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

Practical, appropriate, empirically-validated guidelines for designing educational games

There has recently been a great deal of interest in the potential of computer games to function as innovative educational tools. However, there is very little evidence of games fulfilling that potential. Indeed, the process of merging the disparate goals of education and games design appears problematic, and there are currently no practical guidelines for how to do so in a coherent manner. In this paper, we describe the successful, empirically validated teaching methods developed by behavioural psychologists and point out how they are uniquely suited to take advantage of the benefits that games offer to education. We conclude by proposing some practical steps for designing educational games, based on the techniques of Applied Behaviour Analysis. It is intended that this paper can both focus educational games designers on the features of games that are genuinely useful for education, and also introduce a successful form of teaching that this audience may not yet be familiar with

Chanticleer | Vol 54, Issue 19

https://digitalcommons.jsu.edu/lib_ac_chanty/2443/thumbnail.jp

MarathOn Multiscreen: group television watching and interaction in a viewing ecology

This paper reports and discusses the findings of an exploratory study into collaborative user practice with a multiscreen television application. MarathOn Multiscreen allows users to view, share and curate amateur and professional video footage of a community marathon event. Our investigations focused on collaborative sharing practices across different viewing activities and devices, the roles taken by different devices in a viewing ecology, and observations on how users consume professional and amateur content. Our Work uncovers significant differences in user behaviour and collaboration when engaged in more participatory viewing activities, such as sorting and ranking footage, which has implications for awareness of other users’ interactions while viewing together and alone. In addition, user appreciation and use of amateur video content is dependent not only on quality and activity but their personal involvement in the contents

Poetics of furniture : augmenting furniture with technologies

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.Includes bibliographical references (leaves 117-120).This dissertation focuses on one genre of new hybrid objects, namely furniture augmented with electronics. It explores the role of furniture as mediators of social interactions, as well as its potential for eliciting emotional and social responses from users. To understand the ways in which augmentations of furniture are manifested, examples of augmented furniture have been analyzed and classified into three taxonomies - by functionality, autonomy and design strategy. The dissertation does not focus on furniture situated in activities or scenarios for work-related themes, but in the theme of small moments, everyday, non-instrumental social interaction scenarios between people (for example, dinner at a table, conversation with a friend, walking on the street or reading a newspaper). Although the small moments scenarios may appear marginal, they are in fact the very glue of our daily lives. Three furniture projects are developed to explore the mediating role of furniture. They are the Conversation Table, Stealing Table and Orev Bench. The design strategy applied for addressing small moments through these projects can be best described as poetic. The projects are attempts to encourage moments of playful reflection and ultimately help their users learn more about themselves and about the objects they use.by Lira Nikolovska.Ph.D

