Papers by Adam Stangeby (Thul Husk)
Arguably, architecture recorded through the cinematic apparatus provides an intersection between ... more Arguably, architecture recorded through the cinematic apparatus provides an intersection between multiple understandings of fetish. The Bradbury Building in cinematic representation is the signifier which denies its signified (the actual building) and therefore creates a fetish in its synecdochic relationship between reality and representation. Jean Baudrillard affirms that this kind of fetish represents a ‘passion for the code’ – an empowerment through acts of abstract manipulation on subjects and objects and a “fundamental articulation of the ideological process” (Baudrillard, 91-101). The multiplicity of understandings on the term ‘fetish’ constitutes a semantic distortion for Baudrillard. The distortion that Baudrillard outlines aptly explains fetish in architecture. The cathedral once acted as a symbolic node of power to evoke the presence of God. In cinema, the Bradbury Building is used to evoke the presence of cinema as a symbolic node of power – the cinematic representation of architecture constitutes the fetish, the actual building denotes nothing. The Bradbury Building is a conduit for ideas of cinema and can thus be referred to as an architectural fetish object as well as cinematic fetish location.
M. Lange, up to the point of this entr’acte had carefully constructed a diegetic space under esta... more M. Lange, up to the point of this entr’acte had carefully constructed a diegetic space under established principles of ‘panopticism’. The apparatus had arranged its position as ‘overseer’ of the diegetic space, locating both a central pivot for inspection (the centre of the courtyard) as well as constructing the relationship between ‘cells’ and between the cells and this central pivot (rooms in the court). The rupture in spatial logic through the direct address may seem haphazard or confusing, but I would like to suggest that it is a testament to the forward-thinking and highly-intuitive Jean Renoir as a stylistic master. In fact, the direct address is employed aptly in recognition of a critical limitation in Benthamite conceptions of panopticism – with elements of mobility present, the gazer must also become the gazed-upon in controlling and constructing the space.
Semiotic analysis of ‘encoding/decoding’ processes can reveal the television host as a mediator/i... more Semiotic analysis of ‘encoding/decoding’ processes can reveal the television host as a mediator/intermediary, who “re-encodes” meaning in the flow of information. This paper intends to show that ‘re-encoding’ by the television host renders the audience aware of preferred readings which in turn functions to hermeneutically close the text. The host renders a text closed through denying ‘aberrant decoding’ by the audience – interpretation has restrictions through the host making aware the preferred reading originally encoded. The television host as intermediary restricts audience choice which I hope to demonstrate through two case studies – an interview with television host, Fred ‘Fearless’ Kennedy and a second interview with television producer, Jonas Bell-Pasht.* When choice is restricted at the semiotic level through the presence of the host, television experience can render the audience a passive mass much in the way that Arnheim fears at the medium’s birth in the 1930s.
Jan Svankmajer’s cinematic animation of puppets and use of life-sized puppets renders a situation... more Jan Svankmajer’s cinematic animation of puppets and use of life-sized puppets renders a situation where animated objects have a dominant function that is separate from their pragmatic function. This plurality of function constitutes dynamic characteristics for the object whereby the object has an ambivalent status at the semiotic level – the object can also be a subject. Cinematic animation and cinema specific properties and techniques such as editing, framing or superimposition foreground this plurality of an object’s function by altering its spatiotemporal context and allowing it to be liberated from its recognition as a prop of the mise-en-scene. The Faust tradition foregrounds the plurality of function for the object most near and dear to us – our bodies – when Faust challenges the supernatural world into manipulating the body’s natural relationship with the course of time. Svankmajer’s Lesson Faust (1994) adeptly negotiates the complexities of a discourse on the dramatic and semiological process of objects becoming subjects (and vice-versa) while foregrounding the ambivalence surrounding such ‘transformations’. Cinematic animation (technological), puppets (material) and the Faust tradition (narrative) can each be demonstrated as modes of presentation which actively endow objects with dominant functions separate from their pragmatic function thus creating ambivalence for the object at the semiotic level.
