Rulemaking as Play: A Transdisciplinary Inquiry about Virtual Worldmaking

In the age of computing, we rely on software to manage our days, from the moment we wake up until we go to sleep. Software predicts the future based on actualized data from the past. It produces procedures instead of experiences and solutions instead of care. Software systems tend to perpetuate a normalized state of equilibrium. Their application in social media, predictive policing, and social profiling is increasingly erasing diversity in culture and identity. Our immediate reality is narrowing towards cultural conventions shared among the powerful few, whose voices directly influence contemporary digital culture. On the other hand, computational collective intelligence can sometimes generate emergent forces to counter this tendency and force software systems to open up. Historically, artists from different artistic moments have adopted collaborative making to redefine the boundary of creative expression. Video Gaming, especially open-world simulation games, is rapidly being adopted as an emerging form of communication, expression, and self-organization. How can gaming conventions such as Narrative Emergence, Hacking, and Modding help us understand collective play as countering forces against the systematic tendency of normalization? How can people from diverse backgrounds come together to contemplate, make, and simulate rules and conditions for an alternative virtual world? What does it mean to design and virtually inhabit a world where rules are rewritten continuously by everyone, and no one is in control

In Gameplay : the invariant structures and varieties of the video game gameplay experience

This dissertation is a multidisciplinary study on video game gameplay as an autonomous form of vernacular experience. Plays and games are traditional research subjects in folkloristics, but commercial video games have not been studied yet. For this reason, methods and concepts of the folkloristic research tradition have remained unknown in contemporary games studies. This thesis combines folkloristics, game studies and phenomenological enactive cognitive science in its investigations into player–game interaction and the video game gameplay experience at large. In this dissertation, three representative survey samples (N=2,594, N=845, N=1,053) on “Rewarding gameplay experience” are analyzed using statistical analysis methods. The samples were collected in 2014–2017 from Finnish and Danish adult populations. This dissertation also analyzes data from 32 interviews, through which the survey respondents’ gameplay preferences, gaming memories, and motivations to play were further investigated. By combining statistical and qualitative data analyses, this work puts forward a mixed-methods research strategy and discusses how the findings relate to prior game research from several disciplines and schools of thought. Based on theoretical discussions, this dissertation argues that the video game gameplay experience as a cultural phenomenon consists of eight invariants in relation to which each individual gameplay experience can be interpreted: The player must demonstrate a lusory attitude (i), and a motivation to play (ii). The gameplay experience consists of explorative and coordinative practices (iii), which engender a change in the player’s self-experience (iv). This change renders the gameplay experience inherently emotional (v) and performative (vi) in relation to the gameworld (vii). The gameplay experience has the dramatic structure of a prototypical narrative (viii) although a game as an object cannot be regarded a narrative in itself. As a key result of factor analytical studies and qualitative interview analyses, a novel approach to understanding player–game interaction is put forward. An original gameplay preference research tool and a player typology are introduced. This work argues, that, although video games as commercial products would not be intuitive research subjects for folkloristics, video game gameplay, player–game interaction, and the traditions in experiencing and narrating gameplay do not differ drastically from those of traditional social games. In contrast to this, all forms of gameplay are argued to be manifestations of the same vernacular phenomenon. Indeed, folkloristic research could pay more attention to how culture is experienced, modified, varied and expressed, regardless of whether the research subject is a commercial product or not.Käsillä oleva väitöskirja on monitieteellinen tutkimus videopelien pelaamisesta itsenäisenä kansanomaisen kokemuksen muotona. Pelien ja leikkien tutkimus on perinteikäs tutkimusaihe folkloristiikassa, mutta kaupallisten videopelien tutkimusta ei ole juuri tehty. Tästä syystä folkloristiikan tutkimusmenetelmät ja -käsitteet ovat jääneet tuntemattomaksi nykyaikaisessa pelitutkimuksessa. Tutkimus yhdistää folkloristiikan ja pelitutkimuksen näkökulmien lisäksi enaktiivisen kognition fenomenologista teoriaa pelaaja–peli-vuorovaikutuksen