Dissertation•
Videogames of the oppressed :videogames as a means for critical thinking and debate
01 May 2001-
About: The article was published on 2001-05-01 and is currently open access. It has received 167 citations till now. The article focuses on the topics: Critical thinking.
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Book•
01 Jan 2003
TL;DR: In this paper, Sherry Turkle uses Internet MUDs (multi-user domains, or in older gaming parlance multi-user dungeons) as a launching pad for explorations of software design, user interfaces, simulation, artificial intelligence, artificial life, agents, virtual reality, and the on-line way of life.
Abstract: From the Publisher:
A Question of Identity
Life on the Screen is a fascinating and wide-ranging investigation of the impact of computers and networking on society, peoples' perceptions of themselves, and the individual's relationship to machines. Sherry Turkle, a Professor of the Sociology of Science at MIT and a licensed psychologist, uses Internet MUDs (multi-user domains, or in older gaming parlance multi-user dungeons) as a launching pad for explorations of software design, user interfaces, simulation, artificial intelligence, artificial life, agents, "bots," virtual reality, and "the on-line way of life."
Turkle's discussion of postmodernism is particularly enlightening. She shows how postmodern concepts in art, architecture, and ethics are related to concrete topics much closer to home, for example AI research (Minsky's "Society of Mind") and even MUDs (exemplified by students with X-window terminals who are doing homework in one window and simultaneously playing out several different roles in the same MUD in other windows). Those of you who have (like me) been turned off by the shallow, pretentious, meaningless paintings and sculptures that litter our museums of modern art may have a different perspective after hearing what Turkle has to say.
This is a psychoanalytical book, not a technical one. However, software developers and engineers will find it highly accessible because of the depth of the author's technical understanding and credibility. Unlike most other authors in this genre, Turkle does not constantly jar the technically-literate reader with blatant errors or bogus assertions about how things work. Although I personally don't have time or patience for MUDs,view most of AI as snake-oil, and abhor postmodern architecture, I thought the time spent reading this book was an extremely good investment.
4,965 citations
Book•
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.
413 citations
Proceedings Article•
01 Jan 2003
TL;DR: This article aims at showing that this debate as presented never really took place because it was cluttered with a series of misunderstandings and misconceptions that need to be clarified if the authors want to seriously discuss the role of narrative in videogames.
Abstract: During the last few years, a debate took place within the game scholars community. A debate that, it seems, opposed two groups: ludologists and narratologists. Ludologists are supposed to focus on game mechanics and reject any room in the field for analyzing games as narrative, while narratologists argue that games are closely connected to stories. This article aims at showing that this description of the participants is erroneous. What is more, this debate as presented never really took place because it was cluttered with a series of misunderstandings and misconceptions that need to be clarified if we want to seriously discuss the role of narrative in videogames.
293 citations
DOI•
08 Oct 2013
TL;DR: In the last couple of years, academic interest has shifted from the early do-games-induce-violent-behaviors studies toward analyses that acknowledge the relevance of this new medium as discussed by the authors.
Abstract: Academic videogame studieshaveknownan incredibledevelopmentduring
the last couple of years. Slowly, academic interest has shifted from the early
do-games-induce-violent-behaviors studies toward analyses that acknowledge the relevance of this new medium. Several international conferences
on game studies took place in 2001, plus the publication of Game Studies,
the first peer-reviewed online journal on the field.1 In 2002 and 2003, the
number of conferences and workshops kept growing steadily. After an early
start as a subset of digital text studies, video game studies is finding its own
academic space. Probably the most promising change comes from a new
generation of researchers who grew up with computer games and now are
bringing to this new field both their passion and expertise on this form of
entertainment.
265 citations
Cites background from "Videogames of the oppressed :videog..."
...For a more extensive analysis among Boal's drama, games, and video games, see Frasca, 2001....
[...]
01 Jan 2002
TL;DR: In this paper, the authors present Facade, the first published interactive drama system that integrates character (believable agents), story (drama management) and shallow natural language processing into a complete system.
