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Eine bildwissenschaftliche und medientheoretische Analyse
Series: Image, 72

, 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

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

:// 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

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

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

Aarseth (*1965) noted that “games celebrate their spatial representation as their central motif and raison d’être”,32 while Jenkins— comparing architecture and game design, citing both as preoccupied with design over a spatial substrate—suggested game design as “narrative ar- chitecture”.33 More recently, Stephan Günzel (*1971) proclaimed the “spa- tial turn” as a paradigm shift in computer game studies, reflecting both their design and practice.34 EUCLID’S FIFTH POSTULATE AGAINST THE SHAPE OF SPACE While the importance and utility of Euclidian geometry is

The Lived Space of Computer Games Stephan Günzel HENRI LEFEBVRE AND THE SPATIAL TURN Since the late 1980s, a “spatial turn” has affected the arts and humanities, and in particular, cultural studies. This also extends to computer game studies—one could even assert they had involved analyzing the spatial- ity of digital games from the very beginning.1 To understand this new approach, it is crucial to examine the origin of current debates about the spatial turn. This can be traced back to 1974, with the publication of Henri Lefebvre’s (1901-1991) book La

. 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