Henry Lowood
Stanford University, University Libraries, Department Member
Celia Pearce is a game designer, author, researcher, teacher, curator and artist, specializing in multiplayer gaming and virtual worlds, independent, art, and alternative game genres, as well as games and gender. She began designing... more
Celia Pearce is a game designer, author, researcher, teacher, curator and artist, specializing in multiplayer gaming and virtual worlds, independent, art, and alternative game genres, as well as games and gender. She began designing interactive attractions and exhibitions in 1983, and has held academic appointments since 1998. Her game designs include the award-winning virtual reality attraction Virtual Adventures (for Iwerks and Evans & Sutherland) and the Purple Moon Friendship Adventure Cards for Girls. She received her ...
Research Interests: Art, Digital Media, Video Games, Atlanta, Material, and 3 moreModding, Video Game Genres, and Platforms
Livre: The machinima reader (hardback) LOWOOD Henry, NITSCHE Michael.
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CloudPad – a cloud-based documentation and archiving tool for mixed reality artworks Gabriella Giannachi Centre for Intermedia University of Exeter Exeter, UK, EX4 4LA g.giannachi@exeter.ac.uk Henry Lowood Stanford Libraries Stanford... more
CloudPad – a cloud-based documentation and archiving tool for mixed reality artworks Gabriella Giannachi Centre for Intermedia University of Exeter Exeter, UK, EX4 4LA g.giannachi@exeter.ac.uk Henry Lowood Stanford Libraries Stanford University Stanford, CA 943056004 lowood@stanford.edu Duncan Rowland, Steve Benford, Dominic Price Mixed Reality Lab University of Nottingham Nottingham, UK, NG81BB {dar, sdb, djp}@cs.nott.ac.uk
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The future of computer game history lies in preservation. Most work has focused on the collection and maintenance of completed games, both digital and physical, but for game history to mature we need to look beyond singular objects and... more
The future of computer game history lies in preservation. Most work has focused on the collection and maintenance of completed games, both digital and physical, but for game history to mature we need to look beyond singular objects and venture deeper into games’ development history. There is a problem, however, in that most development practice and technique is hidden, either by corporate opacity or a lack of basic techniques for preserving game development documentation. Three issues stand in the way: first, while game studies needs access to documentation, and game developers want to see their work remembered (and perhaps later “remastered”), little work has been done to promote this common cause; second, archives and cultural repositories need guidance from game studies practitioners and game designers in strategies for interpreting development documentation; and third, game developers need to organize their process and documentation outputs with an understanding of future preser...
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This paper is an edited version of the International Game Developers Association's Game Preservation Special Interest Group's recent white paper. The specific threats to preserving digital games are outlined, as is the... more
This paper is an edited version of the International Game Developers Association's Game Preservation Special Interest Group's recent white paper. The specific threats to preserving digital games are outlined, as is the importance of games as cultural objects. The current strategies for preservation across a range of stakeholders are presented followed by an argument for why preservation matters to industry and what industry can contribute. Finally, the unique potential relationship between academia and industry in this matter is explored ...
McDonough, J., Olendorf, R., Kirschenbaum, M., Kraus, K., Reside, D., Donahue, R., Phelps, A., Egert, C., Lowood, H., & Rojo, S. (2010). Preserving Virtual Worlds Final Report. ... Copyright (c) 2010 Jerome McDonough, Rob Olendorf,... more
McDonough, J., Olendorf, R., Kirschenbaum, M., Kraus, K., Reside, D., Donahue, R., Phelps, A., Egert, C., Lowood, H., & Rojo, S. (2010). Preserving Virtual Worlds Final Report. ... Copyright (c) 2010 Jerome McDonough, Rob Olendorf, Matthew Kirschenbaum, Kari Kraus, Douglas Reisde, Rachel Donahue, Andrew Phelps, Chris Egert, Henry Lowood and Susan Rojo. This report is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 license. ... Items in IDEALS are protected by copyright, with all rights reserved, unless ...
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Abstract This article introduces an original documentation and archiving tool, CloudPad, that integrates 'cloud computing'into the annotation and synchronisation of mixed media... more
Abstract This article introduces an original documentation and archiving tool, CloudPad, that integrates 'cloud computing'into the annotation and synchronisation of mixed media resources. Through CloudPad users are able to view a documentation, edit a version of it, and record their own comments in response to it. Whether users may have created and/or experienced a particular work, or whether they may simply wish to consult a work's documentation, their journey through these records and annotations are subsumed into ...
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This volume wea. GS Rousseau's writings on the margins of traditional studies of the eighteenth century and the crucial domain of social anthropology, an intersection which has transformed thinking about the Enlightenment in our... more
This volume wea. GS Rousseau's writings on the margins of traditional studies of the eighteenth century and the crucial domain of social anthropology, an intersection which has transformed thinking about the Enlightenment in our time. GS Rousseau approaches the discourses of ...