tutkimukseen sekä pelikokemuksen analyysiin. Tutkimuksessa analysoidaan tilastotieteellisin menetelmin kolmea aikuisväestöä edustavaa ”Palkitseva pelikokemus” -kyselytutkimusaineistoa (N=2,594, N=845, N=1,053), jotka kerättiin Suomesta ja Tanskasta vuosina 2014–2017. Kyselytutkimusaineiston rinnalla analysoidaan 32 teemahaastattelun aineistoa. Haastatteluilla tuotettiin syvempää ymmärrystä kyselyyn vastanneiden henkilöiden pelimieltymyksistä, pelimuistoista ja pelimotivaatioista. Tilastoaineiston ja haastatteluaineiston analyysi tuodaan yhteen monimenetelmällisellä ja dialogisella tutkimusotteella, joka yhdistää havainnot usealla eri tutkimusalalla tehtyyn pelitutkimukseen. Teoreettisen analyysin tuloksena argumentoidaan, että videopelien pelikokemusta ilmiönä määrittää kahdeksan muuttumatonta ominaisuutta, joiden suhteen kunkin yksittäisen pelikokemuksen ainutlaatuisuutta voidaan tarkastella: Pelaajalla tulee olla leikkisä asenne (i) ja motivaatio pelaamiseen (ii). Pelaamisen kokemus rakentuu tutkivista ja suorittavista käyntänteistä (iii), jotka tuovat väliaikaisen muutoksen pelaavan henkilön minäkokemukseen (iv). Tämän muutoksen myötä pelaajuudesta muodostuu emotionaalinen (v) ja performatiivinen (vi) positio suhteessa pelimaailmaan (vii). Näin syntyvän omakohtaisen pelikokemuksen rakenne vastaa kertomuksen dramaattista perusrakennetta (viii), vaikka peliä itsessään ei voida pitää kertomuksena. Tutkimuksen empiirisenä tuloksena esitellään faktorianalyyttisiin tapaustutkimuksiin ja laadullisten aineistojen analyysiin perustuva uudenlainen näkökulma ja menetelmä pelaaja–peli-vuorovaikutuksen ja pelimieltymyksen tutkimukseen, sekä edelliseen perustuva pelaajatyyppiluokittelu. Samalla väitetään, että vaikka videopelit kaupallisina esineinä eivät olisi folkloristiikan tutkimuskohteita, videopelien pelaaminen, pelaaja–peli-vuorovaikutus ja pelien kokemisen tavat eivät eroa ratkaisevasti pihaleikeistä vaan ovat saman kansanomaisen ilmiön esiintymiä. Folkloristisen tutkimuksen soisikin kiinnittävän nykyistä painokkaampaa huomiota kulttuurin kokemisen, muokkaamisen ja ilmaisun tapoihin riippumatta siitä, onko tarkastelun kohteena kaupallinen tuote vai ei

The Invention of Good Games: Understanding Learning Design in Commercial Videogames

This work sought to help inform the design of educational digital games by the studying the design of successful commercial videogames. The main thesis question was: How does a commercially and critically successful modern video game support the learning that players must accomplish in order to succeed in the game (i.e. get to the end or win)? This work takes a two-pronged approach to supporting the main argument, which is that the reason we can learn about designing educational games by studying commercial games is that people already learn from games and the best ones are already quite effective at teaching players what they need to learn in order to succeed in the game. The first part of the research establishes a foundation for the argument, namely that accepted pedagogy can be found in existing commercial games. The second part of the work proposes new methods for analysing games that can uncover mechanisms used to support learning in games which can be employed even if those games were not originally designed as educational objects. In order to support the claim that ‘good’ commercial videogames already embody elements of sound pedagogy an explicit connection is made between game design and formally accepted theory and models in teaching and learning. During this phase of the work a significant concern was raised regarding the classification of games as ‘good’, so a new methodology using Borda Counts was devised and tested that combines various disjoint subjective reviews and rankings from disparate sources in non-trivial manner that accounts for relative standings. Complementary to that was a meta-analysis of the criteria used to select games chosen as subjects of study as reported by researchers. Then, several games were chosen using this new ranking method and analysed using another new methodology that was designed for this work, called Instructional Ethology. This is a new methodology for game design deconstruction and analysis that would allows the extraction of information about mechanisms used to support learning. This methodology combines behavioural and structural analysis to examine how commercial games support learning by examining the game itself from the perspective of what the game does. Further, this methodology can be applied to the analysis of any software system and offers a new approach to studying any interactive software. The results of the present study offered new insights into how several highly successful commercial games support players while they learn what they must learn in order to succeed in those games. A new design model was proposed, known as the 'Magic Bullet' that allows designers to visualize the relative proportions of potential learning in a game to assess the potential of a design

