of digital games deep- ly, particularly in comparison with film and television. Next to more or less pho- torealistic game scenes, a multitude of direct and indirect instructions, which overlay the “actual” scenes, determine their effect and use. Benjamin Beil writes about the “computer game image”: “Often it is covered with interface