The Social Climbing Game

The structure of a society depends, to some extent, on the incentives of the individuals they are composed of. We study a stylized model of this interplay, that suggests that the more individuals aim at climbing the social hierarchy, the more society's hierarchy gets strong. Such a dependence is sharp, in the sense that a persistent hierarchical order emerges abruptly when the preference for social status gets larger than a threshold. This phase transition has its origin in the fact that the presence of a well defined hierarchy allows agents to climb it, thus reinforcing it, whereas in a "disordered" society it is harder for agents to find out whom they should connect to in order to become more central. Interestingly, a social order emerges when agents strive harder to climb society and it results in a state of reduced social mobility, as a consequence of ergodicity breaking, where climbing is more difficult.Comment: 14 pages, 9 figure

DigiWall - an audio mostly game

DigiWall is a hybrid between a climbing wall and a computer game. The climbing grips are equipped with touch sensors and lights. The interface has no computer screen. Instead sound and music are principle drivers of DigiWall interaction models. The gaming experience combines sound and music with physical movement and the sparse visuals of the climbing grips. The DigiWall soundscape carries both verbal and nonverbal information. Verbal information includes instructions on how to play a game, scores, level numbers etc. Non-verbal information is about speed, position, direction, events etc. Many different types of interaction models are possible: competitions, collaboration exercises and aesthetic experiences

Удовольствие и интерес к игре как основа подхода к проектированию детской игровой площадки

The article considers design of children’s playgrounds. The design traditions in modern architectural school are discussed, the problem of “the game” is identified and the term “pleasure” is focused. The conclusion is that we need a new approach to design children’s playgrounds in order to interest children in the age group from six to fifteen.В статье рассматривается проектирование детских игровых площадок. Обсуждаются традиции проектирования в современных архитектурных школах, ставится проблема «игры» и центральное внимание уделяется термину «удовольствие». В заключении делается вывод, что нужен новый подход к проектированию детских игровых площадок, для того чтобы заинтересовать детей возрастом от 6 до 15 лет

Spartan Daily, March 9, 2004

Volume 122, Issue 27https://scholarworks.sjsu.edu/spartandaily/9962/thumbnail.jp

Spartan Daily October 23, 2012

Volume 139, Issue 29https://scholarworks.sjsu.edu/spartandaily/1345/thumbnail.jp

The arts of action

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts

Spartan Daily, November 7, 2000

Volume 115, Issue 48https://scholarworks.sjsu.edu/spartandaily/9615/thumbnail.jp

Games: Agency as Art

Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. And the fact that we play games shows something remarkable about us. Our agency is more fluid than we might have thought. In playing a game, we take on temporary ends; we submerge ourselves temporarily in an alternate agency. Games turn out to be a vessel for communicating different modes of agency, for writing them down and storing them. Games create an archive of agencies. And playing games is how we familiarize ourselves with different modes of agency, which helps us develop our capacity to fluidly change our own style of agency

An Explorative Study on Learnable Happiness to Amplify Playing Skills through Sangam Game Oraiyaduthal

To live in harmony with nature, ancient men faced many challenges and increased their energy. There are many types of ancient games. Ancient games depend on traditional social networking sites. Sports have been important since the time when mankind started climbing the development ladder. The purpose of the study is to explorate the learnable happiness to amplify playing skills through sangam game oraiyaduthal. 100 female athletes from Avinashilingam University who participated at least in district level competitions in different sports were subjected to sampling. These Samples were used to find out the improvement in learning happiness and playing skills. The data obtained were analyzed using synthesis in social science. One-way analysis of variants and T- tests were used to detect significant mean difference value. Using this the relationship of the classified samples were known. Overall, the present study has two important conclusions. First it is known that the oraiyaduthal game has produced high levels of subjective happiness and secondly, by using the Game Image Skill Questionnaire test, it was found that strategy, targeting, perception, emotion, sportsmanship and handling tough situations among team and individual athletes have been enhanced. In this, team athletes showed more improvement than individual athletes