Abstract: Artificial intelligence methods open up new possibilities in art and entertainment, enabling rich and deeply interactive experiences. At the same time as AI opens up new fields of artistic expression, AI-based art itself becomes a fundamental research agenda, posing and answering novel research questions that would not be raised unless doing AI research in the context of art and entertainment. I call this agenda, in which AI research and art mutually inform each other, Expressive AI. Expressive AI takes seriously the problem of building intelligences that robustly function outside of the lab, engaging human participants in intellectually and aesthetically satisfying interactions, which, hopefully, teach us something about ourselves.
This thesis describes a specific AI-based art piece, an interactive drama called Facade, and describes the practice of Expressive AI, using Facade, as well as additional AI-based artwork described in the appendices, as case studies.
An interactive drama is a dramatically interesting virtual world inhabited by computer-controlled characters, within which the player experiences a story from a first person perspective. Over the past decade, there has been a fair amount of research into believable agents, that is, autonomous characters exhibiting rich personalities, emotions, and social interactions. There has been comparatively little work, however, exploring how the local, reactive behavior of believable agents can be integrated with the more global, deliberative nature of a story plot, so as to build interactive, dramatic worlds. This thesis presents Facade, the first published interactive drama system that integrates character (believable agents), story (drama management) and shallow natural language processing into a complete system. Facade will be publicly released as a free download in 2003.
In the Facade architecture, the unit of plot/character integration is the dramatic beat. In the theory of dramatic writing, beats are the smallest unit of dramatic action, consisting of a short dialog exchange or small amount of physical action. As architectural entities, beats organize both the procedural knowledge to accomplish the beat's dramatic action, and the declarative knowledge to sequence the beat in an evolving plot. Instead of conceiving of the characters as strongly autonomous entities that coordinate to accomplish dramatic action through purely local decision-making, characters are instead weakly autonomous—the character's behavioral repertoire dynamically changes as beats are sequenced. (Abstract shortened by UMI.)
228 citations
References
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01 Jan 2007
TL;DR: In this article, the authors reveal how smart design is the new competitive frontier, and why some products satisfy customers while others only frustrate them, and how to choose the ones that satisfy customers.
Abstract: Revealing how smart design is the new competitive frontier, this innovative book is a powerful primer on how--and why--some products satisfy customers while others only frustrate them.
7,238 citations
Book•
01 Jan 1980
TL;DR: The gears of my childhood as discussed by the authors were a source of inspiration for many of the ideas we use in our own work, such as the notion of assimilation of knowledge into a new model.
Abstract: The Gears of My Childhood
Before I was two years old I had developed an intense involvement with automobiles. The names of car parts made up a very substantial portion of my vocabulary: I was particularly proud of knowing about the parts of the transmission system, the gearbox, and most especially the differential. It was, of course, many years later before I understood how gears work; but once I did, playing with gears became a favorite pastime. I loved rotating circular objects against one another in gearlike motions and, naturally, my first "erector set" project was a crude gear system.
I became adept at turning wheels in my head and at making chains of cause and effect: "This one turns this way so that must turn that way so . . . " I found particular pleasure in such systems as the differential gear, which does not follow a simple linear chain of causality since the motion in the transmission shaft can be distributed in many different ways to the two wheels depending on what resistance they encounter. I remember quite vividly my excitement at discovering that a system could be lawful and completely comprehensible without being rigidly deterministic.
I believe that working with differentials did more for my mathematical development than anything I was taught in elementary school. Gears, serving as models, carried many otherwise abstract ideas into my head. I clearly remember two examples from school math. I saw multiplication tables as gears, and my first brush with equations in two variables (e.g., 3x + 4y = 10) immediately evoked the differential. By the time I had made a mental gear model of the relation between x and y, figuring how many teeth each gear needed, the equation had become a comfortable friend.
Many years later when I read Piaget this incident served me as a model for his notion of assimilation, except I was immediately struck by the fact that his discussion does not do full justice to his own idea. He talks almost entirely about cognitive aspects of assimilation. But there is also an affective component. Assimilating equations to gears certainly is a powerful way to bring old knowledge to bear on a new object. But it does more as well. I am sure that such assimilations helped to endow mathematics, for me, with a positive affective tone that can be traced back to my infantile experiences with cars. I believe Piaget really agrees. As I came to know him personally I understood that his neglect of the affective comes more from a modest sense that little is known about it than from an arrogant sense of its irrelevance. But let me return to my childhood.
