“[There] are many games where what the player brings to the table is not “choice” of using a tiny set of verbs on a tiny set of largely irrelevant props, all aiming in the end towards the same predetermined authorial lesson. Systems can be designed for authorial imposition — Wordsworth’s or Horace’s intent to educate and illuminate — or for players to express, create, and even innovate. It is here where games like The Sims, Eve Online, Minecraft, Universalis, Dwarf Fortress, and even less “free” designs like Core Wars lie. And there is a case to be made that in that space are things that only games can do.”
R. A. Lafferty’s crisply-written short story, “Slow Tuesday Night” (1965), envisions an oddly-familiar world of frenetic hustle where up-to-the-second “trend indicators” chart the fates of fads, fortunes, and families. A mini-masterpiece of time distortion science fiction, this classic short story (along with the rest of Lafferty’s delightful oeuvre) is not to be missed:
Freddy rented an office and had it furnished. This took one minute, negotiation, selection and installation being almost instantaneous. Then he invented the manus module; that took another minute. He then had it manufactured and marketed; in three minutes it was in the hands of key buyers.
It caught on. It was an attractive module. The flow of orders began within thirty seconds. By ten minutes after eight every important person had one of the new manus modules, and the trend had been set. The module began to sell in the millions. It was one of the most interesting fads of the night, or at least the early part of the night. (baenebooks.com)
“If there is but one world, it embraces a multiplicity of contrasting aspects; if there are many worlds, the collection of them all is one. The one world may be taken as many, or the many worlds taken as one; whether one or many depends on the way of taking.”
“The distinction between creative and empowering cybersituations vs. (pseudo)interactive and disempowering spectacle is . . . often difficult to make, but we believe that some such distinction is necessary in order to provide critical perspectives on and alternatives to the forms of interactive spectacle now evolving. While pseudo-interaction provides escape into an ersatz (virtual) reality, constructing cybersituations enable individuals to create and interact more productively with others in their everyday lives and to struggle to transform culture and society, generating new spaces of connection, freedom, and creativity. Constructing cybersituations thus provides potential articulations between cyberworld and the real world, while pseudo-interaction merely entangles one ever deeper in the matrices of escapism and corporate entertainment.”
Talk delivered at Different Games 2014. Explores how games “play with reality,” opening various avenues for inquiry around notions of environment and situation. Makes reference to Sartre, Goffman, and Baron Von Haussmann, among others, and offers up the following definition for game: “Games are semi-regulated situations that unfold over time and resolve based on the creative participation of one or more players.”
Founded by designers Elliott P. Montgomery and Chris Woebken, the Extrapolation Factory sets out to “explore the value of rapidly imagined, prototyped, deployed and evaluated visions of possible futures on an extended time scale.” In 2013, they won the Core77 award in the Speculative Design category for their project 99 cent futures, in which they held a design jam to create speculative products from the discount store of the future. When an exhibition incorporating 99 cent futures opened in China last December, CNN published this report.
“I think it’s vital to de-professionalize the public debate on matters that vitally affect the lives of ordinary people. It’s time to snatch our futures back from the ‘experts.’ Time to ask, in ordinary language, the public question and to demand, in ordinary language, the public answer.”
“In participatory situations, game structure replaces aesthetics. Instead of events being worked out beforehand, there is a “game plan,” a set of objectives, moves, and rules that are generally known or explained. The game plan is flexible, adapting to changing situations. . . [In 1969,] I formulated three rules of participation:
- The audience is in a living space and a living situation. Things may happen to and with them as well as ‘in front’ of them.
- When a performer invites participation, he must be prepared to accept and deal with the spectator’s reactions.
- Participation should not be gratuitous.”
“A cognitive system is a system whose organization defines a domain of interactions in which it can act with relevance to the maintenance of itself, and the process of cognition is the actual (inductive) acting or behaving in this domain. Living systems are cognitive systems, and living as a process is a process of cognition. This statement is valid for all organisms, with and without a nervous system.”
This faux infomercial, currently airing without disclaimer at 4am on US cable network Adult Swim, takes some smart and merciless shots at MOOCs, gamification, and, of course, for-profit online “universities”. The level of detail here is impressive: pausing reveals hilariously complete mockups of user interfaces for things like managing “ThoughtCoins”, reporting other students for fraud, customizing shoddy Second Life-style virtual classroom avatars, and cashing in academic credits for sandwiches. “Whenever I want to learn something,” exclaims one of the breathless interview subjects, “I just buy some more ThoughtCoins and download some more facts.” The dystopia implied by the satire here should serve as a cautionary touchstone for anyone interested in exploring the roles privatization and technology will play in the future of education.
Created by Wild Aggressive Dog.
Hat tip: Sarah Brin.