Les jeux en ligne massivement multi-joueurs (MMOG dans la terminologie du genre, pour Massively Multiplayer Online Game) sont des jeux video qui font participer un tres grand nombre de joueurs simultanement par le biais d'un reseau de serveurs accessible par Internet. Ils se definissent habituellement par trois criteres : 1. l'univers de jeu n'est accessible que par le reseau, 2. il est persistant (c'est-a-dire que le jeu continue meme quand les joueurs ne sont pas connectes), et 3. un tres grand nombre de joueurs peuvent y participer simultanement (en general plusieurs milliers). C'est l'explosion d'Internet a la fin des annees 1990 qui a permis l'extension planetaire de ce type de jeu, qui constitue aujourd'hui un phenomene social et economique non negligeable.

Les jeux et les hommes

Communautés de joueurs et "mondes persistants"

This paper aims to contribute to the area of museum experience research, by exploring how consumers build stories to tell different experiences generated from a visit to a museum and by viewing these inductive findings in the light of recent research on consumption experiences (Lanier and Rader, 2015).,A qualitative study is conducted. Twenty-three narratives were analysed relating a visit to ZKM museum in Karlsruhe (Germany) using narrative analysis techniques, as they are suitable to capture sensations, emotions and feelings.,ZKM museum emerges from the analysis of the narratives as a cradle for stochastic experiences (Lanier and Rader, 2015). The narratives develop several episodes that correspond to performance and liberatory experiences. A reconceptualization of the museal experience is proposed as a mesh of performance, stochastic or liberatory episodes, that capture the subject’s perspective.,The study was limited to students who were 19-23 years of age and to one museum. Future research should include a wider age group and other museums.,The findings provide useful insights for curators, educators and exhibit designers staging museal experiences.,The findings provide a better understanding of different experiences occurring in the same experiential context and their meaning from the subject’s perspective.,Lanier and Rader (2015) typology has not yet been tested in a museal context. The findings suggest that the same context can generate a set of various episodes (performance, liberatory, stochastic) within a given experience. From a methodological perspective, the results show that qualitative approaches are relevant to segment the museal offer based on sought experiences.

Revisiting the museum experience

Videogames now enable players to spend virtual fortunes on exotic virtual goods and even create and sell virtual artefacts. Online consumers may also browse endlessly through virtual marketplaces and create and display virtual goods. These virtual commodities are desired and enjoyed as if they were real, but are not actually bought, or owned in a material sense – often resulting in frustration amongst marketers. In this paper we account for virtualised consumption by highlighting its pleasures. We start by historicising the trend towards imaginary consumption practices, depicting virtual consumption as the latest stage in an ongoing transformation of consumption from a focus on utility through to emotional value, sign value and finally playful experience. Viewed from this perspective, we consider the role of emerging virtual consumption spaces as liminoid, transformational play-spaces and explore examples of consumer practices found in these spaces. Ultimately we argue that virtual spaces encourage the development of new consumption practices and therefore constitute the ability of the market to stimulate consumers’ imaginations in new and exciting ways based on digital play.

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The Pleasures and Practices of Virtualised Consumption in Digital Spaces

Sobre el Juego existe una extensa bibliografia. La actividad ludrica ha sido estudiada desde todos los campos y areas del saber, asi multitud de autores han publicado teorias sobre el origen, los valores y otras caracteristicas del juego; pero, casi todos ellos lo han hecho con una optica utilitarista (nada mas lejano con la esencia propia del juego). Este ensayo, pretende ser un acercamiento a las raices de la actividad mas connatural del ser humano, una aproximacion al concepto del juego y, por extension, al de su decantacion natural: la actividad deportiva.

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Juego y deporte : aproximación conceptual

The potential of video games for learning is now widely accepted among the community of Educational Technology. However, there is a critical lack of guidance for the design of educational games. In order to provide such guidance, there is a need for a solid theoretical basis regarding the nature of learning in games. This paper redefines what a game is, in semiotic terms, enabling four groups of strategies to be formally identified, depending on how the knowledge to be acquired is inserted into the game. These four groups are: systemic learning, when knowledge is embedded in the game mechanics; winner strategies, when the game provides an environment in which knowledge is required to reach the game's goal; loose coupling, when knowledge is arbitrary required to unblock the progression towards the game's goal; and contextual coupling, in which the game serves as a context for the exposition of static learning material. This theory is then put into practice by analyzing three commercial educational games. It constitutes a first step towards Instructional Game Design.

/pdf/a-theoretical-background-for-educational-video-games-games-1gkey4d6hi.pdf

Les jeux et les hommes

Citations

Communautés de joueurs et "mondes persistants"

Revisiting the museum experience

The Pleasures and Practices of Virtualised Consumption in Digital Spaces

Juego y deporte : aproximación conceptual

A Theoretical Background for Educational Video Games: Games, Signs, Knowledge

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