One day I was surprised to discover that some adults---even most adults---did not understand or even care about the magic of the gears. I no longer think much about gears, but I have never turned away from the questions that started with that discovery: How could what was so simple for me be incomprehensible to other people? My proud father suggested "being clever" as an explanation. But I was painfully aware that some people who could not understand the differential could easily do things I found much more difficult. Slowly I began to formulate what I still consider the fundamental fact about learning: Anything is easy if you can assimilate it to your collection of models. If you can't, anything can be painfully difficult. Here too I was developing a way of thinking that would be resonant with Piaget's. The understanding of learning must be genetic. It must refer to the genesis of knowledge. What an individual can learn, and how he learns it, depends on what models he has available. This raises, recursively, the question of how he learned these models. Thus the "laws of learning" must be about how intellectual structures grow out of one another and about how, in the process, they acquire both logical and emotional form.
This book is an exercise in an applied genetic epistemology expanded beyond Piaget's cognitive emphasis to include a concern with the affective. It develops a new perspective for education research focused on creating the conditions under which intellectual models will take root. For the last two decades this is what I have been trying to do. And in doing so I find myself frequently reminded of several aspects of my encounter with the differential gear. First, I remember that no one told me to learn about differential gears. Second, I remember that there was feeling, love, as well as understanding in my relationship with gears. Third, I remember that my first encounter with them was in my second year. If any "scientific" educational psychologist had tried to "measure" the effects of this encounter, he would probably have failed. It had profound consequences but, I conjecture, only very many years later. A "pre- and post-" test at age two would have missed them.
Piaget's work gave me a new framework for looking at the gears of my childhood. The gear can be used to illustrate many powerful "advanced" mathematical ideas, such as groups or relative motion. But it does more than this. As well as connecting with the formal knowledge of mathematics, it also connects with the "body knowledge," the sensorimotor schemata of a child. You can be the gear, you can understand how it turns by projecting yourself into its place and turning with it. It is this double relationship---both abstract and sensory---that gives the gear the power to carry powerful mathematics into the mind. In a terminology I shall develop in later chapters, the gear acts here as a transitional object.
A modern-day Montessori might propose, if convinced by my story, to create a gear set for children. Thus every child might have the experience I had. But to hope for this would be to miss the essence of the story. I fell in love with the gears. This is something that cannot be reduced to purely "cognitive" terms. Something very personal happened, and one cannot assume that it would be repeated for other children in exactly the same form.
My thesis could be summarized as: What the gears cannot do the computer might. The computer is the Proteus of machines. Its essence is its universality, its power to simulate. Because it can take on a thousand forms and can serve a thousand functions, it can appeal to a thousand tastes. This book is the result of my own attempts over the past decade to turn computers into instruments flexible enough so that many children can each create for themselves something like what the gears were for me.
6,780 citations
Book•
01 Jan 1988
TL;DR: Revealing how smart design is the new competitive frontier, this innovative book is a powerful primer on how--and why--some products satisfy customers while others only frustrate them.
Abstract: Revealing how smart design is the new competitive frontier, this innovative book is a powerful primer on how--and why--some products satisfy customers while others only frustrate them.
6,027 citations
Book•
01 Feb 1997TL;DR: The human and the design of interactive systems: The myth of the infinitely fast machine, a guide to designing for diversity and the process of design.
