In the first two volumes of this work, Paul Ricoeur examined the relations between time and narrative in historical writing, fiction, and theories of literature. This final volume, a comprehensive reexamination and synthesis of the ideas developed in volumes 1 and 2, stands as Ricoeur's most complete and satisfying presentation of his own philosophy.

Time and Narrative

Creativity: Flow and the Psychology of Discovery and Invention

Empire of the Senses: The Sensual Culture Reader

The reconfigured eye: Visual truth in the post-photographic era

This shift in meaning of the word thing is also of interest when reflecting on the practice of design. We suggest that we revisit and partly reverse the etymological history of things. A major chal ...

Drawing things together

The Cornell Box serves as a visual emblem of the divide between arts and sciences first articulated by C.P. Snow over 40 years ago. To historians of American art, “Cornell Box” refers to the shadow boxes of Joseph Cornell; in the world of computer graphics the Cornell Box is the evaluative environment in which the Cornell University Program of Computer Graphics refined its radiosity rendering algorithms. Considering both boxes with reference to the perceptual thought of James J. Gibson allows us to generate a site for collaboration at the intersection of light and art for designers and computer scientists devoted to the development of new digital media.

Learning from the Cornell Box

Despite the fact that there are currently a number of enjoyable digital games in which light plays a key role, we lack a vocabulary with which to discuss simulated illumination in game worlds. An understanding of lighting practices in other media, such as 3d computer-generated animation and film, must be supplemented with an awareness of real-space disciplines if we are to grasp the complexity of the game lighting design task. But game design is more than a repository for existing lighting practices; the interactive nature of games allows for an extended range of visualization possibilities and a self-reflexive sensitivity to light to emerge, most clearly manifested in games described as “stealth,” and “survival-horror” games.

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Shadowplay: Simulated Illumination in Game Worlds

The current debate on reproduction and architectural publication has established new terms for the examination of architectural photographs. No longer treated simply as a species of architectural documentation—such as renderings or plans—photographs of building are acknowledged as sharing in the cultural power of the photographic medium and must consequently be examined as a form of social production. The publication of Richard Neutra's 1946 Kaufmann house reveals the power of the print media in the establishment of an architectural canon; moreover, Neutra's habit of reworking photographs of his built designs suggests the appropriateness of reexamining his contribution to the legacy of involving photography and the media in the architectural process.

“Glamourized Houses”: Neutra, Photography, and the Kaufmann House

@font-face { font-family: "Arial"; }@font-face { font-family: "Arial"; }@font-face { font-family: "Cambria"; }@font-face { font-family: "MS Mincho"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria; }.MsoChpDefault { font-size: 10pt; font-family: Cambria; }div.WordSection1 { page: WordSection1; } This study presents an argument in favor of using multiple theory triangulation (Mayra 2009) as a means of generating design heuristics and gameplay scenarios for engaging the sense of smell in games. The disciplines that are drawn upon include sensory psychology, sensory anthropology, literature, interaction design and HCI research, and game studies. The physical and historical context of smell in games is sketched by considering the challenges of designing for the sense of smell, examining how different cultures have integrated smell into their lives and entertainment, analyzing the failures of scented filmic media, and surveying games in which smell has played a role: Leather Goddesses of Phobos (Infocom Inc. 1986) and Leisure Suit Larry 7: Love for Sail! ( Sierra On-Line Inc. 1996). Rather than naive immersion, in which smell merely confirms what is seen onscreen, this study seeks to root the future development of scented gameplay in Ermi and Mayra’s SCI model of immersion (2007), and draws upon design discourses related to the bodily and spatial uses of scent: perfume and incense. We can learn about how to effectively engage smell in games by examining the ways in which people have organized play around perfume and incense, from games that incorporate perfume themes (ranging from board games to Axe cologne advergames), to the playful behaviors of an online fragrance community (Basenotes.net). The results of this study include general design heuristics for smell in games, as well as specific gameplay concepts for an existing digital game genre (survival horror), and a physical Scratch-and-sniff party game.

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Skin Games: Fragrant Play, Scented Media and the Stench of Digital Games

Digital Games Research Association (DiGRA) 2007 Conference, Situated Play, Tokyo, Japan, September 24-28th 2007

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Simon Niedenthal

Papers

Learning from the Cornell Box

Shadowplay: Simulated Illumination in Game Worlds

“Glamourized Houses”: Neutra, Photography, and the Kaufmann House

Skin Games: Fragrant Play, Scented Media and the Stench of Digital Games

Real-Time Sweetspot : The Multiple Meanings of Game Company Playtests