Producing Affection : Affect and Mediated Intimacy in Pokémon

Pokémon is a global multimedia franchise formed around a core series of videogames and a variety of characters to collect, learn about, and play with. Throughout its decades of development, Pokémon has grown into a media mix comprising of digital and analog games, animations, comics, toys, and a plethora of branded merchandize, all centering on the Pokémon characters and the audience’s relationship with them. In this thesis, I explore how affection is formed and distributed in Pokémon. I view the relationship with Pokémon characters as a form of mediated intimacy, theorizing it as feelings of affection and closeness expressed through and aimed at technology. Through this, I discuss how technological and fantastical bodies wield agency and actively participate in the formation of everyday affects. By drawing primarily on game studies and affect studies, I develop an interdisciplinary method for playing and reading media texts for their affects and use it to analyze the media mix of Pokémon and the affective relations therein. I focus primarily on the Pokémon videogames that serve as the core product of the entire media mix. I examine what it means to construct an entire media mix based on videogames and play and suggest this as a key interpretive arrangement for understanding the mediated intimacy of Pokémon. This study presents the mediated intimacy of Pokémon as the result of the ludic and technological foundations of the Pokémon media mix, at the heart of which is the role-playing form of the original videogames and the way they have positioned audiences as participants and characters in the world of Pokémon. In this playful environment that overlaps fiction and everyday reality, the media mix guides its players to conduct a form of affective labor to access and traverse the textual whole of Pokémon and furthermore aligns this effort with the diegetic theme of caretaking as captured on the transmedia bodies of Pokémon. Additionally, this work contributes to the theorization and rethinking of intimacies by exploring affection in human and non-human networks as an entanglement of biological and technological actors.Tuotettua kiintymystä. Pokémonin affekti ja medioitu intiimiys Pokémon on globaali monimediakokonaisuus. Sen keskiössä on joukko videopelejä sekä niiden hahmoja, joita kerätään, joista opitaan ja joiden kanssa leikitään. Pokémonista on vuosikymmenten mittaan kasvanut mediatuotteiden rypäs, media mix: monista tuote- ja julkaisukanavista koostuva kokonaisuus, joka sisältää digitaalisia ja analogisia pelejä, animaatioita, sarjakuvia, leluja ja brändituotteita, joissa kaikissa korostuvat Pokémon-hahmot sekä yleisön suhde niihin. Väitöskirjassani tarkastelen, miten kiintymystä rakennetaan ja levitetään Pokémonissa. Tutkin Pokémon-hahmoihin muodostettuja suhteita medioidun intiimiyden käsitteen kautta. Tutkimuksessani suhteet näyttäytyvät kiintymyksellisten tunteiden tiivistyminä sekä läheisyytenä, jota ilmaistaan teknologian avulla ja sitä kohtaan. Näin tarkastelen, miten teknologisten sekä fantastisten kehojen toimijuus näkyy arkipäiväisten affektien muodostumisessa. Ammentamalla pelitutkimuksesta ja affektitutkimuksesta kehitän monitieteisen metodin mediatekstien pelaamiseen ja lukemiseen, ja käytän sitä Pokémonin media mixin, sen affektien ja sen piirissä muodostettujen kiintymyssuhteiden analysointiin. Keskityn erityisesti Pokémon-videopeleihin, jotka toimivat koko media mixin ydintuotteena. Tutkin, miten Pokémonin media mix on rakennettu ensisijaisesti pelilliselle ja leikilliselle pohjalle, ja ehdotan tätä tulkintamallia keskeiseksi Pokémonin medioidun intiimiyden ymmärtämiselle. Tutkimuksen tuloksena esitän Pokémonin medioidun intiimiyden muodostuvan Pokémonin media mixin leikillisistä ja teknologisista juurista, joiden perustana on alkuperäisten Pokémon-videopelien roolipelillinen rakenne sekä se, miten sen avulla pelaajat on asemoitu hahmoiksi Pokémonin maailmaan. Fiktiota ja todellisuutta sekoittavassa leikillisessä ympäristössä Pokémonin media mix ohjaa pelaajia hoivan ja huolenpidon teemojen kautta tekemään tunnetyötä tuoteperheen mediatekstien parissa ja piirtää tämän työn tulokset Pokémon-hahmojen monimediakehoille. Lisäksi väitöstutkimukseni osallistuu intiimiyden laajempaan teoretisointiin ja uudelleenmäärittelyyn tarkastelemalla elollisten ja leikillisesti elävien toimijoiden suhteita biologisena ja teknologisena yhteenliittymän

Hello Shoppers? - Themed Spaces, Immersive Popular Culture Exhibition, and Museum Pedagogy

This dissertation explores popular culture-related themed space exhibitions and immersive museum pedagogy through the emerging post-museum, media convergence culture, and Deborah L. Perry’s museum-oriented “What Makes Learning Fun” framework. These exhibitions utilize popular media like Star Wars, Doctor Who, and the films of Hayao Miyazaki as a means of engaging audiences with brand and subject-specific pedagogy. By bringing fictional worlds to life through environmental stimuli (sets, sounds, objects, media segments), these exhibitions use popular texts as a means of facilitating the educational goals of the institution by having visitors engage in “work as play.” Learning becomes encompassed in the “fun” and “play” that is experienced with theme parks and games. Oftentimes educational programs are developed for these exhibitions that are frequently tied to specific national and regional educational requirements. In the post-museum, visitors are assigned interpretive powers where meaning is produced through their own personal experience. As Eilean Hooper-Greenhill argues, the use of visual media helps transcend usual classifications of high and low culture. This study argues that fandom within a themed space exhibition enhances this aspect, and the act of play enhances visitor interpretation. These key issues are examined through three main examples: The Doctor Who Experience (addressing public service vs. corporate profits), Star Wars Identities: The Exhibition (roleplaying as pedagogy and Alberta, Canada’s CALM program), and the Ghibli Museum (Japanese history, national identity, and self-discovery). These exhibits act as sites where the tension between branding and pedagogy operate, and illustrate how popular texts and education are localized for different audiences. The close examination of these themed spaces leads to a better understanding of contemporary media culture and its social/cultural applications on an international scale