Abstract: Contents Foreword Preface to the third edition Preface to the second edition Preface to the first edition Introduction Part 1 Foundations Chapter 1 The human 1.1 Introduction 1.2 Input-output channels Design Focus: Getting noticed Design Focus: Where's the middle? 1.3 Human memory Design Focus: Cashing in Design Focus: 7 +- 2 revisited 1.4 Thinking: reasoning and problem solving Design Focus: Human error and false memories 1.5 Emotion 1.6 Individual differences 1.7 Psychology and the design of interactive systems 1.8 Summary Exercises Recommended reading Chapter 2 The computer 2.1 Introduction Design Focus: Numeric keypads 2.2 Text entry devices 2.3 Positioning, pointing and drawing 2.4 Display devices Design Focus: Hermes: a situated display 2.5 Devices for virtual reality and 3D interaction 2.6 Physical controls, sensors and special devices Design Focus: Feeling the road Design Focus: Smart-Its - making sensors easy 2.7 Paper: printing and scanning Design Focus: Readability of text 2.8 Memory 2.9 Processing and networks Design Focus: The myth of the infinitely fast machine 2.10 Summary Exercises Recommended reading Chapter 3 The interaction 3.1 Introduction 3.2 Models of interaction Design Focus: Video recorder 3.3 Frameworks and HCI 3.4 Ergonomics Design Focus: Industrial interfaces 3.5 Interaction styles Design Focus: Navigation in 3D and 2D 3.6 Elements of the WIMP interface Design Focus: Learning toolbars 3.7 Interactivity 3.8 The context of the interaction Design Focus: Half the picture? 3.9 Experience, engagement and fun 3.10 Summary Exercises Recommended reading Chapter 4 Paradigms 4.1 Introduction 4.2 Paradigms for interaction 4.3 Summary Exercises Recommended reading Part 2 Design process Chapter 5 Interaction design basics 5.1 Introduction 5.2 What is design? 5.3 The process of design 5.4 User focus Design Focus: Cultural probes 5.5 Scenarios 5.6 Navigation design Design Focus: Beware the big button trap Design Focus: Modes 5.7 Screen design and layout Design Focus: Alignment and layout matter Design Focus: Checking screen colors 5.8 Iteration and prototyping 5.9 Summary Exercises Recommended reading Chapter 6 HCI in the software process 6.1 Introduction 6.2 The software life cycle 6.3 Usability engineering 6.4 Iterative design and prototyping Design Focus: Prototyping in practice 6.5 Design rationale 6.6 Summary Exercises Recommended reading Chapter 7 Design rules 7.1 Introduction 7.2 Principles to support usability 7.3 Standards 7.4 Guidelines 7.5 Golden rules and heuristics 7.6 HCI patterns 7.7 Summary Exercises Recommended reading Chapter 8 Implementation support 8.1 Introduction 8.2 Elements of windowing systems 8.3 Programming the application Design Focus: Going with the grain 8.4 Using toolkits Design Focus: Java and AWT 8.5 User interface management systems 8.6 Summary Exercises Recommended reading Chapter 9 Evaluation techniques 9.1 What is evaluation? 9.2 Goals of evaluation 9.3 Evaluation through expert analysis 9.4 Evaluation through user participation 9.5 Choosing an evaluation method 9.6 Summary Exercises Recommended reading Chapter 10 Universal design 10.1 Introduction 10.2 Universal design principles 10.3 Multi-modal interaction Design Focus: Designing websites for screen readers Design Focus: Choosing the right kind of speech Design Focus: Apple Newton 10.4 Designing for diversity Design Focus: Mathematics for the blind 10.5 Summary Exercises Recommended reading Chapter 11 User support 11.1 Introduction 11.2 Requirements of user support 11.3 Approaches to user support 11.4 Adaptive help systems Design Focus: It's good to talk - help from real people 11.5 Designing user support systems 11.6 Summary Exercises Recommended reading Part 3 Models and theories Chapter 12 Cognitive models 12.1 Introduction 12.2 Goal and task hierarchies Design Focus: GOMS saves money 12.3 Linguistic models 12.4 The challenge of display-based systems 12.5 Physical and device models 12.6 Cognitive architectures 12.7 Summary Exercises Recommended reading Chapter 13 Socio-organizational issues and stakeholder requirements 13.1 Introduction 13.2 Organizational issues Design Focus: Implementing workflow in Lotus Notes 13.3 Capturing requirements Design Focus: Tomorrow's hospital - using participatory design 13.4 Summary Exercises Recommended reading Chapter 14 Communication and collaboration models 14.1 Introduction 14.2 Face-to-face communication Design Focus: Looking real - Avatar Conference 14.3 Conversation 14.4 Text-based communication 14.5 Group working 14.6 Summary Exercises Recommended reading Chapter 15 Task analysis 15.1 Introduction 15.2 Differences between task analysis and other techniques 15.3 Task decomposition 15.4 Knowledge-based analysis 15.5 Entity-relationship-based techniques 15.6 Sources of information and data collection 15.7 Uses of task analysis 15.8 Summary Exercises Recommended reading Chapter 16 Dialog notations and design 16.1 What is dialog? 