Space and place as expressive categories in videogames

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This thesis sets out to explore some of the ways in which videogames use space as a means of expression. This expression takes place in two registers: representation and embodiment. Representation is understood as a form of expression in which messages and ideas are communicated. Embodiment is understood as a form of expression in which the player is encouraged to take up a particular position in relation to the game. This distinction between representation and embodiment is useful analytically but the thesis attempts to synthesise these modes in order to account for the experience of playing videogames, where representation and embodiment are constantly happening and constantly influencing and shaping each other. Several methods are developed to analyse games in a way that brings these two modes to the fore. The thesis attempts to arrive at a number of spatial aesthetics of videogames by adapting methods from game studies, literary criticism, phenomenology, onomastics (the study of names), cartographic theory, choreography and architectural and urban formation analysis

The Gamut: A Journal of Ideas and Information, No. 14, Winter 1985

CONTENTS OF ISSUE NO. 14, WINTER 1985 Dick Goddard: Weather Forecasting and Folklore, 2 Ancient weather maxims rival modern science A. H. Benade: The Evolution of Woodwinds, 10 Changes of design have radically altered performance qualities Dennis Dooley: Time\u27s Shadow: The Thin Man and Dashiell Hammett, 34 Famous detective writer was his own most popular character Laura Martin: Gringa in the Field, 45 Woman anthropologist\u27s experience among Mayan Indians Glending Olson: What\u27s So Fine About the Arts?, 64 In earlier times, the fine arts were so much a part of daily life that nobody noticed they were there Bernard Comrie: The Soviet Union\u27s 130 Languages, 74 Official policy lets Tadzhik and Chuvash co-exist with Russian David Guralnik: Word Watch: Productive Suffixes III, 81 Jesse Bier: Paradise Renounced, 83 Switzerland is no longer delicious chocolates and friendly people BACK MATTER Bruce A. Beatie: Running the Gamut, 89 Vonna Adrian: Dogs in Church, 90 Carsten Ahrens: Cultural News from Danbury, Ohio, 1879, 93https://engagedscholarship.csuohio.edu/gamut_archives/1011/thumbnail.jp

Space and place as expressive categories in videogames

This thesis sets out to explore some of the ways in which videogames use space as a means of expression. This expression takes place in two registers: representation and embodiment. Representation is understood as a form of expression in which messages and ideas are communicated. Embodiment is understood as a form of expression in which the player is encouraged to take up a particular position in relation to the game. This distinction between representation and embodiment is useful analytically but the thesis attempts to synthesise these modes in order to account for the experience of playing videogames, where representation and embodiment are constantly happening and constantly influencing and shaping each other. Several methods are developed to analyse games in a way that brings these two modes to the fore. The thesis attempts to arrive at a number of spatial aesthetics of videogames by adapting methods from game studies, literary criticism, phenomenology, onomastics (the study of names), cartographic theory, choreography and architectural and urban formation analysis.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Abstracts: HASTAC 2017: The Possible Worlds of Digital Humanities

The document contains abstracts for HASTAC 2017

Animate Being: Extending a Practice of the Image to New Mediums via Speculative Game Design

This post-disciplinary practice as research thesis examines the potential of Carl Jung's therapeutic method of active imagination as a strategy for engaging with an increasingly complex and interconnected technological reality. Embracing a non-clinical, practice-driven approach, I harness James Hillman’s notion of the image and the imaginal to investigate the interdisciplinary capacity and ethical dimensions of an expansive mode of image-work. My approach to practice theoretically and practically intertwines analytical psychology, feminist worlding and design speculation. Building upon Susan Rowland’s work, I study image-work as an ecological alchemical craft that seeks to matter the immaterial. Through the cyclic iterative design of a video game, I mobilise and respond to image-work as a mode of myth-making that may facilitate dialogue between human and non-human intelligences. Departing from the essentialism of the hero's journey, I adopt Le Guin's Carrier Bag (1986/2019) as a feminist video game form and by utilising the framework of a video game (Bogost, 2007; Flannigan, 2013), the alchemical processes of image-work are transformed into novel interactive game mechanics. The game I design is both a vessel and a portal to an imaginal ecological realm, an open-world, procedurally generated ‘living world’ sandbox exploration game. This game integrates real-time, real-world data streams to invite the non-human to enter into play as player two, facilitating experimentation with possible new forms of cross-species dialogue, collaboration, and healing

Viet Nam Generation, Volume 6, Number 3-4

Edited by Dan Duffy and Kali Tal. Contributing editors: Renny Christopher. David DeRose, Alan Farrell. Cynthia Fuchs, William M. King. Bill Shields, Tony Williams, and David Willson