Book•
Unit Operations: An Approach to Videogame Criticism
01 Jan 2006-
TL;DR: In Unit Operations, Ian Bogost argues that similar principles underlie both literary theory and computation, proposing a literary-technical theory that can be used to analyze particular videogames and argues for the possibility of real collaboration between the humanities and information technology.
Abstract: In Unit Operations, Ian Bogost argues that similar principles underlie both literary theory and computation, proposing a literary-technical theory that can be used to analyze particular videogames. Moreover, this approach can be applied beyond videogames: Bogost suggests that any medium -- from videogames to poetry, literature, cinema, or art -- can be read as a configurative system of discrete, interlocking units of meaning, and he illustrates this method of analysis with examples from all these fields. The marriage of literary theory and information technology, he argues, will help humanists take technology more seriously and hep technologists better understand software and videogames as cultural artifacts. This approach is especially useful for the comparative analysis of digital and nondigital artifacts and allows scholars from other fields who are interested in studying videogames to avoid the esoteric isolation of "game studies." The richness of Bogost's comparative approach can be seen in his discussions of works by such philosophers and theorists as Plato, Badiou, Zizek, and McLuhan, and in his analysis of numerous videogames including Pong, Half-Life, and Star Wars Galaxies. Bogost draws on object technology and complex adaptive systems theory for his method of unit analysis, underscoring the configurative aspects of a wide variety of human processes. His extended analysis of freedom in large virtual spaces examines Grand Theft Auto 3, The Legend of Zelda, Flaubert's Madame Bovary, and Joyce's Ulysses. In Unit Operations, Bogost not only offers a new methodology for videogame criticism but argues for the possibility of real collaboration between the humanities and information technology.
Citations
More filters
TL;DR: In this paper, a conceptual update of the extended self was proposed to revitalize the concept, incorporate the impacts of digitization, and provide an understanding of consumer sense of self in today's technological environment.
Abstract: The extended self was proposed in 1988. Since it was formulated, many technological changes have dramatically affected the way we consume, present ourselves, and communicate. This conceptual update seeks to revitalize the concept, incorporate the impacts of digitization, and provide an understanding of consumer sense of self in today’s technological environment. It is necessarily a work in progress, for the digital environment and our behavior within it continue to evolve. But some important changes are already clear. Five changes with digital consumption are considered that impact the nature of self and the nature of possessions. Needed modifications and additions to the extended self are outlined, and directions for future research are suggested. The digital world opens a host of new means for self-extension, using many new consumption objects to reach a vastly broader audience. Even though this calls for certain reformulations, the basic concept of the extended self remains vital.
1,135 citations
Cites background from "Unit Operations: An Approach to Vid..."
...In The Sims, consumption is the raison d’être for playing the game and includes buying a house and filling it with consumer goods (Bogost 2006; Molesworth 2006)....
[...]
01 Jan 2011
TL;DR: Bryant as mentioned in this paper proposes that objects are dynamic systems that relate to the world under conditions of operational closure and develops a realist ontology, called -onticology-, which argues that being is composed entirely of objects, properties, and relations.
Abstract: In The Democracy of Objects Bryant proposes that we break with the epistemological tradition and once again initiate the project of ontology as first philosophy. Bryant develops a realist ontology, called -onticology-, which argues that being is composed entirely of objects, properties, and relations. Bryant proposes that objects are dynamic systems that relate to the world under conditions of operational closure.
503 citations
TL;DR: In this paper, the authors argue that games are domains of contrived contingency, capable of generating emergent practices and interpretations, and are intimately connected with everyday life to a degree heretofore poorly understood.
Abstract: Games have intruded into popular, academic, and policy-maker awareness to an unprecedented level, and this creates new opportunities for advancing our understanding of the relationship of games to society. The author offers a new approach to games that stresses them as characterized by process. Games, the author argues, are domains of contrived contingency, capable of generating emergent practices and interpretations, and are intimately connected with everyday life to a degree heretofore poorly understood. This approach is both consistent with a range of existing social theory and avoids many of the limitations that have characterized much games scholarship to date, in particular its tendency toward unsustainable formalism and exceptionalism. Rather than seeing gaming as a subset of play, and therefore as an activity that is inherently separable, safe, and pleasurable, the author offers a pragmatic rethinking of games as social artifacts in their own right that are always in the process of becoming. This ...