16.2 Dialog design notations 16.3 Diagrammatic notations Design Focus: Using STNs in prototyping Design Focus: Digital watch - documentation and analysis 16.4 Textual dialog notations 16.5 Dialog semantics 16.6 Dialog analysis and design 16.7 Summary Exercises Recommended reading Chapter 17 Models of the system 17.1 Introduction 17.2 Standard formalisms 17.3 Interaction models 17.4 Continuous behavior 17.5 Summary Exercises Recommended reading Chapter 18 Modeling rich interaction 18.1 Introduction 18.2 Status-event analysis 18.3 Rich contexts 18.4 Low intention and sensor-based interaction Design Focus: Designing a car courtesy light 18.5 Summary Exercises Recommended reading Part 4 Outside the box Chapter 19 Groupware 19.1 Introduction 19.2 Groupware systems 19.3 Computer-mediated communication Design Focus: SMS in action 19.4 Meeting and decision support systems 19.5 Shared applications and artifacts 19.6 Frameworks for groupware Design Focus: TOWER - workspace awareness Exercises Recommended reading Chapter 20 Ubiquitous computing and augmented realities 20.1 Introduction 20.2 Ubiquitous computing applications research Design Focus: Ambient Wood - augmenting the physical Design Focus: Classroom 2000/eClass - deploying and evaluating ubicomp 20.3 Virtual and augmented reality Design Focus: Shared experience Design Focus: Applications of augmented reality 20.4 Information and data visualization Design Focus: Getting the size right 20.5 Summary Exercises Recommended reading Chapter 21 Hypertext, multimedia and the world wide web 21.1 Introduction 21.2 Understanding hypertext 21.3 Finding things 21.4 Web technology and issues 21.5 Static web content 21.6 Dynamic web content 21.7 Summary Exercises Recommended reading References Index
5,095 citations
Book•
01 Jan 2003
TL;DR: In this paper, Sherry Turkle uses Internet MUDs (multi-user domains, or in older gaming parlance multi-user dungeons) as a launching pad for explorations of software design, user interfaces, simulation, artificial intelligence, artificial life, agents, virtual reality, and the on-line way of life.
Abstract: From the Publisher:
A Question of Identity
Life on the Screen is a fascinating and wide-ranging investigation of the impact of computers and networking on society, peoples' perceptions of themselves, and the individual's relationship to machines. Sherry Turkle, a Professor of the Sociology of Science at MIT and a licensed psychologist, uses Internet MUDs (multi-user domains, or in older gaming parlance multi-user dungeons) as a launching pad for explorations of software design, user interfaces, simulation, artificial intelligence, artificial life, agents, "bots," virtual reality, and "the on-line way of life."
Turkle's discussion of postmodernism is particularly enlightening. She shows how postmodern concepts in art, architecture, and ethics are related to concrete topics much closer to home, for example AI research (Minsky's "Society of Mind") and even MUDs (exemplified by students with X-window terminals who are doing homework in one window and simultaneously playing out several different roles in the same MUD in other windows). Those of you who have (like me) been turned off by the shallow, pretentious, meaningless paintings and sculptures that litter our museums of modern art may have a different perspective after hearing what Turkle has to say.
This is a psychoanalytical book, not a technical one. However, software developers and engineers will find it highly accessible because of the depth of the author's technical understanding and credibility. Unlike most other authors in this genre, Turkle does not constantly jar the technically-literate reader with blatant errors or bogus assertions about how things work. Although I personally don't have time or patience for MUDs,view most of AI as snake-oil, and abhor postmodern architecture, I thought the time spent reading this book was an extremely good investment.
4,965 citations