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This book, like the May 2008 conference in World of Warcraft, ends with projections toward what the future might hold for virtual worlds. Every chapter thus far has included speculations about future directions, even while standing on... more
This book, like the May 2008 conference in World of Warcraft, ends with projections toward what the future might hold for virtual worlds. Every chapter thus far has included speculations about future directions, even while standing on data from the past. This last chapter, like the final session of the conference on which it is based, incorporates comments from dozens of participants into a stream of ideas. We have edited selected comments together with the panel’s contributions. Our intention is to provide a portal from this book into a wider virtual community comprising researchers and residents in virtual worlds. The discussion surveys many recent lines of development, some of which have already been surveyed in scientific and historical literature, or by journalists (Au 2008; Castronova 2007; Guest 2007; Ludlow and Wallace 2007). Yet, many of the topics here have not received such attention. Considered as a set of socio-technical innovations, virtual worlds are not just about technical possibilities; they also inspired the participants to consider the economic bases for investing in those possibilities and the novel cultural, social, and artistic forms virtual worlds might offer.
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[I] t is probable, but not proven, that play at video games accustoms the player to the kind of activity that computers also require. One must sit down in front of a computer-like object and manage it in much the same way by levers and... more
[I] t is probable, but not proven, that play at video games accustoms the player to the kind of activity that computers also require. One must sit down in front of a computer-like object and manage it in much the same way by levers and controls that a computer is managed. As in the case of the computer, there is immediate feedback for right and wrong choices. The management system of both game and computer are thus similar. It would be surprising if skill at one did not transfer to skill at the other; or if the attitude of being at ease with one ...
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It is easy to provoke debate by posing a simple question, such as," Are digital games a form of art?" A less controversial observation would be that it takes a lot of artists to make a digital game. This dichotomy between the theoretical... more
It is easy to provoke debate by posing a simple question, such as," Are digital games a form of art?" A less controversial observation would be that it takes a lot of artists to make a digital game. This dichotomy between the theoretical exercise and the practical observation frames my interest in the creative player.
Celia Pearce is a game designer, author, researcher, teacher, curator and artist, specializing in multiplayer gaming and virtual worlds, independent, art, and alternative game genres, as well as games and gender. She began designing... more
Celia Pearce is a game designer, author, researcher, teacher, curator and artist, specializing in multiplayer gaming and virtual worlds, independent, art, and alternative game genres, as well as games and gender. She began designing interactive attractions and exhibitions in 1983, and has held academic appointments since 1998. Her game designs include the award-winning virtual reality attraction Virtual Adventures (for Iwerks and Evans & Sutherland) and the Purple Moon Friendship Adventure Cards for Girls.
ABSTRACT Library and archival literature often points to the audio-visual and other non-text preservation communities as leaders in envisioning new, digitally driven curation methods and practices. A closer look, however, reveals that the... more
ABSTRACT Library and archival literature often points to the audio-visual and other non-text preservation communities as leaders in envisioning new, digitally driven curation methods and practices. A closer look, however, reveals that the majority of such institutions and key practitioners–both commercial and not-for-profit–remain committed to 19th century conservation theory and models.
[I] t is probable, but not proven, that play at video games accustoms the player to the kind of activity that computers also require. One must sit down in front of a computer-like object and manage it in much the same way by levers and... more
[I] t is probable, but not proven, that play at video games accustoms the player to the kind of activity that computers also require. One must sit down in front of a computer-like object and manage it in much the same way by levers and controls that a computer is managed. As in the case of the computer, there is immediate feedback for right and wrong choices. The management system of both game and computer are thus similar.
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ABSTRACT Thesis (Ph. D.)--University of California, Berkeley, 1987. Includes bibliographical references (leaves 401-404). Microfilm. s
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Biography provides an interesting metaphor for a survey of computer game history. After all, the computer game was born in the early 1960s, so it has only just entered middle age. Even if we located the origins of the computer game near... more
Biography provides an interesting metaphor for a survey of computer game history. After all, the computer game was born in the early 1960s, so it has only just entered middle age. Even if we located the origins of the computer game near the invention of electronic computing, its entire history would easily fit within a human life span. This biography of the computer game is rooted in an observation made by Loftus and Loftus more than 20 years ago:“Video games are fundamentally different from all other games in history because of the computer ...
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The Game Preservation Special Interest Group was founded in 2004, only five years ago. Even in that short time, however, interest in the preservation of digital games and virtual worlds has intensified remarkably. Today, cultural... more
The Game Preservation Special Interest Group was founded in 2004, only five years ago. Even in that short time, however, interest in the preservation of digital games and virtual worlds has intensified remarkably. Today, cultural institutions such as universities, libraries, and museums have begun to collect, display, and make available artifacts of game culture, and opportunities for the practical or critical study of game content and technology are increasing rapidly. Game studies, a field that barely existed ten years ago, now boasts of ...
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Abstract Since libraries have historically granted free access to a wide range of materials and services, providing video games and gaming events is simply another way for libraries to meet public needs and expectations for an extremely... more
Abstract Since libraries have historically granted free access to a wide range of materials and services, providing video games and gaming events is simply another way for libraries to meet public needs and expectations for an extremely popular resource. Video game-based programs, in particular, have become the most common way for libraries to provide access for patrons. However, though gaming programs are growing in popularity, they often exist as standalone events, separate from all other areas of library service.