For Rosenbaum, the historiography of Welles’s oeuvre should reflect a remediation of the textual ... more For Rosenbaum, the historiography of Welles’s oeuvre should reflect a remediation of the textual and extra-textual factors of that history which can potentially be achieved through a prismatic methodology which organizes old and new, speculative and factual, words and actions to be focused for analysis and then historical (re-)construction. A complete picture of Welles (encompassing all textual and extra-textual facts, factors and interactions) will never form, but that is inherent in the concept of remediation, while the prismatic methodological approach to Wellesian historiography is apt for history’s inherent pluralistic nature.
When an average consumer of media believes that they have a right to information, but that paying... more When an average consumer of media believes that they have a right to information, but that paying for such access is correct, then media industry is sustainable, however, rapid technological advancement in formats for media content can shift the equilibrium in balancing these competing cultural values. If the industry cannot compel the consumer in believing that a new technological format has significantly altered the economic value of the media text, then the consumer may resist - or reject - paying multiple times for access to the same creative content. I would suggest, and intend to show, that “technological amnesia” facilitates a “schizophrenic decoding” of meaning for media access, such that average consumers readily participate in a pirate market and that this form of decoding meaning has its roots in the history of legal development for copyright law.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
Stuart Hall’s preferred reading model (or encoding/decoding model) has become a structure of semi... more Stuart Hall’s preferred reading model (or encoding/decoding model) has become a structure of seminal significance in the field of communication research. I offer a comprehensive revision of that model through my dialectic version of the model which also carefully considers how John Fiske and Umberto Eco developed Hall’s original model. The dialectic model involves a bifurcation within the encoding and decoding process whereby the encoder and decoder each utilize both a ‘private’ and ‘public’ code in order to complete a communication circuit and render the meaning of the message both personal and practical. In turn, just as Hall’s model has been criticized and reworked over the decades by a surfeit of theorists and researchers, the dialectic model must be accountable to these scholarly developments. Finally, the work of David Morley on television reception provides a basis for rejecting traditional definitions of ‘public’ and ‘private’ and reconceptualising them based on their social and psychological valence for import to the dialectic encoding/decoding model.
Videogames are textual and processual, forming a computational medium. Ian Bogost understands gam... more Videogames are textual and processual, forming a computational medium. Ian Bogost understands games as a configurative system with a discursive formation based on discrete, interlocking units of expressive meaning – “unit operations” (Bogost, 4). The rules of a game are an “extrospective” tool that constructs an unblemished gameplay experience bereft of ‘dark play’, yet the rules reference no actual state of the game at any point when played (Bogost, 30). In other words, games always include dark play . An interstitial region exists in the discourses between a game’s rule-based system and a user’s subjective interpretations on the functionality, uses and affordances of that system. This interstitial region of representation is a site of meaning-production with emergent forms of dark play . Bogost notes the long tradition in media studies and philosophy of formulating structures that can account for the contextual realities of dark play – dark play as a form of re-structuring (Bogost, 107).
The Paradox of Devotion: Fair Use in the Production, Distribution, and Sale of Fanart at Comic Co... more The Paradox of Devotion: Fair Use in the Production, Distribution, and Sale of Fanart at Comic Conventions in the Canadian Context (Editorial)
Shows of devotion through artistic form can be a powerful binding agent for social cohesion around particular cultural values, and fan devotion can even challenge institutionalized status quo. In fact, members of society may begin to affirm their fundamental “right” to show fan devotion to popular symbols and icons. In classical times, Zeus and Athena, for example, were not characters known as original creations of particular individuals and so their image and representation in art belonged to everyone - and everyone had a right to make an offering to them. Today, there is a “paradox of devotion” for fans where society’s cultural heroes have original creators and the right to represent them is controlled by individuals or corporations that own those rights through copyright, patent, and trademark. Humanity’s Ares has become Disney’s Darth Vader, and the people’s Pied Piper of Hamelin has become Sony’s Walter White. Today, the fan can show devotion freely, but only in licensed ways. Hence, there is a paradox in the act of devotion being one that implies unbridled freedom affectively and culturally, yet fan expression becomes limited legally via capitalist economic pressures based in postmodern industrial prerogatives, mandates, regulations, and practices.
