Reality guides for life before death

The rise of the digital game industry has brought along a plethora of game design tools and frameworks. They are likely to be named specifically as design frameworks for games because their creators have been positioned themselves on the field of game research due to their personal interest in games or due to the fast rising game business. There appears often not to be a reason why these tools and frameworks could not be used in any other kind of interaction design too. Furthermore, even the definition of a game is elusive. In effort to be able to consider what is a game and what is not, the concept of Reality Guides was developed. A Reality Guide guides the user in their surrounding reality. By its definition it is not necessarily a game, and a game by its definition is not necessarily a Reality Guide, but it is possible for something to be both. Reality Guides can come in the form of paper booklets, human guides, digital applications, or something else. The focus in this thesis is in guides that are mixed reality digital applications. Looking at Reality Guides through several game design frameworks, a new theoretical model was constructed: The GEM Game Experience Model is a result of Grounded Theory based work to find a single underlaying model behind all the existing ones. Two non-game initiatives have been worked on with the guidance of Reality Guide thinking and GEM thinking: Life Before Death aims at producing services that will help people with premature end of life circumstances to make the best possible out of their remaining life. Reality Guides for the end-of-life. Also, in the initiative of creating a community around Digital Theology a project course was organized using gamer community originated Discord as a central Reality Guide for the course participated by students from four continents

Saudi-Arab Emerging Video Game Cultures, Archetypes, Narratives, and User Experiences

Arab representation in media has been a major focus of many works of renowned scholars, such as Edward Said (1978), Shaheen (2000), Karim (2005) and others. Journalism, film, television, and ancient literature have all been studied in these works. A recent addition to the study of Arab representation is the medium of video games. This was first examined by Reichmuth and Werning (2006) and Machin and Suleiman (2006) and extended by many works that are discussed in this thesis. The vast majority of the literature on Arab representation in video games focuses on Western video games and the reaction of Arab developers to these representations. Lack of specificity is another characteristic of this field. Both characteristics manifest in repeated comparative studies, where scholars select one local culture as an archetype, then embark on a comparative study of the global gaming community. In so doing, there is an unfair generalisation of Arab identity across broad and diverse regions, in terms of ethnic, ideological, national, historical, and even linguistic components. The present investigation critiques the shortcomings of this previous literature, while testing some alternative methods and approaches needed to re-examine the lack of access, language barriers and the aforementioned generalisations that have limited this field until now. Rather than assuming a single archetype for Saudi culture, this thesis departs from previous scholarship by examining the various aspects of the transformation process leading to what could be called an emergent “Saudiness”. Specifically, this study examines the construction and depiction of Saudi-Arab identity through the narratives and audiovisual content of video games, paying close attention to recent developments in Saudi cultural and media policy and the mandates set forth by the Vision 2030 development plan (SCEDA, 2016). Using theories on participatory culture (Jenkins, 2009) and spreadable media (Jenkins, Ford, and Green, 2013) as well as a content analysis of previously understudied material shared by a cohort of Saudi gamers, this research investigates the particular markers and strategies used to distinguish the spectrum of cultural aspects and elements with which Saudi gamers identify. To achieve this, the analysis focuses on three distinct archetypes of Saudi Arabs in video games: (a) the Saudis in Western video games, as suggested by previous works; (b) the Saudi citizen archetype, as recommended by state policy; and (c) the Saudi culture, as represented by Saudi gamers and Saudi game producers -- who in many cases reject the idea of a single archetype. In sum, this research sheds new light on the interactions between centralised and decentralised media in Saudi Arabia, as well as the Saudi gamers\u27 sense of agency, demonstrating how Saudis perceive Saudi representations in video games as part of a complex spectrum of interactions within a larger global gaming community

Playful Materialities

Game culture and material culture have always been closely linked. Analog forms of rule-based play (ludus) would hardly be conceivable without dice, cards, and game boards. In the act of free play (paidia), children as well as adults transform simple objects into multifaceted toys in an almost magical way. Even digital play is suffused with material culture: Games are not only mediated by technical interfaces, which we access via hardware and tangible peripherals. They are also subject to material hybridization, paratextual framing, and processes of de-, and re-materialization

