Berry, David M. (2014): CriticalTheory and the Digital. CriticalTheory 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 criticaltheory”, which for the tenets of brevity is explained
here simply as the
Berry, David (2014): CriticalTheory and the Digital. London: Bloomsbury Publish-
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 criticaltheory 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 criticaltheory or designers who must know how
to code and have access to costly technologies. Rather than offering an account of
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 CriticalTheory,
New York 2002, 243 – 262, hier 261.
Die Diskussion über die Autonomie
der Affekte verdankt sich