A Mimetic Strategy to Engage Voluntary Physical Activity In Interactive Entertainment

We describe the design and implementation of a vision based interactive entertainment system that makes use of both involuntary and voluntary control paradigms. Unintentional input to the system from a potential viewer is used to drive attention-getting output and encourage the transition to voluntary interactive behaviour. The iMime system consists of a character animation engine based on the interaction metaphor of a mime performer that simulates non-verbal communication strategies, without spoken dialogue, to capture and hold the attention of a viewer. The system was developed in the context of a project studying care of dementia sufferers. Care for a dementia sufferer can place unreasonable demands on the time and attentional resources of their caregivers or family members. Our study contributes to the eventual development of a system aimed at providing relief to dementia caregivers, while at the same time serving as a source of pleasant interactive entertainment for viewers. The work reported here is also aimed at a more general study of the design of interactive entertainment systems involving a mixture of voluntary and involuntary control.Comment: 6 pages, 7 figures, ECAG08 worksho

Into the Wilds: Influences from Video Games on Our Perception of \u27Nature\u27

In this paper I examine how representations of human-sparse natural environments, e.g. wilderness, influence what expectations we have when we actually engage with comparable physical places. I use Don Ihde\u27s phenomenology of technology to describe my own experiences playing three games that take place among large photorealistic human-sparse natural environments: Elder Scrolls V: Skyrim, Horizon Zero Dawn, and theHunter: Call of the Wild. I also conduct a brief literature review on the effects of video games as interactive media on players. I argue that players are capable of applying their expectations of what constitutes realism from digital to physical environments, and that some of these translocations (transferring the perceptual framework from one space to another) limit our ability to meaningfully engage with the world. Although some video games may condition players to hyperreal expectations that leave them disappointed with physical spaces, some games might also produce increased interest and care for human-sparse spaces. The causal relationship between playing video games, changing expectations, and offline behavior therefore merits further study. I conclude with the claim that our experiences with unmediated physical nature should ground our perceptual baselines, rather than evaluating the physical by the standards of the digital

From Simulation to Imitation: Controllers, Corporeality, and Mimetic Play

Background. We contend that a conceptual conflation of simulation and imitation persists at the heart of claims for the power of game-based simulations for learning. Recent changes in controller-technologies and gaming systems, we argue, make this conflation of concepts more readily apparent, and its significant educational implications more evident. Aim. This article examines the evolution in controller technologies of imitation that support players’ embodied competence, rather than players’ ability to simulate such competence. Digital gameplay undergoes an epistemological shift when player and game interactions are no longer restricted to simulations of actions on a screen, but instead support embodied imitation as a central element of gameplay. We interrogate the distinctive meanings and affordances of simulation and imitation and offer a critical conceptual strategy for refining, and indeed redefining, what counts as learning in and from digital games. Method. We draw upon actor-network theory to identify what is educationally significant about the digitally mediated learning ecologies enabled by imitation based gaming consoles and controllers. Actor-network theory helps us discern relations between human actors and technical artifacts, illuminating the complex inter-dependencies and inter-actions of the socio-technical support networks too long overlooked in androcentric theories of human action and cognitive psychology. Conclusion. By articulating distinctions between simulation and imitation, we show how imitative practices afforded by mimetic game controllers and next generation motion-capture technologies offer a different picture of learning through playing digital games, and suggest novel and productive avenues for research and educational practice

What is the Avatar? Fiction and Embodiment in Avatar-Based Singleplayer Computer Games: Revised and Commented Edition

What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? The author examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, the author argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch

What is the Avatar?

What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? Rune Klevjer examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, Klevjer argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch

Hitting the “play” button: the aesthetic values of videogame experience

In just a few decades, there's been the birth and fast rise of a recreational activity that implies the interaction between one or multiple players with electronic devices, normally, known as videogames. Being a very complex process and a multi-sensorial practice, playing with videogames produces intense and fulfilling experiences for all those who engage in such activity. Here, I intend to show how those experiences entail relevant aesthetic – and also cognitive and ethical – values for philosophical discussion

Make-Believe in Gameful and Playful Design

Gameful and playful design aspire to make existing activities and systems more engaging by infusing them with the engaging qualities of games and toys. One such quality is make-believe, the constitution of fictional “as ifs”. While frequently evoked, actual work on make-believe in gameful and playful design has remained quite scarce and scattered. This chapter therefore draws on neighbouring fields to break out five major design aspects of make-believe: theming; storification; scripting, ruling, and framing; role-play; and their integration in unified experiences. For each, the chapter presents explanatory theories; psychological and behavioural effects; design elements and strategies used to evoke said effects; and existing empirical studies. The chapter closes in summarizing how and why playful make-believe design differs from current gamification in form (often artistic one-offs) and technology (often audio); and what limitations future research should try to overcome

Animating Truth

Animating Truth examines the rise of animated documentary in the 21st century, and addresses how non-photorealistic animation is increasingly used to depict and shape reality