Playful Materialities: The Stuff That Games Are Made Of

Game culture and material culture have always been closely linked. Analog forms of rule-based play (ludus) would hardly be conceivable without dice, cards, and game boards. In the act of free play (paidia), children as well as adults transform simple objects into multifaceted toys in an almost magical way. Even digital play is suffused with material culture: Games are not only mediated by technical interfaces, which we access via hardware and tangible peripherals. They are also subject to material hybridization, paratextual framing, and processes of de-, and re-materialization

Playful Materialities

Game culture and material culture have always been closely linked. Analog forms of rule-based play (ludus) would hardly be conceivable without dice, cards, and game boards. In the act of free play (paidia), children as well as adults transform simple objects into multifaceted toys in an almost magical way. Even digital play is suffused with material culture: Games are not only mediated by technical interfaces, which we access via hardware and tangible peripherals. They are also subject to material hybridization, paratextual framing, and processes of de-, and re-materialization

Designing to support impression management

This work investigates impression management and in particular impression management using ubiquitous technology. Generally impression management is the process through which people try to influence the impressions that others have about them. In particular, impression management focuses on the flow of information between a performer and his/her audience, with control over what is presented to whom being of the utmost importance when trying to create the appropriate impression. Ubiquitous technology has provided opportunities for individuals to present themselves to others. However, the disconnection between presenter and audience over both time and space can result in individuals being misrepresented. This thesis outlines two important areas when trying to control the impression one gives namely, hiding and revealing, and accountability. By exploring these two themes the continuous evolution and dynamic nature of controlling the impression one gives is explored. While this ongoing adaptation is recognised by designers they do not always create technology that is sufficiently dynamic to support this process. As a result, this work attempts to answer three research questions: RQ1: How do users of ubicomp systems appropriate recorded data from their everyday activity and make it into a resource for expressing themselves to others in ways that are dynamically tailored to their ongoing social context and audience? RQ2: What technology can be built to support ubicomp system developers to design and develop systems to support appropriation as a central part of a useful or enjoyable user experience? RQ3: What software architectures best suit this type of appropriated interaction and developers’ designing to support such interaction? Through a thorough review of existing literature, and the extensive study of several large ubicomp systems, the issues when presenting oneself through technology are identified. The main issues identified are hiding and revealing, and accountability. These are built into a framework that acts as a reference for designers wishing to support impression management. An architecture for supporting impression management has also been developed that conforms to this framework and its evolution is documented later in the thesis. A demonstration of this architecture in a multi-player mobile experience is subsequently presented

Contextual mobile adaptation

Ubiquitous computing (ubicomp) involves systems that attempt to fit in with users’ context and interaction. Researchers agree that system adaptation is a key issue in ubicomp because it can be hard to predict changes in contexts, needs and uses. Even with the best planning, it is impossible to foresee all uses of software at the design stage. In order for software to continue to be helpful and appropriate it should, ideally, be as dynamic as the environment in which it operates. Changes in user requirements, contexts of use and system resources mean software should also adapt to better support these changes. An area in which adaptation is clearly lacking is in ubicomp systems, especially those designed for mobile devices. By improving techniques and infrastructure to support adaptation it is possible for ubicomp systems to not only sense and adapt to the environments they are running in, but also retrieve and install new functionality so as to better support the dynamic context and needs of users in such environments. Dynamic adaptation of software refers to the act of changing the structure of some part of a software system as it executes, without stopping or restarting it. One of the core goals of this thesis is to discover if such adaptation is feasible, useful and appropriate in the mobile environment, and how designers can create more adaptive and flexible ubicomp systems and associated user experiences. Through a detailed study of existing literature and experience of several early systems, this thesis presents design issues and requirements for adaptive ubicomp systems. This thesis presents the Domino framework, and demonstrates that a mobile collaborative software adaptation framework is achievable. This system can recommend future adaptations based on a history of use. The framework demonstrates that wireless network connections between mobile devices can be used to transport usage logs and software components, with such connections made either in chance encounters or in designed multi–user interactions. Another aim of the thesis is to discover if users can comprehend and smoothly interact with systems that are adapting. To evaluate Domino, a multiplayer game called Castles has been developed, in which game buildings are in fact software modules that are recommended and transferred between players. This evaluation showed that people are comfortable receiving semi–automated software recommendations; these complement traditional recommendation methods such as word of mouth and online forums, with the system’s support freeing users to discuss more in–depth aspects of the system, such as tactics and strategies for use, rather than forcing them to discover, acquire and integrate software by themselves