343 citations
Cites background from "Unit Operations: An Approach to Vid..."
...…in Janet Murray’s (1997) term, its procedurality—this kind of unpredictability becomes a powerful and implicit aspect of computer games, as Ian Bogost (2006) has discussed.8 Another source of contingency is social contingency (MacIntyre, 1984, pp. 97-99, called this “game-theoretic”…...
[...]
Book•
[...]
01 Jan 2011
TL;DR: This book gives Graham Harman's most forceful critique to date of philosophies that reject objects as a primary reality and introduces the term ontography as the study of the different possible permutations of objects and qualities.
Abstract: "Harman's style often evokes that of a William James merged with the spirit of H.P. Lovecraft." Olivier Surel in Actu Philosophia In this book the metaphysical system of Graham Harman is presented in lucid form, aided by helpful diagrams. In Chapter 1, Harman gives his most forceful critique to date of philosophies that reject objects as a primary reality. All such rejections are tainted by either an "undermining" or "overmining" approach to objects. In Chapters 2 and 3, he reviews his concepts of sensual and real objects. In the process, he attacks the prestige normally granted to philosophies of human access, which Harman links for the first time to the already discredited "Menos Paradox." In Chapters 4 through 7, Harman brings the reader up to speed on his interpretation of Heidegger, which culminates in a fourfold structure of objects linked by indirect causation. In Chapter 8, he speculates on the implications of this theory for the debate over panpsychism, which Harman both embraces and rejects. In Chapters 9 and 10, he introduces the term "ontography" as the study of the different possible permutations of objects and qualities, which he simplifies with easily remembered terminology drawn from standard playing cards.
339 citations
Book•
18 Jun 2012
TL;DR: This in-depth resource teaches you to craft mechanics that generate challenging, enjoyable, and well-balanced gameplay in games and learns how to visualize and simulate game mechanics in order to design better games.
Abstract: This in-depth resource teaches you to craft mechanics that generate challenging, enjoyable, and well-balanced gameplay. Youll discover at what stages to prototype, test, and implement mechanics in games and learn how to visualize and simulate game mechanics in order to design better games. Along the way, youll practice what youve learned with hands-on lessons. A free downloadable simulation tool developed by Joris Dormans is also available in order to follow along with exercises in the book in an easy-to-use graphical environment. In Game Mechanics: Advanced Game Design, youll learn how to: * Design and balance game mechanics to create emergent gameplay before you write a single line of code. * Visualize the internal economy so that you can immediately see what goes on in a complex game. * Use novel prototyping techniques that let you simulate games and collect vast quantities of gameplay data on the first day of development. * Apply design patterns for game mechanicsfrom a library in this bookto improve your game designs. * Explore the delicate balance between game mechanics and level design to create compelling, long-lasting game experiences. * Replace fixed, scripted events in your game with dynamic progression systems to give your players a new experience every time they play. "I've been waiting for a book like this for ten years: packed with game design goodness that tackles the science without undermining the art." --Richard Bartle, University of Essex, co-author of the first MMORPG Game Mechanics: Advanced Game Design by Joris Dormans & Ernest Adams formalizes game grammar quite well. Not sure I need to write a next book now! -- Raph Koster, author of A Theory of Fun for Game Design.
192 citations
References
More filters
Book•
01 Jan 1964
TL;DR: The authors examined the myths of the South American Indians and demonstrates how these can be reduced to a comprehensible psychological pattern. But there is no fundamental break between the primitive mind and more evolved attitudes, and the author analyzes 250 myths to demonstrate their interrelation and basic structure.
Abstract: Examines the myths of the South American Indians and demonstrates how these can be reduced to a comprehensible psychological pattern. There is, he argues, no fundamental break between the primitive mind and more evolved attitudes. To prove this argument, the author analyzes 250 myths to demonstrate their interrelation and basic structure. By constant cross-referencing to European customs, he succeeds in setting myths is a general cultural context.
781 citations
Book•
01 Jan 2000
TL;DR: The Age of Access as discussed by the authors is a journey into the new world of hyper-capitalism where accessing experiences becomes more important than owning things and all of life is a paid-for activity.
