Where are all the climate change games? Locating digital games' response to climate change

The burgeoning genre of climate fiction, or ‘cli-fi’, in literature and the arts has begun to attract both scholarly and popular attention. It hasbeen described as ‘potentially [having] crucial contributions to make toward full understanding of the multiple, accelerating environmental challenges facing the world today.’ (Buell, 2014) Implicitly, these works confront the current orthodoxy about where exactly the issue of climate change sits in domains of knowledge. As Jordan (2014) notes: ‘climate change as ‘nature’ not culture is still largely perceived as a problem for the sciences alongside planning, policy, and geography.’ In this paper we ask where is, or alternatively what does or could climate fiction within the field of digital games look like? Even a passing familiarity with the cultural output of the mainstream game industry reveals the startling omission of the subject–with scant few games telling stories that engage with climate change and the unfolding ecological crisis. (Abraham, 2015) Finding a relative dearth of explicit engagement, this paper offers an alternative engagement with climate change in games by focussing on the underlying ideas, conceptions and narratives of human-environment relationships that have been a part of games since their earliest incarnations. We argue that it is possible to read games for particular conceptualisations of human relationships to nature, and offer a description of four highly prevalent ‘modes’ of human-environment engagement. We describe and analyse these relationships for their participation in or challenge to the same issues and problems that undergird the current ecological crisis, such as enlightenment narratives of human mastery and dominion over the earth

Green Computer and Video Games: An Introduction

Whether framed as environmental communication, ’sustainable media’, ‘eco-media’, or ‘green popular culture’ environmental media and cultural studies constitutes an embryonic but rapidly developing body of research. The vibrant, multi-layered engagements of the eight essays collected here demonstrate not only that green gaming engages with all of the issues addressed in that research but also that games and game studies can expand the range of this incipient green media and cultural studies. This volume of Ecozon@is the first collection of essays to focus exclusively on the topic of ‘Green Computer and Video Games’. Working from these essays, we will demonstrate in Part I of this introduction how attributes specific to gaming might address and expand our understanding of environments and ecological relations; and, in Part II, how these essays might help develop green game studies itself

Life remade: critical animation in the digital age

Introduction to Special Issue of animation: an interdisciplinary journal. Animation and contemporary life are enmeshed like never before. A growing number of the media images we consume are in animated form (from fully animated features to CGI laden blockbusters and advertisements); recourse to common animation software and aesthetic approaches significantly blur the lines between previously distinct artistic and design practices (from video games, to special effects, to architecture and contemporary art); and through techniques of computational modelling and visualization, animation is increasingly fundamental to processes of knowledge production and the creation of various modes or elements of life. This appears therefore to be a particularly 'critical' moment to ponder animation's expanded cultural and political role. This special issue also provides an opportunity to consider animation's own powers of critique – the ways in which the digital animated image is increasingly being deployed explicitly as a means of intervening in social and political arenas ranging from human rights advocacy to ecological activism. And finally, we hope this collection of essays serves to further the already rich examination of the politics of more traditional forms of animation in the current digital age. This special issue thus builds upon recent scholarship that has already begun to contend with animation's expanded presence and its inherent political and critical significance..

Cellphilm, visual culture and new narratives

Abstract: This article discusses cellphilm aesthetics and their resultant effect for visual culture in the 21st century. The article is one of a number we wrote on the topic at the time . This paper operates from previous work on cellphilms and establishes an argument for the social value that cellphilms play and their attendant social impacts. What becomes important is not so much their comparative aesthetic qualities, but what these qualities mean for their users and the social contexts. The article discusses aesthetics based on eary cellphimes such as Shane, Trains, Pussy G’awn Crazy, and Aryan Kaganof’s SMS Sugar Man

The Anthropocene crisis and higher education: A fundamental shift

This article seeks to address a fundamental shift that has occurred in reality; a displacement that requires us to critically account for the ways in which knowledge is both being produced and taught at universities. The recent re-naming of the current geological epoch after anthropos has some chilling implications for humans and the ecosystems on which their livelihoods depend. As pedagogues, the crisis of the Anthropocene demands that we make drastic interventions in the way we teach and in what we teach. My aim is to suggest ways in which Deleuzoguattarian schizoanalysis, intersecting as it does with critical posthumanism, the affective turn and the new materialisms, might assist us in this process of crafting socially and environmentally-just pedagogies that are relevant to the contemporary situation. In so doing, I will address some of the uncanny ethical, ontological, epistemological and affective configurations of these theoretical perspectives to show how these ideas may impact the curriculum of socially/environmentally just pedagogies and the practice of such pedagogies in higher education.DHE

Geological Filmmaking

In recent years, media studies has developed theoretical models which consider the material aspects of media technologies. In the context of the widespread ecological crisis, such studies have included analyses of media as products of the extraction of geological materials. My doctoral project of ‘geological filmmaking’ contributes to this growing set of discourses by experimenting, on a conceptual and artistic level, with the reciprocal relations between geology and film. Building on existing theoretical studies of the geological materiality of the filmic medium, it explores formal and temporal intersections between film and geology in order to engage with some of the representational challenges posed by the ecological crisis. ‘The geological’ here acts as a perceptual and cognitive extremity of the human (in)ability to grasp processes unfolding across vast spatio-temporal scales. Through an integrated theory-practice methodology my project takes two specific geological phenomena as prisms through which to explore the greater philosophical problems encountered at the intersections of human and geological timescales. In the process of making two films – one focused on sinkholes, the other on asbestos – the geological has revealed itself to be inextricably tied to socio-economic processes. It has thus become an urgent demand, requiring a response here and now. This study is an attempt to offer such a response. By reading film and geology through each other, I have staged an encounter between the moments in which their reciprocity illuminates key issues surrounding the anthropogenic ecological crisis, both in its vastness and proximity, its longevity and immediacy. I have also taken some steps towards outlining an artistic methodology for engaging with planetary ecological issues via the medium of film

Colour and Light for storytelling and storydoing in museum videogames.

This paper analyses some cultural videogames produced, in recent years, by art and archaeological museums, in order to understand how colour can become a visual tool to support gaming and cultural storytelling. The traditional methodologies of visual language analysis are adapted to the distinctive features of the new medium, as the interactivity and navigability of virtual game spaces. The aim of the research is to investigate colour both as a tool that the game designer uses to structure the narrative and as a visual element that the player interprets to develop the game actions