Paul Virilio Two attitudes are possible with respect to these new technologies: one declares them a miracle; the other—mine—recognizes that they are interesting while maintaining a critical attitude. The imminent home installation of domestic simulators and virtual space rooms for game-playing, poses many questions, and in particular this one: "What is a game once the virtual invades reality?" There are two ways of understanding the notion of play: playing cards, dominos, checkers; or the play of a mechanical part when it is loose in its housing. I think, in fact, that the second is the angle from which we should envision play today. What is at play in this case is an illness different from that associated with traditional games and provoked by chance. I am not a big player. The actor Louis Jouvet wrote, "Everything is suspect, except the body and its sensations." PAUL VIRILIO: Yes, but it's a narcissism that is expanding. PAUL VIRILIO: Those are the thaumaturgists, the miracle-criers.
ushahidi "Interactive Cinema" Is an Oxymoron, but May Not Always Be by Kevin Veale Abstract "Interactive Cinema" is a term that has been associated with videogames within historical media discourse, particularly since the early nineties due to the proliferation of CD-ROM technology. It is also a fundamental misnomer, since the processes of experiential engagement presented by the textual structures of videogames and cinema are mutually exclusive. The experience of cinematic texts is defined, in part, by the audience's lack of ability to alter events unfolding within the film's diegesis. However, there has been a recent development that suggests a bridge between these two structures: texts which are less defined by their ludic qualities than by a set structure - but where the affective qualities of the experience rely entirely on the direct involvement of the person engaging with the text. Key Words: Affect, alterbiography, ergodicity, interactive cinema, phenomenology, responsibility, tmesis, textual structure, world-of-concern Introduction
Hivos Online / Home - Hivos Online, Humanistisch Instituut voor Games as transformative works | Carlson 1. A deceptively simple question [1.1] With the U.S. release of the Nintendo Wii in 2007, a series of commercials were launched that depicted two Japanese salarymen—clad in suits and driving a tiny car—knocking on the doors of Americans. "Wii would like to play," they said offering up the Wii Remote as they bowed. In one version, the two men ring the door of a white suburban family and proceed to play virtual tennis with them, pausing only to sample the family's lemonade. [1.2] The light-hearted tone of these commercials—and the seeming techno virginity of the people approached by the salarymen (most don't conform to the prevalent image of a gamer; instead, they are grandparents, mothers, families)—reflects Nintendo's intentions to target a new gaming audience with the Wii. [1.5] The massive success of the Nintendo DS (and so-far seemingly similar success of the Wii) has given rise to a new debate: What constitutes a "videogame?" 2. 3. 4.
Cairo Declaration on Human Rights in Islam - Wikipedia, the free The Cairo Declaration on Human Rights in Islam (CDHRI) is a declaration of the member states of the Organisation of the Islamic Conference adopted in Cairo, Egypt, in 1990,[1] which provides an overview on the Islamic perspective on human rights, and affirms Islamic Shari'ah as its sole source. CDHRI declares its purpose to be "general guidance for Member States [of the OIC] in the field of human rights". This declaration is usually seen as an Islamic response to the United Nations’ Universal Declaration of Human Rights (UDHR) adopted in 1948. History[edit] The CDHRI was adopted in 1990 by members of the Organisation of the Islamic Conference. Contents[edit] The CDHRI gives men and women the "right to marriage" regardless of their race, colour or nationality, but not religion. Article 10 of the Declaration states: "Islam is the religion of unspoiled nature. The Declaration protects each individual from arbitrary arrest, torture, maltreatment, or indignity. Religious features[edit]
Douglas Engelbart’s Unfinished Revolution Doug Engelbart knew that his obituaries would laud him as “Inventor of the Mouse.” I can see him smiling wistfully, ironically, at the thought. The mouse was such a small part of what Engelbart invented. We now live in a world where people edit text on screens, command computers by pointing and clicking, communicate via audio-video and screen-sharing, and use hyperlinks to navigate through knowledge—all ideas that Engelbart’s Augmentation Research Center at Stanford Research Institute (SRI) invented in the 1960s. But Engelbart never got support for the larger part of what he wanted to build, even decades later when he finally got recognition for his achievements. To Engelbart, computers, interfaces, and networks were means to a more important end—amplifying human intelligence to help us survive in the world we’ve created. That inspired Engelbart, a young electrical engineer, to come up with the idea of people using screens and computers to collaboratively solve problems.
AlkaramaEnglish Code to Joy: The School for Poetic Computation Opens Taeyoon Choi, one of the school’s instructors, will teach “The Poetics of Circuitry.” These notes are from a similar course he teaches on how to control a physical pixel using electronics. New computer science graduates jumped by nearly 30 percent last year, and a bevy of professionally oriented programming courses have erupted to teach start-up ready skills like, “How to Build a Mobile App.” So it makes sense that programming is widely considered to be this generation’s “Plastics” — a surefire professional skill that can bring success, security and maybe even stock options. But fewer people talk about how programming and engineering can be used for pleasure, beauty or surprise. Now, four people with a variety of backgrounds — in computer science, art, math and design — have banded together in Brooklyn to rethink how programming is taught. In contrast, the School for Poetic Computation is taking a different approach. The school’s motto? Their first class begins on Sept. 16th.
MartinEnnals Award Website You Played That? Game Studies Meets Game Criticism At the 2009 Digital Games Research Association conference, I participated in a panel organized by David Thomas, "You Played That? Game Studies Meets Game Criticism." The other panelists were William Huber, Margaret Robertson, and José Zagal. What is game criticism? What follows is my position paper on the topic, as it appeared in the conference proceedings. Even though Marshall McLuhan devotes a few pages to games in Understanding Media (covering the way games extend man the social animal), he doesn't account for either the computer or the videogame, neither of which had gained popular adoption when he was writing in the early 1960s. Might we conclude: videogames are the first creative medium to fully emerge after Marshall McLuhan. By the time videogame studies became a going concern, McLuhan was gospel. McLuhan doesn't care about "content"; such is the core premise of his famous aphorism, "the medium is the message." The problem is, McLuhan gets it wrong, wrong in part anyway.
Digital Democracy | Empowering Civic Engagement Through Digital This Man Has a Train, an Army of Artists, and an Entire Nation for a Gallery | Underwire