Abstract: From the Publisher:
Destined to become one of the most talked-about books of 2000, here is a journey into the new world of hyper-capitalism where accessing experiences becomes more important than owning things and all of life is a paid-for activity.
In The End of Work, Jeremy Rifkin argued that computers, robotics, telecommunications, and biotechnologies are fast replacing human beings in virtually every industry and workplace. In The Age of Access, he goes further, showing how new technologies are even eliminating concepts of "property" and "ownership" from our lives. In this new era, we will buy enlightenment and play, grooming and grace, and everything in between in the form of purchased experiences.
Imagine a world where virtually every activity outside the confines of family relations is a paid-for experience--a world where traditional reciprocal obligations and expectations are replaced by contractual relations in the form of paid memberships, subscriptions, admissions charges, retainers, and fees.
For the first time in modern history, Rifkin argues, ownership of physical property is seen as an albatross, and intangible ideas and expertise are the chief generators of wealth. This dramatic shift affects corporations as much as consumers: the world's major companies are quickly shedding property holdings, factories, and other assets in favor of massive outsourcing and leasing.
Rifkin warns of a dawning era in which giant access-providing companies are profiting from every aspect of human existence, while consumers own nothing. In this new economy, access-sellers will finally be able to commidify all of human experience.
773 citations
Book•
01 Dec 1991
TL;DR: In Hypertext Goerge Landow explores what is at once a radically new information technology, a revolutionary mode of publicaiton, and a highly interactive form of electronic text as mentioned in this paper.
Abstract: From the Publisher:
Advanced computer technology for storing and retrieving information - and the electronic "hypertext" of words and images it makes possible - is changing both the experience of reading and, according to some scholars, the very nature of what is read. In Hypertext Goerge Landow explores what is at once a radically new information technology, a revolutionary mode of publicaiton, and a highly interactive form of electronic text. It is also a strikingly literal embodiment of some major points of contemporary literary and semiological theory - particularly Derrida's idea of "de-century" and Barthe's conception for the "readerly" versus the "writerly" text.
756 citations
Book•
03 Nov 1990TL;DR: Part 1 The Visual Writing Space: The Computer as a New Writing Space Writing as Technology The Elements of Writing Seeing and Writing.
Abstract: Contents: Introduction. Part I: The Visual Writing Space. The Computer as a New Writing Space. Writing as Technology. The Elements of Writing. Seeing and Writing. Part II: The Conceptual Writing Space. The Electronic Book. The New Dialogue. Interactive Fiction. Critical Theory and the New Writing Space. Part III: The Mind as a Writing Space. Artificial Intelligence. Electronic Signs. Writing the Mind. Writing Culture. Conclusion.
709 citations
Book•
01 Jan 1991
TL;DR: Slavoj?i?ek, a leading intellectual in the new social movements that are sweeping Eastern Europe, provides a virtuoso reading of Jacques Lacan through the motifs and works of contemporary popular culture, from Hitchcock's "Vertigo" to Stephen King's "Pet Sematary, "from McCullough's "An Indecent Obsession "to Romero's "Return of the Living Dead" as discussed by the authors.
Abstract: Slavoj ?i?ek, a leading intellectual in the new social movements that are sweeping Eastern Europe, provides a virtuoso reading of Jacques Lacan. ?i?ek inverts current pedagogical strategies to explain the difficult philosophical underpinnings of the French theoretician and practician who revolutionized our view of psychoanalysis. He approaches Lacan through the motifs and works of contemporary popular culture, from Hitchcock's "Vertigo "to Stephen King's "Pet Sematary, "from McCullough's "An Indecent Obsession "to Romero's "Return of the Living Dead--a "strategy of "looking awry" that recalls the exhilarating and vital experience of Lacan.?i?ek discovers fundamental Lacanian categories--the triad Imaginary/Symbolic/Real, the object small "a, "the opposition of drive and desire, the split subject--at work in horror fiction, in detective thrillers, in romances, in the mass media's perception of ecological crisis, and, above all, in Alfred Hitchcock's films. The playfulness of ?i?ek's text, however, is entirely different from that associated with the deconstructive approach made famous by Derrida. By clarifying what Lacan is saying as well as what he is "not "saying, ?i?ek is uniquely able to distinguish Lacan from the poststructuralists who so often claim him.
700 citations