Time and Space in Video Games: A Cognitive-Formalist Approach

Video games are temporal artifacts: They change with time as players interact with them in accordance with rules. In this study, the author investigates the formal aspects of video games that determine how these changes are produced and sequenced. Theories of time perception drawn from the cognitive sciences lay the groundwork for an in-depth analysis of these features, making for a comprehensive account of time in this novel medium. This book-length study dedicated to time perception and video games is an indispensable resource for game scholars and game developers alike. Its reader-friendly style makes it readily accessible to the interested layperson

Sonic, infrasonic, and ultrasonic frequencies : the utilisation of waveforms as weapons, apparatus for psychological manipulation, and as instruments of physiological influence by industrial, entertainment, and military organisations

This study is a trans-disciplinary and trans-historical investigation into civilian and battlefield contexts in which speaker systems have been utilised by the military-industrial and military-entertainment complexes to apply pressure to mass social groupings and the individuated body. Drawing on authors such as historian/sociologist Michel Foucault, economist Jacques Attali, philosopher Michel Serres, political geographer/urban planner Edward Soja, musician/sonic theorist Steve Goodman, and cultural theorist/urbanist Paul Virilio, this study engages a wide range of texts to orchestrate its arguments. Conducting new strains of viral theory that resonate with architectural, neurological, and political significance, this research provides new and original analysis about the composition of waveformed geography. Ultimately, this study listens to the ways in which the past and current utilisation of sonic, infrasonic, and ultrasonic frequencies as weapons, apparatus for psychological manipulation, and instruments of physiological influence, by industrial, civilian, entertainment, and military organisations, predict future techniques of sociospatialised organisation. In chapter one it is argued that since the inception of wired radio speaker systems into U.S. industrial factories in 1922, the development of sonic strategies based primarily on the scoring of architectonic spatiality, cycles of repetition, and the enveloping dynamics of surround sound can be traced to the sonic torture occurring in Guantanamo Bay during the first decade of the twenty-first century. Exploring the use of surround sound speaker techniques by the FBI during the Waco Siege in Texas, this argument is developed in chapter two. In chapter three it is further contended that the acoustic techniques utilised in the Guantanamo torture cells represent the final modality and the logical conclusion of these strategies that have evolved between civilian and military contexts over the past 80 years. In chapter four, the speaker system instrumentality of the HSS ultrasonic beam - occurring post Guantanamo - comes to symbolise an epistemic shift in the application of waveformed pressure; the dynamics of directional ultrasound technology signalling the orchestration of a new set of frequency-based relations between the transmitter and the receiver, the speaker system and architectural context, and the civilian and war torn environment. The concluding proposition of the study submits that a waveformed cartography - mapping the soundscape's territorialisation by the military-entertainment complex - needs to be composed and arranged so that forms of recording, amplification, and resistance can be made coherent. Given the new set of non-sound politics announced by the HSS, this philosophy of frequency-based mapping will have to re-evaluate the taxonomy and indexical nature of spatial relations. This discipline will be a waveformed psychogeography; a frequency-based modality that heuristically charts the spatial concerns of the neural environment as well as the environs of the material and the built. As a field of research it will have a wide-ranging remit to explore the spatial, psychological, physiological, social, economic, and sexual effects that waveforms have upon our subjectivity. Its methodology - as suggested through the structuring of this study - will be multi-disciplined and multi-channelled. It will create new forms of knowledge about LRADs, iPods, Mosquitos, I ntonarumori , loudhailers, and Sequential Arc Discharge Acoustic Generators - the meta-network of speaker systems through which rhythms and cadences of power are transmitted, connected, and modulated

Borderlines: Essays on Mapping and The Logic of Place

Borderlines innovatively explores the ways artistic interventions construct social, cultural, and mental spaces. The fifteen essays bring a broad multidisciplinary approach to the concept of borderlines and its markings through artistic manifestations. Rejecting older "normative"! understandings of the word border lines as signifying semantic irreversibility, this work gives prominence to the plasticity of the combined single word "borderlines." Borderlines is a collection of essays that address the cultural, artistic, conceptual, and performative mapping of places. The essays in this collection "write" borderlines from a wide variety of perspectives, representing diverse disciplines, cultural backgrounds, countries, and generations. It presents the pervasiveness of borderlines as an intellectual, artistic and political concept, across media, theories, and places. Borderlines is intended for academic specialists and students in cultural studies, theatre and performance, media and sound studies