Doctoral Work by Adam Stangeby (Thul Husk)
Balazs was theorizing a phenomenological epistemology for cinema based in aesthetics that was hea... more Balazs was theorizing a phenomenological epistemology for cinema based in aesthetics that was heavily dependent on hermeneutics, affect, performance, corporeality and audience reception. In some ways this is very surprising given that post-structuralism’s most prominent forefather figures (Marshall McLuhan, Raymond Williams, Michel Foucault, Jean Baudrillard, and others) were not pushing at the frontier of these areas of discourse until several decades after Balazs. Balazs’s early work was produced during a period of accelerated technological development, where the mobile apparatus (or unhinged camera), stereoscopic film, colour film, widescreen format and synchronous sound emerged as more than just experiments in advancing the medium’s capacities to represent and present life, both realistically or abstractly. This may help in explaining Balazs’s many prognostications on film theory in the contemporary moment as well as revealing how Balazs accurately predicted the value of the medium as a popular cultural form.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
Worth noting, is that Wall-Romana relies heavily on biographical explanatory arguments for constr... more Worth noting, is that Wall-Romana relies heavily on biographical explanatory arguments for constructing his historiographical model and that this seems genuinely at odds with his over-zealous advocacy of post-structuralist methods such as hermeneutics, post-structuralist ontology such as corporeality, as well as, post-structuralist theories such as, queer theory and affect theory. From a traditional biographical argument, Wall-Romana presents Abel Gance as planting a seed in Epstein for the latter’s later flourishes of philosophical poetry in the cinematic milieux, however Wall-Romana also claims that Epstein’s queerness was rigourously individualized articulating Epstein’s oeuvre in profoundly unique ways. Gance is an author inscribing Epstein, yet Epstein is paradoxically erasing those inscriptions to produce his work from a state of tabula rasa. We can provide Wall-Romana will a modest amount of leeway given that the crux of his thesis regards Epstein’s gravitational flux at a crossroads in the discourse of cinematic epistemology. A real problem arises when Wall-Romana is unable to properly theorize whether the crossroads constitutes a bundle of things or the frayed ends of a single thing, in a phenomenological sense for the understanding of cinematic epistemology. I will elaborate on these ideas later in this paper.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
an attempt to synthesize Barthesian notions of myth with Williams's theories on hegemony and cons... more an attempt to synthesize Barthesian notions of myth with Williams's theories on hegemony and construct that product as a foundation for the perpetual development of Cultural Studies, envisioned by Stuart Hall.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
The schizophrenic modes of meaning-production for the virtual arise from it being an interstitial... more The schizophrenic modes of meaning-production for the virtual arise from it being an interstitial space that mediates instead of inertly connecting that which it signifies. Virtuality is a discursive formation rife with active and plural signification – signification that is constantly in flux. Lessig’s virtual Social Contract – or, Lex Informatica – is the code that would produce referentiality between sender and receiver when a digital object signifies through the virtual. Without the Lex Informatica, the virtual is corked. In oenology (or the study and science of wine and wine-making), “corking” is a process whereby a wine is said to go bad. Corking does not refer to a situation where particles of cork float in the wine, but rather where a natural fungi that may reside in cork, comes in contact with certain chlorides present in sterilization products used in wine-making. A chemical compound called TCA is produced (Gorman-McAdams). This “cork taint” chemical becomes an interstitial element for the wine and cork while redefining and controlling the meaning of each.
Virtuality as semiosis - or the virtual as a semiotic spatiotemporal register - becomes the digital taint for a digital object’s machine meaning and meaning in language (the engineering register and linguistic register, respectively). Virtuality is a virulent “chemical” that brings about Chun’s “visual culture” and the fetish of “transparency”, but this virulence need not necessitate neo-luddite reactions.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
This is more of an editorial or think piece, reflecting on the methods of researchers developing ... more This is more of an editorial or think piece, reflecting on the methods of researchers developing the effects model in game studies (social psychology). It is heavy in the anecdotal and relies on my experiences as a gamer. I am forwarding that "expectation" is the dominant variable in linking aggressive behaviour with playing games. I contend that representational violence has little to say about aggressive response for players, but I do raise some important questions about cheating and dark play in games thwarting expectation of success such that there is an aggressive response. All just a prolegomenon for a larger project down the road.
