The Labor of Play: the Political Economy of Computer Game Culture

This dissertation questions the relationship between computer game culture and ideologies of neoliberalism and financialization. It questions the role computer games play in cultivating neoliberal practices and how the industry develops games and systems making play and work indistinguishable activities. Chapter 1 examines how computer game inculcate players into neoliberal practice through play. In chapter 2, the project shows Blizzard Entertainment systematically redevelops their games to encourage perpetual play aimed at increasing the consumption of digital commodities and currencies. Chapter 3 considers the role of esports, or professional competitive computer game play, to disperse neoliberal ideologies amongst nonprofessional players. Chapter 4 examines the streaming platform Twitch and the transformation of computer gameplay into a consumable commodity. This chapter examines Twitch’s systems designed at making production and consumption inseparable practices. The dissertation concludes by examining the economic, conceptual, and theoretical collapses threatening game culture and the field of game studies

Possible Self Dynamics of Community College Students Engaged in 3D Printing in Informal Environments

The overall number of students from diverse backgrounds and women that graduate from community college with degrees in high paying Science Technology Engineering and Mathematics (STEM) disciplines is unacceptably low. The number of opportunities to gain exposure to STEM-based expressions of technology to overcome the dearth of exposure in high school is limited in community college. 3D Printing uses computer-controlled machines to build physical objects one layer at a time starting from the bottom up. The computer-controlled nature of 3D Printing provides a low risk, low cost platform to exercise elements of computer programming and engineering. This study was a phenomenological, qualitative study that was designed to fully describe the process of community college student engagement with 3D Printing. There were three data collection components in the study; first was an initial interview combined with naturalistic observation. Second was recorded documentation in the form of 3D printed objects that students produced. Third was a culminating interview of the participants after they had engaged in a critical number of 3D Printing activities. The results of the study were overwhelming. Students who aspired to be engineers used the lab to sharpen their skills in a low-stakes, high reward setting. Students who worked in the lab expressed greater confidence in their STEM skills. Students considered changing their majors to STEM academic courses of study from social science. Female students overcame a lifetime of counter-messages about women in STEM. Finally, a mountain biking component was designed, manufactured, and field tested by an aspiring engineer who had yet to take a single course in the college engineering curriculum. Based on the findings, it is recommended that 3D Printing be applied more broadly in student supported, peer educated lab settings. STEM majors, in particular engineering and computer science students see a great value in using the machines. Long term study of the retention and graduation rates of students who engage in 3D Printing will be useful for colleges and universities who seek to increase the number of graduating STEM majors at their institutions

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mislabelled no. 7

ARTEFACTS: How do we want to deal with the future of our one and only planet?

The European Commission’s Science and Knowledge Service, the Joint Research Centre (JRC), decided to try working hand-in-hand with leading European science centres and museums. Behind this decision was the idea that the JRC could better support EU Institutions in engaging with the European public. The fact that European Union policies are firmly based on scientific evidence is a strong message which the JRC is uniquely able to illustrate. Such a collaboration would not only provide a platform to explain the benefits of EU policies to our daily lives but also provide an opportunity for European citizens to engage by taking a more active part in the EU policy making process for the future. A PILOT PROGRAMME To test the idea, the JRC launched an experimental programme to work with science museums: a perfect partner for three compelling reasons. Firstly, they attract a large and growing number of visitors. Leading science museums in Europe have typically 500 000 visitors per year. Furthermore, they are based in large European cities and attract local visitors as well as tourists from across Europe and beyond. The second reason for working with museums is that they have mastered the art of how to communicate key elements of sophisticated arguments across to the public and making complex topics of public interest readily accessible. That is a high-value added skill and a crucial part of the valorisation of public-funded research, never to be underestimated. Finally museums are, at present, undergoing something of a renaissance. Museums today are vibrant environments offering new techniques and technologies to both inform and entertain, and attract visitors of all demographics.JRC.H.2-Knowledge Management Methodologies, Communities and Disseminatio

Repositioning Neuroaesthetics Through Contemporary Art

Neuroaesthetics has tended to privilege neuroscientific understandings of art, eliding centuries of art historical research on perception and culture. Instead, this dissertation extends neuroaesthetic research to examine the specific social, sensorial and perceptual processes occurring as artworks are encountered in exhibition contexts. How does neuroaesthetic perception operate in contemporary artworks? What modes of cognitive address are involved? How can neuroaesthetic engagement facilitate embodied knowledges? This dissertation first inquires into the neuroaesthetic literature in order to establish its neuroscientific foundations, and then advances a perceptual standpoint stemming from art and art history. Drawing from feminist theories of embodiment, I reposition neuroaesthetics to incorporate art historical inquiries into body and mind through direct engagement with art. I argue that such a revised neuroaesthic perception must take into account post-humanist troublings of nature/culture dichotomies. I also suggest that the paradigm for embodied perception that has emerged from both cognitive neuroscience and affect theory can expand neuroaesthetic understanding. My investigation has led me to first-hand experience as a research subject of neuroscience experiments, which show that current fMRI contexts in fact delimit the perception of art and inhibit possible neuroaesthetic significance. Instead, I undertake neuroaesthetic research in exhibition contexts where self-reflexive awareness facilitates insights into perception and cognition that are inaccessible within the epistemological conditions of neuroscience labs. The first case study examines how an installation by the FASTWÜRMS collective reveals cognitive processes of abduction by inviting navigation through an infinitely complex web of objects and images. Turning from association to visual cognition, I consider how Olafur Eliasson’s immersive light installations manipulate colour perception thereby facilitating critical awareness of techno-mediated environments. Third, my analysis of a conceptual work by Kristin Lucas explores how the performance of digital and legal technology invites embodied transformations. Finally, I examine how the affective tensions produced in a video by Omer Fast activate an awareness of intersubjective communication that corresponds with recent neuroscientific developments in mirror-neuron theory. By taking contemporary artworks as its focus, the dissertation extends neuroaesthetic inquiry to demonstrate contextual understandings of how the cognitive processes of art constitute physiological engagements between body, brain and world