Digital Aesthetics Research Center (DARC) is committed to research the relationship of art and aesthetics to the culture and future development of information technology.
|28. November 2012|
NB: The time of the defense is moved to 10-13 (same date and place)
Rikke Toft Nørgård defends her Ph.D. thesis on digital games, gameplay and gameplayers entitled Gameplay Corporeality: the corporeal-locomotive dimension in gameplay activity and experience
28 November 2012, 10-13
The Peter Bøgh Andersen Auditorium, Nygaard bygn. Helsingforsgade 14, 8200 Aarhus N
Gameplay Corporeality: the corporeal-locomotive dimension in gameplay activity and experience
The thesis introduces the gameplayer’s bodily activity and experience as a significant, qualitative and meaningful dimension into game studies. This is done through investigating corporeal locomotion during gameplay, i.e. the gameplayer’s bodily activity and experience, in longitudinal empirical studies, across a variety of digital games and platforms, of gameplayers in gameplay. The thesis explores how gameplayers as (kin)aesthetic bodies experience the joy of doing and develop craftsmanship skills through taking corporeal-locomotive ownership of their ‘gameplay craft’ – be it in the gameworld of World of Warcraft, Starcraft, Battlefield, Rock Band, Tetris or Angry Birds. The thesis thus attempts to break new ground by investigating how being a player is expressed and experienced as being a body engaged and absorbed in corporeal-locomotive play – something that have hitherto received little attention within studies of games, gameplay and gameplayers. Therefore, Gameplay Corporeality tries to advance this new research field within game studies; a field that emphasizes the aliveness, presence, engagement and absorption of gameplayer as a corporeal-locomotive being. The studies in this thesis are among the first to explore and investigate gameplay corporeality, that is, the bodily activities and experiences of gameplayers, the corporeal-locomotive design, composition and choreography of gameworlds and the corporeal-locomotive dimension in gameplay activity and experience, as something that carries essential qualities and important meanings within it.
Henrik Smed Nielsen
Digital Aesthetic Research Center, 2012, 278 pp.
DKK 150,- / EUR 20,-
Available here as paperback: http://www.amazon.co.uk/Playing-Computer-Games-Somatic-Experience/dp/8791810213/ref=sr_1_1?ie=UTF8&qid=1347860511&sr=8-1
Download pdf here.
First written as a PhD dissertation in 2011, the book investigates the bodily dimension of the computer game experience – based on the overarching thesis that computer game-play is a bodily founded and bodily savoured activity. Apart from the ‘trivial’ fact that the player needs a body in order to grasp the controller, the player also senses his/her body working through the visceral ‘feel’ of the game. Assuming a phenomenological and somaesthetic perspective, the book addresses the bodily experience of playing computer games, theoretically and analytically covering the spectrum from ‘traditional’ controller-based computer game experiences to ones that require ‘full body’ gestures. Simultaneously being bodily engaged in the game and reflectively aware of this engagement (a somatic experience and an experience of the somatic) is suggested as the aesthetic form that computer games rely on, as well as play with.
|16. September 2012|
Speaking Code: Coding as Aesthetic and Political Expression (MIT Press) examines the expressive and performative aspects of programming; alternatives to mainstream development, from performances of the live-coding scene to the organizational forms of commons-based peer production; the democratic promise of social media and their paradoxical role in suppressing political expression; and the market’s emptying out of possibilities for free expression in the public realm.
Presented by Geoff Cox in conversation with Constant, with Alex McLean (code), Franco Berardi (video), introduced and moderated by Joasia Krysa.