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06/05/2007

Media In Transition 5...

La conférence Media In Transition a touché à sa fin il y a quelques jours de cela. Parmi les sujets, un nombre plutôt conséquent portait sur les jeux vidéo, par exemple :

 

Wanna Headbang in San Andreas?: Gaming and Music Industry Negotiations in the 1990s, Ben Aslinger


…Why did publishers such as Electronic Arts, Ubisoft, and Konami develop interests in music licensing?  I argue efforts to include popular music reflect industrial desires to articulate discourses of game "quality" and to target new demographics….

 

Authorship in Interactive Media:  Collaboration, Interaction, and User-Generated Content in the Games Industry, Alec Austin


Where is authorship located in a computer game?  The easy answer would be to attribute authorship to a single, visionary auteur or to the team of artists, designers, and programmers that took part in its creation, but player choice is also significant in shaping the player’s experience of the game. In addition, the spread of tools that allow end users to modify existing game content further blurs the line between audiences and content producers...

 

Virtual Ownership, Brent C.J. Britton


What forms of intellectual property protection are useful or viable in wholly virtual worlds such as Second Life?  Should virtual worlds attempt to emulate real-world forms of IP?  Do the same theories of ownership apply?...

 

The Politics of Machinima: Video Game-Based Filmmaking as Visual Rhetoric, Robert Jones


…In November of 2005, a French designer by the name of Alex Chan released a 13-minute machinima film on the web entitled The French Democracy in response to the riots in the suburbs of Paris. The film served as a critique of the racial tensions leading up to the riots and quickly garnered a huge audience response of over a million viewers online. This represents a significant moment in the history of this art form as utilizing this new technology as a tool for constructing a visual rhetoric for one of the first times and finding such a large audience...

 

Mixed Messages: Independent and Collaborative Console Video Game Development, Casey O'Donnell


…What can the everyday worlds of video game developers teach us about the technical and social processes involved in the production of media and technology? How do these worlds differ across national and cultural boundaries? How do diverse forces and activities -- laws, technologies, collaboration, and workplace cultures, for example --shape the development of video games, and console games in particular?…

 

Case Study: Emotional Design of the Video Game Silent Hill, Restless Dreams, Doris C. Rusch


…With an in-depth analysis of the horror survival game Silent Hill - Restless Dreams (SH2) I hope to illustrate the following keystones of emotional videogame design: 1) Reality Status: what are the factors that lend the game verisimilitude and help the player to willingly suspend her disbelief? Human Source Concerns: what source concerns is the game addressing on the operational levels of fiction, interface and the game as system? 3) Regulation of Player Interest: how is the player kept playing, and what prevents the story from slipping into the background?

 

Politics of Game Space: The Video Game Vocabulary and the Production of Meaning, Joost van Dreunen


…The aesthetics of video games contain important clues with regards to the sociopolitical conditions of contemporary experience and the production of meaning. This essay will argue that video games offer a new vocabulary with which we give meaning to the lived experience in a technologically saturated society…

 

[ MiT 5 ]

 

Il y a bien sur pleins d’autres sujets dans des domaines transverses. Certains papiers devraient être mis en ligne bientôt…

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