Transitions-felt: William James, Locative Narrative and the Multi-stable Field of Expanded Narrative

Edited version embargoed until 16.03.2018 Full version: Access restricted permanently due to 3rd party copyright restrictions. Restriction set on 16.03.2017 by SC, Graduate schoolThis thesis is about expanded narrative, a new field of experimental narrative practices that are not represented by single subjects or by categories such as ‘interactive’. It is defined by works that present a challenge to the form, fiction or nonfiction, in terms of the content, structure, style of writing or audience engagement. Extending the cognitive term ‘perceptual multistability’, that refers to switching between interpretations experienced when we look at an ambiguous figures, such as, the Necker cube, this thesis develops the position that expanded narrative practices and specifically locative narrative, a genera of expanded narrative, hold the potential to prompt the experiential effects of multi-stability. The metaphor of multi-stability introduced here stands in for three aspects of experience: language, perception and belief. While ambiguity and misperceptions have been recognised in the literature of experiential narrative practices, further exposition is required. The thesis asks what are the conditions in which the qualities of the metaphor of multi-stability may be prompted and what framework usefully articulates the parameters of experience? Drawing upon the writings of the philosopher William James, subsequent pragmatists, cognitive neuroscience and narratology, it explores how a radical empiricist perspective can form the basis of a non-foundational experiential framework that questions the status of knowledge and the problems of translation between experience and narrative interpretation. It suggests that the subjective classification of imagined and perceptual objects can be affected by the relations between the narrative form, the environment and the participant’s beliefs. The major contributions of the thesis are (1) the development of the Jamesian experiential framework that sets up cross-disciplinary parameters for the thematics of experience to engage with the ontological and epistemological challenges of evaluating and designing for multistability presents; (2) a relational approach to interpretation and coding participants’ feedback of locative narratives; (3) that is employed in the development of a collection of speculative strategies for evoking the effect of the metaphor of multi-stability, based on the development of four published locative narrative apps and ten prototypes. While highly contingent, participant introspective accounts of experience are central here to the methodology, the process of serial hypothesis forming and the iterative development of prototypes and locative narrative case studies. This research does not attempt to draw causal connections from science to that of narrative experience or vice versa. The thesis first considers the field of expanded narrative and the semantic and pragmatic framings of the term narrative and narratological framings of language as multi-stable. It goes on to examine the antecedent and coexistent practices of locative narrative. The epistemological implications for misperception, the function of representation and intentionality in perception are examined in relation to the environmentally situated perceptual, interpretative, aesthetic and emotional dimensions of experience. This research contributes to research in narrative and creative practices. It extends the form of locative narrative with the concept of multi-stability that has a wider application with the field of expanded narrative, creative practice and narratology

Video Vortex reader : responses to Youtube

The Video Vortex Reader is the first collection of critical texts to deal with the rapidly emerging world of online video – from its explosive rise in 2005 with YouTube, to its future as a significant form of personal media. After years of talk about digital convergence and crossmedia platforms we now witness the merger of the Internet and television at a pace no-one predicted. These contributions from scholars, artists and curators evolved from the first two Video Vortex conferences in Brussels and Amsterdam in 2007 which focused on responses to YouTube, and address key issues around independent production and distribution of online video content. What does this new distribution platform mean for artists and activists? What are the alternatives