notes on:
Gary Alan Fine – Shared Fantasy: Role-Playing Games as Social Worlds (1983)
LUDICA – ... more notes on:
Gary Alan Fine – Shared Fantasy: Role-Playing Games as Social Worlds (1983)
LUDICA – Playing Dress-Up: Costumes, Roleplay and Imagination (2007)
LUDICA – The Hegemony of Play (2007)
Tanya Sihvonen – Players Unleashed!: Modding The Sims and the Culture of Gaming (2009)
Richard Bartle – Hearts, Clubs, Diamonds, Spades: Players Who Suit MUDs (1996)
Tom Boellstorf – Coming of Age in Second Life: An Anthropologist Exploires the Virtually Human (2008)
Hector Postigo – The Socio-technical Architecture of Digital Labor: Converting play into Youtube Money (2014)
and
Matthew M. White – L2P NOOB: Examining Tutorials in Digital Games (Loading… The Journal of the Canadian Game Studies Association, Vol. 6(10): 30-52)
this was notes for a short presentation on McLuhan and his Laws of Media
*Everything uploaded to... more this was notes for a short presentation on McLuhan and his Laws of Media
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
Actor-Network Theory attempts to set aside issues of internalism versus externalism. I would sugg... more Actor-Network Theory attempts to set aside issues of internalism versus externalism. I would suggest that a subject and object articulate meaning in discourse very differently, such that it presents a problem for ANT. A thinking thing constructs meaning through F.A.C.E (formation, articulation, contemplation, and expression). An idea is formed through stimuli (perceptual, imagination, memory, or combinations of those categories). The idea is articulated within the mind through its faculties. The articulated idea is checked for coherence, such that mental glossolalia will not be expressed (those with dissociative mental conditions, withstanding). If the articulated idea is coherent then it is expressed as a notion or concept. The notion will have to go through the FACE process of meaning-production once more to become a concept. The notion implies some form of novelty whereby the mind articulating it must show how it fits into pre-existing discourse in order to become a concept. Meaning is produced by minds through a process such as FACE (this is the process I am offering). A process such as this constructs a spatiotemporal register dynamically and because of the checks on coherence, it could be argued that the process by which subjects articulate meaning is inherently based in dialectics (contemplation is a synthetic stage, converting notions to concepts is a synthetic process). Objects do not construct meaning through a process such as FACE, as the object need not prove to itself that it is rational prior to expression. As such, I have serious reservations on the viability of ANT as a methodology for explaining how meaning is produced in discourse.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
Master's Work by Adam Stangeby (Thul Husk)
*course design + syllabus* In brief summary, the preparation of a proposed syllabus for examining... more *course design + syllabus* In brief summary, the preparation of a proposed syllabus for examining the textuality of the xenomorph reveals an expansive discourse on the Alien franchise and its key figure. The Alien franchise is ever-growing , lending strength to the thesis that the xenomorph is a rich textual object of media. After completion of the reading list and assignments, the goal would be to turn to Henry Jenkins’s work on ‘fan-text poaching’ in order to distinguish the hermeneutical relationship between ‘fan texts’ and ‘franchise texts’. The xenomorph can potentially be shown to have a varied textual quality (both open and closed) depending on the media and texts in which the xenomorph is represented and discussed. This claim could prove to be valuable to the general discourse on textuality, semiotics and hermeneutics.
*Annotated Bibliography* Gears of War Judgment was released in 2013 and critics were quick to mat... more *Annotated Bibliography* Gears of War Judgment was released in 2013 and critics were quick to match the reaction of the fans of the Gears series – Epic Games had laid an egg. How can a game franchise go from legitimately competitive at the top of the industry, rivaling the top game console franchise of all time (Halo) to critical bomb ratings and total depopulation online? My project seeks to answer this question through examining modes of representation - aesthetic and cultural - created through the cinematic cut-scenes of the Gears of War games.
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Papers by Adam Stangeby (Thul Husk)
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
Shows of devotion through artistic form can be a powerful binding agent for social cohesion around particular cultural values, and fan devotion can even challenge institutionalized status quo. In fact, members of society may begin to affirm their fundamental “right” to show fan devotion to popular symbols and icons. In classical times, Zeus and Athena, for example, were not characters known as original creations of particular individuals and so their image and representation in art belonged to everyone - and everyone had a right to make an offering to them. Today, there is a “paradox of devotion” for fans where society’s cultural heroes have original creators and the right to represent them is controlled by individuals or corporations that own those rights through copyright, patent, and trademark. Humanity’s Ares has become Disney’s Darth Vader, and the people’s Pied Piper of Hamelin has become Sony’s Walter White. Today, the fan can show devotion freely, but only in licensed ways. Hence, there is a paradox in the act of devotion being one that implies unbridled freedom affectively and culturally, yet fan expression becomes limited legally via capitalist economic pressures based in postmodern industrial prerogatives, mandates, regulations, and practices.
