DOCSLIB.ORG

ABSTRACT Hulsey, Nathan Lamar. for Play

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ABSTRACT Hulsey, Nathan Lamar. for Play ABSTRACT Hulsey, Nathan Lamar. For Play: Gamification and Everyday Life. (Under the direction of Dr. Adriana de Souza e Silva.) This study undertakes the analysis of gamification in the context of everyday life. Everyday life can be defined as the tactics used by subjects to navigate and find meaning in (or through) strategically deployed modes of power. Gamification uses game mechanics to promote engagement with applications, alter behaviors and collect, display and contextualize data. Gamified design represents a seductive strategy that utilizes play to promote control in the form of ludic protocol. Additionally, it is an ideological and design-based approach to surveillance that eschews disciplinary techniques of control; rather, gamification uses seduction, in the forms of games and play, to encourage people to perform, track and submit to the data of everyday life. This dissertation examines gamification from ontological, epistemological and affective angles. Additionally, it uses historical examples of pre- gamified technologies and techniques to explore gamification effect on environments, bodies and spaces. © Copyright 2015 Nathan Lamar Hulsey All Rights Reserved For Play: Gamification and Everyday Life by Nathan Lamar Hulsey A dissertation submitted to the Graduate Faculty of North Carolina State University in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Communication, Rhetoric and Digital Media Raleigh, North Carolina 2015 APPROVED BY: _______________________________ _______________________________ Dr. Adriana de Souza e Silva, Dr. Nick Taylor Committee Chair _______________________________ _______________________________ Dr. Rebecca Walsh Dr. Steve Wiley DEDICATION This dissertation is dedicated to my supportive parents and my closest friend. ii BIOGRAPHY Nathan Hulsey is a doctoral candidate at the Communication, Rhetoric and Digital Media programs where he is active in Media and Game Studies. He received his Master of Arts in Journalism and Mass Communication at the University of Alabama, where he studied information use and community media in virtual environments. Currently, he studies media history, design, user experience and surveillance in the context of games and play. iii ACKNOWLEDGMENTS I would like to thank my parents, Vicki and Terry, who supported me throughout this long journey. Thanks to my committee and my chair, who read many drafts of this and provided valuable feedback. Thanks also to my friend and partner Aliyah, who also read these drafts and encouraged me throughout the process. iv TABLE OF CONTENTS LIST OF FIGURES .............................................................................................................. vii Introduction ............................................................................................................................. 1 Literature Review ............................................................................................................... 9 Research Questions ........................................................................................................... 14 Method ............................................................................................................................... 17 Chapter Contents .............................................................................................................. 24 CHAPTER 1—Game Studies and Gamification ............................................................... 31 Games and Power ............................................................................................................. 34 Gaming and Production ................................................................................................... 49 Conclusion ......................................................................................................................... 63 CHAPTER 2—Defining Gamification ................................................................................ 66 Resituating Games and Play ............................................................................................ 71 Ambiguous Play: Taking the Fun out Gaming .............................................................. 85 A (Brief) History of Gamification .................................................................................... 91 Gamification of Culture ................................................................................................. 111 Conclusion ....................................................................................................................... 116 CHAPTER 3—Gamification, Power and Networks ........................................................ 121 It’s Gaming Cats and Dogs ............................................................................................ 125 Gamification and Biopolitics .......................................................................................... 131 Gamification and Network Architecture ...................................................................... 136 Gamified Ecology ............................................................................................................ 140 Gamification, Technogenesis and Environment .......................................................... 145 Conclusion ....................................................................................................................... 151 CHAPTER 4—Gamified Health and Bodies .................................................................... 154 Wearable Technology, Health Protocol and Games .................................................... 156 Quantified Living and the Quantified Subject ............................................................. 176 Conclusion ....................................................................................................................... 189 CHAPTER 5—Gamespace, Simulation and Gamification ............................................. 192 Gamification, Gamespace and the GUIs ....................................................................... 197 Radar Games: Spatial Monitoring and Spatial Play ................................................... 203 v Mathematical Marketing: Spacewar, Nimbi and Simulation-Based Spatial Software ........................................................................................................................................... 210 Gamespace and Seductive Network Architecture ....................................................... 225 Conclusion ....................................................................................................................... 245 Contributions to Research ............................................................................................. 257 Limitations and Future Research .................................................................................. 261 REFERENCES .................................................................................................................... 264 vi LIST OF FIGURES Figure 1: A screenshot of CLUE’s interface as it appears on the iOS. Individualized reporting generates a monthly readout displaying the contingencies of a woman’s reproductive cycle including fertility, diet, mood, sexual activity and personal experience. The data that is generated by CLUE is also used by third party clients who provide the revenue for CLUE, since it is a free application (Source: www.helloclue.com).................................................. 158 Figure 2: The Power Glove was notoriously inaccurate for controlling NES games. At the same time, it also demonstrated that 3D movement harnessed for game control was possible. Later iterations of kinetic, 3D motion controls were successful, most notably for the best- selling Nintendo Wii console (Source: Wikimedia Commons). ........................................... 164 Figure 3: Spacewar running on the PDP-1. The stacks of paper cards to the side were required to run and alter the program. This version of Spacewar was the first mass- distributed computer game. Its immediate similarity to a radar screen is noticeable (Source: Wikimedia Commons). ......................................................................................................... 212 Figure 4: Game of Life running on an early computer, circa 1970. Left to run, the screen will eventually fill with a thriving digital ‘world’ complete with autonomous cellular agents (Source: Wikimedia Commons). .......................................................................................... 223 Figure 5: The Strava application as it appears on the iOS operating system. Notice the location-based information readouts directly correlate to a complex readout of physical activity and the social readout of players’ activities, awards and points for completed tasks. (Source: Strava.com)............................................................................................................. 242 vii Introduction Video games have become nearly ubiquitous media in contemporary American life. According to the 2015 Electronic Software Association, digital games sales in the U.S. totaled $15.4 billion and 54% of total U.S. consumers played games (Marshall, 1999). Additionally, the average age of gamer is 35, with a substantial increase in adult and female gamers who now comprise over 44% of the total market share (Marshall, 1999). Digital games comprised a 91% use rate among U.S. children and teenagers ages 8-17 in 2013 (Callahan,
Load more