Perhaps Nintendo owes much of its success to Mario—the cheerful Italian plumber and his brother Luigi have heralded the release of every Nintendo home-console with a groundbreaking game bearing their names. Sega too enlisted a mascot,... more
Perhaps Nintendo owes much of its success to Mario—the cheerful Italian plumber and his brother Luigi have heralded the release of every Nintendo home-console with a groundbreaking game bearing their names. Sega too enlisted a mascot, Sonic the Hedgehog, as its# 1 salesman; Sonic's bad-boy attitude gave Sega personality while distinguishing it as a more mature console than Mario's Nintendo.
Shigeru Miyamoto, creator of such classics as Mario, Zelda, and Donkey Kong, has for over two decades shown the world his idea of fun not just in his oddball dancing bouts, but in his video games as well. His games have undoubtedly shaped... more
Shigeru Miyamoto, creator of such classics as Mario, Zelda, and Donkey Kong, has for over two decades shown the world his idea of fun not just in his oddball dancing bouts, but in his video games as well. His games have undoubtedly shaped and still influence today s video game industry. They easily serve as the high standard of video game design and have served as such since Miyamoto s first creation.
Every game borrows from its predecessors. Just as today's first person shooters such as Quake or Counterstrike fall into a category originally defined by games such as Doom or Wolfenstein 3-D, today's online role-playing games are the... more
Every game borrows from its predecessors. Just as today's first person shooters such as Quake or Counterstrike fall into a category originally defined by games such as Doom or Wolfenstein 3-D, today's online role-playing games are the result of a long history of crucial developments.
SquareSoft is one of the most important and significant names in the gaming industry, especially in terms of innovation and profitability. Square's games make headlines, sell systems, and generate enormous buzz. The company has become... more
SquareSoft is one of the most important and significant names in the gaming industry, especially in terms of innovation and profitability. Square's games make headlines, sell systems, and generate enormous buzz. The company has become synonymous with role-playing games, and unfailingly creates games, such as the Final Fantasy series, that are constantly innovative and one step ahead of the competition.
Aerobiz Supersonic from the Koei Corporation arguably has to be one of the best turn-based strategy simulation games ever made; however, it also has to be one of the least well known. Unlike other similar games like Maxis' SimCity (1989)... more
Aerobiz Supersonic from the Koei Corporation arguably has to be one of the best turn-based strategy simulation games ever made; however, it also has to be one of the least well known. Unlike other similar games like Maxis' SimCity (1989) or Microprose's Civilization (1991), Aerobiz Supersonic stood out and emerged as a strategy simulation that had a little bit of everything: business strategy, addictive game-play, educational value, and multiplayer capabilities.
In the past few years, a new genre of gaming matured for the mass market–the genre of Massively-Multiplayer-Online-Games (MMOGs). Games like Ultima Online, Everquest, Asheron's Call, and the others that followed blurred the line between... more
In the past few years, a new genre of gaming matured for the mass market–the genre of Massively-Multiplayer-Online-Games (MMOGs). Games like Ultima Online, Everquest, Asheron's Call, and the others that followed blurred the line between gaming and reality. No longer could the player save his progress at any stage, shut down the game, and return to it later to find it in the same state. The virtual worlds of these MMOGs were persistent–life moved on even if some players were offline.
" imitation of reality was not the Holy Grail that I had previously perceived it to be. Instead, it struck me that any visual artist, CG animators and artists included, must strive for deeper meaning. Style (impressionistic,... more
" imitation of reality was not the Holy Grail that I had previously perceived it to be. Instead, it struck me that any visual artist, CG animators and artists included, must strive for deeper meaning. Style (impressionistic, expressionistic, photorealistic, etc.) and media (watercolor, charcoal, photochemical, etc.) are secondary to this goal, and, in fact, meaningless without such motivation. What affects viewers are not solely the images—fresh or exciting as they may be—but rather the ideas, emotional content, mood, tone and timbre of their contents."
From its inauspicious beginnings as a term to describe computer programmers who were exceptionally skilled at their chosen line of work, the label “hacker” has taken on almost mythical proportions. The simplest evolution experienced thus... more
From its inauspicious beginnings as a term to describe computer programmers who were exceptionally skilled at their chosen line of work, the label “hacker” has taken on almost mythical proportions. The simplest evolution experienced thus far is that the connotation of the word has shifted towards those who use their abilities for malicious ends, forcing their way into seemingly secure systems with little regard for anything besides their own amusement, but this is hardly the extent of the transformation.
The general consensus among players of the Massively Multiplayer Online RPG (MMORPG) Everquest is that the elements of escapism, the fantasy element, stress relief, and online society constitute the main appeal of the game 1. In other... more
The general consensus among players of the Massively Multiplayer Online RPG (MMORPG) Everquest is that the elements of escapism, the fantasy element, stress relief, and online society constitute the main appeal of the game 1. In other words, the game allows them to do what they would not ordinarily be able to do; it permits any player from anywhere in the world to transgress the limits of the corporeal and assert almost complete control of the definition of their online persona, or “avatar”.