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-maps-will-look-like-when-we- need-cars-to-read-them/?tid=sm_tw). Berry, David M. (2014): Critical Theory and the Digital. Critical Theory and Contemporary Society. London, UK: Bloomsbury. Blizzard Entertainment. (1995): Diablo. PC Bornstein, Robert F. (1989): “Exposure and Affect: Overview and Meta-Analysis of Research, 1968-1987.” In: Psychological Bulletin 106/2, pp. 265-89. Brown, Barry/Moira McGregor/Donald McMillan (2014): “100 Days of iPhone Use: Understanding the Details of Mobile Device Use.” In: Proceedings of the 16th International Conference on Human-Computer Interaction with

processes are not acknowl- edged as “entities” (Parisi 2013) with a particular relationship and influence over affect, futurity and the production of reality itself. A critical approach to gamifica- tion is needed considering how it depends, concretely, in the human actions that are encouraged by its affordances and collected as data points for the automation of economic decisions. The choice of theoretical framework corresponds to what Braidotti (2019) has named a “posthuman critical theory”, which for the tenets of brevity is explained here simply as the

. Berry, David (2014): Critical Theory and the Digital. London: Bloomsbury Publish- ing. Kate O’Riordan, Jennifer Parker, David Harr is and Emile Devereaux156 Crawford, Kate/Lingel, Jessica/Karppi, Tero (2015): “Our Metrics, Ourselves: A Hundred Years of Self-Tracking from the Weight Scale to the Wrist Wearable Device.” European Journal of Cultural Studies 18(4), pp. 479−496. Eubanks, Virginia (2011): Digital Dead End: Fighting for Social Justice in the Information Age. Cambridge, MA: MIT Press. Felice, Gene/Jennifer, Parker (2013): “Ocean Scales.” Alterspace, San

temporality: To be interested in multiple scales on which reality is being constantly built, co-constructed, is not a luxury but a necessity for critical theory nowadays. A lot of theory feminist theory realised this early on, similarly some STS. We need to abandon such worn out scales of reference that do not address the currently crucial questions and engage with what are the microscopic – or then planetary level – processes that define issues such as the social. This does not necessarily mean abandoning the important legacy of critical thought for example in

the case of games and game studies, many have endeavored to bring about change through the practice of making games. However, in this paper I wish to examine the revolutionary potential of how we may play games. Play, both within natural and virtual space, is something that we are all ostensibly capable of doing in some form, which cannot be said for the work of either Wark’s gamer theorist who must read and understand critical theory or designers who must know how to code and have access to costly technologies. Rather than offering an account of the

the Closet, Berkeley, Los Angeles 1990. 27 Sedgwick: Touching Feeling, 18. 28 Sedgwick schreibt: «I’ve conti- nued to find this dislinkage between drive and affect extraordinarily helpful, and wish a lot more people were willing to engage with it.» Dies., Stephen M. Barber, David L. Clark: This Piercing Bouquet: An In- terview with Eve Kosofsky Sedgwick, in: Stephen M. Barber, David Clark (Hg.): Regarding Sedgwick: Essays on Queer Culture and Critical Theory, New York 2002, 243 – 262, hier 261. Die Diskussion über die Autonomie der Affekte verdankt sich