Doctoral Work by Adam Stangeby (Thul Husk)
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
Virtuality as semiosis - or the virtual as a semiotic spatiotemporal register - becomes the digital taint for a digital object’s machine meaning and meaning in language (the engineering register and linguistic register, respectively). Virtuality is a virulent “chemical” that brings about Chun’s “visual culture” and the fetish of “transparency”, but this virulence need not necessitate neo-luddite reactions.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
http://www.philome.la/theLowBrowsing/cheat-or-elite-video-game-shooter-style
this document includes a player study, prototype design overview and postmortem.
Gary Alan Fine – Shared Fantasy: Role-Playing Games as Social Worlds (1983)
LUDICA – Playing Dress-Up: Costumes, Roleplay and Imagination (2007)
LUDICA – The Hegemony of Play (2007)
Tanya Sihvonen – Players Unleashed!: Modding The Sims and the Culture of Gaming (2009)
Richard Bartle – Hearts, Clubs, Diamonds, Spades: Players Who Suit MUDs (1996)
Tom Boellstorf – Coming of Age in Second Life: An Anthropologist Exploires the Virtually Human (2008)
Hector Postigo – The Socio-technical Architecture of Digital Labor: Converting play into Youtube Money (2014)
and
Matthew M. White – L2P NOOB: Examining Tutorials in Digital Games (Loading… The Journal of the Canadian Game Studies Association, Vol. 6(10): 30-52)
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
Master's Work by Adam Stangeby (Thul Husk)
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
Shows of devotion through artistic form can be a powerful binding agent for social cohesion around particular cultural values, and fan devotion can even challenge institutionalized status quo. In fact, members of society may begin to affirm their fundamental “right” to show fan devotion to popular symbols and icons. In classical times, Zeus and Athena, for example, were not characters known as original creations of particular individuals and so their image and representation in art belonged to everyone - and everyone had a right to make an offering to them. Today, there is a “paradox of devotion” for fans where society’s cultural heroes have original creators and the right to represent them is controlled by individuals or corporations that own those rights through copyright, patent, and trademark. Humanity’s Ares has become Disney’s Darth Vader, and the people’s Pied Piper of Hamelin has become Sony’s Walter White. Today, the fan can show devotion freely, but only in licensed ways. Hence, there is a paradox in the act of devotion being one that implies unbridled freedom affectively and culturally, yet fan expression becomes limited legally via capitalist economic pressures based in postmodern industrial prerogatives, mandates, regulations, and practices.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
Virtuality as semiosis - or the virtual as a semiotic spatiotemporal register - becomes the digital taint for a digital object’s machine meaning and meaning in language (the engineering register and linguistic register, respectively). Virtuality is a virulent “chemical” that brings about Chun’s “visual culture” and the fetish of “transparency”, but this virulence need not necessitate neo-luddite reactions.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
http://www.philome.la/theLowBrowsing/cheat-or-elite-video-game-shooter-style
this document includes a player study, prototype design overview and postmortem.
Gary Alan Fine – Shared Fantasy: Role-Playing Games as Social Worlds (1983)
LUDICA – Playing Dress-Up: Costumes, Roleplay and Imagination (2007)
LUDICA – The Hegemony of Play (2007)
Tanya Sihvonen – Players Unleashed!: Modding The Sims and the Culture of Gaming (2009)
Richard Bartle – Hearts, Clubs, Diamonds, Spades: Players Who Suit MUDs (1996)
Tom Boellstorf – Coming of Age in Second Life: An Anthropologist Exploires the Virtually Human (2008)
Hector Postigo – The Socio-technical Architecture of Digital Labor: Converting play into Youtube Money (2014)
and
Matthew M. White – L2P NOOB: Examining Tutorials in Digital Games (Loading… The Journal of the Canadian Game Studies Association, Vol. 6(10): 30-52)
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.
