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There's No Place Like Home: Dwelling and Being at Home in Digital Games

This chapter considers the presence, in digital games, of experiences of dwelling. Starting with an engagement with the philosopher Edward S. Casey's distinction between hestial and hermetic spatial modes, the chapter argues that the player's spatial engagement with digital game worlds has tended to align with the hermetic pole, emphasizing movement, traversal and exploration. By contrast, hestial spatial practices, characterized by centrality, lingering and return, are far less prevalent both in digital games themselves and in discussions on spatiality in the game studies discourse. To counter this lack, this chapter draws upon philosophical work on space by Casey, Martin Heidegger, Yi-Fu Tuan and Christian Norberg-Schulz, using these as a conceptual lens to identify spatial structures and practices in digital games that diverge from the hermetic mode. Attention is paid to games that invite pausing and lingering in place, games where the player's relation to place is structured around practices of building, the phenomenology of home and dwelling in games, and familiarity and identity as experiential characteristics of being at home. Minecraft and Animal Crossing: New Leaf are examined in detail as case studies, though the chapter also refers to examples from other games

Evolution of the Site of Afton Villa

The gardens of Afton Villa Plantation are a rare surviving example from the 1840-1860 period in Louisiana. The gardens are open to the public and are being maintained and enhanced by the present owners. The site was placed on the National Register of Historic Places in 1983. The history of the entire site of Afton Villa in West Feliciana Parish, Louisiana is discussed, tracing the historical, cultural and design influences that affected the site\u27s development, beginning with the original settlers in the late 1700\u27s. The house and gardens known as Afton Villa, built in 1849 by wealthy planter David Barrow and his wife Susan, are of primarily Anglo-American design and were different from contemporary designs in French Louisiana. House and site design were influenced by the publications of Andrew Jackson Downing, as well as by contemporary designs in Louisiana and in the eastern United States. Landscape architect Theodore Landry worked with the owners to renovate the gardens from 1952-1956. Landry\u27s collected papers provide insight into the process of restoration, and an understanding of the original gardens. The analysis of the gardens is discussed in four distinct periods: the Barrows through 1876; a succession of owners through 1952; the Landry renovation; and from the fire of 1963 to the present Trimble period

Burchell, Pringle, and the South African picturesque

African Studies Seminar series. Paper presented 21 September, 198

University High Highlights 3/5/1958

This is the student newspaper from University High School, the high school that was on the campus of Western Michigan University, then called University High Highlights, in 1958

Peace-process infrastructure: constructing landscapes in-between Irelands

Over the course of 30 years ‘The Troubles’ in Northern Ireland led to the rupturing of physical sites from people’s everyday environment. In a post ‘Good Friday/Belfast Agreement’ era, this thesis considers the construction of common ground and the space of encounter as an instrument in peacemaking. I investigate how both the physical and the imagined landscape work together to form what I call peace-process infrastructure: landscapes that bolster a peaceprocess by being re-appropriated for civilian purposes and knit back into their surroundings. Under the practice strand of this study, I use movement as a tactic by choosing a series of traverses that were not possible to undertake as a civilian during the conflict: Divis Mountain next to Belfast City which changed hands from military zone to nature reserve; the now navigable Shannon-Erne Waterway; and the borderline hills between Ireland/European Union and Northern Ireland/United Kingdom where the watchtowers once stood. The garnered film footage works as testimony to a fragile peace-process, which in turn becomes an active archive that generates text. Specific tools that were used at each site to overcome topographical distance — limelight, lock and lens — are deployed once more to make what is considered remote and out of touch, close and tangible. At its heart, this project builds a multi-tiered rendering of particular landscapes — drawing on Hannah Arendt, Edmund Burke, amongst other political, landscape and feminism theorists — but it is motivated by the larger desire to contribute to a worldwide discussion about peace-process situations from a spatial perspective. People’s reactions to the constructed encounter in the world around them are a direct consequence to the architectural systems that command our surroundings. Landscapes hold the potential to deconstruct toxic territorial organisation leading to creative production. Revolutions are not just a protest but a creative process — a tool for remaking states and societies. In world terms the cultural Irish revolution preceded the political revolution galvanising world and Irish opinion towards independence for Ireland in 1916. About one hundred years later, this work creates a cultural milieu about the peace process that gathers strength for its advancement

Venice in Varanasi: Fluid landscapes, aesthetic encounters and the unexpected geographies of tourist representation

This article has developed from a broader research project on tourist representations and practices in Varanasi, India's renowned sacred city and popular tourist destination situated by the 'holy' Ganges. Here, a recurring 'sense of Venice' emerged from Western travel narratives and landscape representations, evoked by both visual and morethan-visual encounters. Drawing on cultural geographies of landscape engaging postcolonial, representational and non-representational theories, the article unravels Venice's capacity to exist beyond Venice and to mobilise affectual aesthetic connections across different social, material, spatial and temporal contexts. Through an empirical analysis of aesthetic experiences of 'Venice-in-Varanasi', it illuminates the ontological liminality of Venice as waterland and image and its epistemological capacity to navigate the entangled material, affective and representational modes through which we encounter the world. Advancing relational theories of landscape via an empirical focus on the waterscapes of Venice and Varanasi, the article contributes to water studies and critical tourism by proposing a fluid and mobile ontology of landscape which seeks to destabilise the representational/non-representational binary, thus feeding into growing research in this direction

The Auckland School of Music, Post-Modernism & Nervous Laughter

In 1984, the book-of-the-television-show The Elegant Shed was released by Otago University Press, and subsequently reviewed by Libby Farrelly in New Zealand Architect (1985) 2:39-40. Declaring the cover "wholly seductive ... glutinous sensuality," but its contents only "occasionally brilliant," Farrelly asks a lot of a not very big volume: to be "a definitive treatise on New Zealand's architecture." Though concluding that such a demand was "unsupporting" Farrelly's persistent fear is that David Mitchell and Gillian Chaplin lacked a "valiant idea." The review included the plan of Hill, Manning, Mitchell Architects' design for the Auckland School of Music. Citing Mitchell's comment in The Elegant Shed that "there was no logical connection between the side of a grand piano and the shape of a noise deflecting wall," Farrelly warns that such arbitrary aesthetics condemns architecture to mere "applique." Though "applique" is not, strictly speaking, collage, patching together is an apt description of the design process evident in the Music School plan. In their description of the design Hill, Manning, Mitchell Architects tauntingly declared that the project contains elements of "Baroque, Spanish Mission and Post-Modern" architecture (New Zealand Architect (1981) 5/6:1-3), and suggested that their transition from being "straight-line modernists" to "sensuous and baroque... [is] not unexpected in middle age." This paper will discuss Manning & Mitchell's design of the Auckland Music School in the context of their own writings and seminal international texts on the post-modern architecture, Learning From Las Vegas (1972) and Complexity and Contradiction (1966) by Robert Venturi et al. and Colin Rowe's Collage City (1978). I will argue that the hardest thing for architecture to bear/bare, especially New Zealand architecture, is a sense of humour