These two historical accounts provide compelling insight into the operations of the film industry of the United States in the 1930s and 40s. The separate accounts share an understanding of how particular historiographical explanatory arguments structure history, but each account puts a different emphasis on these arguments.
and the film text. The Emergo and Percepto moments act to disintegrate the insulation of the profilmic from the exterior of the frame in the most direct manner - by connecting the diegetic space with the space of the cinema theatre. The containment and separation of enframing most effectively
broken down by the Castle gimmick (whether they be subtle like Macabre or overt like The Tingler) were then also the films which received higher critical praise and were overall the most effective films stylistically (unobtrusive system). (**typo in paper, replace Hegelian with Heideggerian**)
new ‘Renoir’. ‘Humanism’, ‘naturalism’, ‘realism’ have an important place within Renoir’s work, but his humanism can often be countered by his cynicism, his naturalism by his artifice and his realism by his psychology as they are all important to the unity and ‘oneness’ of his personal
philosophy.
is to say, that a subject within a constantly shifting context experiences a fragmented operational process of existence. I would like to suggest that this is where ideology can be located in the apparatus - in its refusal to be the subject of its self-manifesting (ie. natural) constantly shifting context. The apparatus denies its fragmentary nature of existence (ie. the denial of difference) by rendering itself object and thus becomes an osmotic barrier for the transmission and transformation of ideology. The apparatus objectifies itself to retain control of continuity of its operations within its
fundamental nature to fragment - staving off the possibility of a schizophrenic rupture to its operational signifying processes.
year in 1998 having left a distinct imprint on the world of animation; he was more than just a talented animator grinding out frames at the workbench - Vukotic was an inspiring leader,
accomplished theorist, gifted innovator and staunch advocate of personal vision and freedom that rendered his professional career a blessing to Yugoslavia and the world. It is no wonder then that Vukotic claimed the first Academy Award for animation awarded outside the United States, for his clever short, Surogat, produced the same year, in 1961. Through the work of Dusan Vukotic and his influence within the Zagreb school, it is possible to trace Yugoslavian animation’s
connection and coordination with narrative film movements of coinciding chronology, especially with respect to ‘Novi film’ also known as “The Black Wave”.
Jan Svankmajer – Dimension of Dialogue/ Between Film and Fine Art ed. Frantisek Dryje and Bertrand Schmitt. Revnice: Arbor Vitae, 2012. 508 pages. $49.95, paperback.
Excerpt:
The most interesting piece is perhaps a short essay entitled, On the Authenticity of Art, where Svankmajer suggests that authentic works of art are those that come closest to the work of nature and that each conscious intervention by humans threatens the authenticity of the work. Svankmajer claims that the most authentic works of art are automatic texts, such as cave drawings. This piece is revealing as Svankmajer comments that his intention as an artist is to ‘fossilize’ artefacts of civilization. In this respect there is a great tension between Svankmajer’s engineering artistic efforts as totally inauthentic with his production of artistic artefacts which have the quality of being authentic fossils of civilization.
Stuck in the Middle with You – Consumer Ethical Interpolations on Policy in the Digital Game Complex
While driving through Liberty City, expat from the Yugoslavian War, and now mercenary-for-hire, Niko Bellic, is afforded the option of listening to a variety of themed radio stations. Between songs, an advertisement for Koala Brand toilet paper runs instructing the listener to use the product and “tell Australia what we really think of them”. The average player of Rockstar’s Grand Theft Auto 4 (2008) may miss the nuances of the sneer and choose to change the station for Niko and find a song that fits the mood of the moment, but Rockstar was not careless in forwarding their disdain through representations in game content. The toilet paper spot references the 2001 decision by the Australian government’s Classification Review Board to deny GTA III a classification rating (Finn, 102). This decision reflected policy which would affect the distribution, and later consumption of the game, as well as having an inevitable impact on future production (as the radio ad for the sequel game attests to). Mark Finn considers the consequences of policy when it is so powerful that only hegemon game studios such as Rockstar are able to find creative challenges and openly question the currency and logic of decision-making justifications. This is a single case study among several, analyzed by the authors of the Video Game Policy anthology, edited by Steven Conway and Jennifer deWinter.