Recommended publications
  • Empirical Investigation on Measurement of Game Immersion Using Real World Dissociation Factor
    Thesis no: MSCS-2016-13 Empirical Investigation on Measurement of Game Immersion using Real World Dissociation Factor Gadila Swarajya Haritha Reddy Faculty of Computing Blekinge Institute of Technology SE–371 79 Karlskrona, Sweden This thesis is submitted to the Faculty of Computing at Blekinge Institute of Technology in partial fulfillment of the requirements for the degree of Master of Science in Computer Science. The thesis is equivalent to 20 weeks of full time studies. Contact Information: Author(s): Gadila Swarajya Haritha Reddy E-mail: [email protected] University advisor: Prof. Sara Eriksén Department of Creative Technologies Faculty of Computing Internet : www.bth.se Blekinge Institute of Technology Phone : +46 455 38 50 00 SE–371 79 Karlskrona, Sweden Fax : +46 455 38 50 57 Abstract Context. Games involve people to a large extent where they relate them- selves with the game characters; this is commonly known as game immer- sion. Generally, some players play games for enjoyment, some for stress relaxation and so on.Game immersion is usually used to describe the degree of involvement with a game. When people play games, they don’t necessar- ily realize that they have been dissociated with the surrounding world. Real world dissociation (RWD) can be defined as the situation where a player is less aware of the surroundings outside the game than about what is happen- ing in the game itself. The RWD factor has been expected to measure the losing track of time, lack of awareness of surroundings and mental trans- portation. Objectives. In this thesis, we measure and compare the difference in game immersion between experienced and inexperienced players using RWD fac- tor.
    [Show full text]
  • Invisible Labor, Invisible Play: Online Gold Farming and the Boundary Between Jobs and Games
    Vanderbilt Journal of Entertainment & Technology Law Volume 18 Issue 3 Issue 3 - Spring 2016 Article 2 2015 Invisible Labor, Invisible Play: Online Gold Farming and the Boundary Between Jobs and Games Julian Dibbell Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Internet Law Commons, and the Labor and Employment Law Commons Recommended Citation Julian Dibbell, Invisible Labor, Invisible Play: Online Gold Farming and the Boundary Between Jobs and Games, 18 Vanderbilt Journal of Entertainment and Technology Law 419 (2021) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol18/iss3/2 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. VANDERBILT JOURNAL OF ENTERTAINMENT & TECHNOLOGY LAW VOLUME 18 SPRING 2016 NUMBER 3 Invisible Labor, Invisible Play: Online Gold Farming and the Boundary Between Jobs and Games Julian Dibbell ABSTRACT When does work become play and play become work? Courts have considered the question in a variety of economic contexts, from student athletes seeking recognition as employees to professional blackjack players seeking to be treated by casinos just like casual players. Here, this question is applied to a relatively novel context: that of online gold farming, a gray-market industry in which wage-earning workers, largely based in China, are paid to play fantasy massively multiplayer online games (MMOs) that reward them with virtual items that their employers sell for profit to the same games' casual players.
    [Show full text]
  • MARIO PARTY DS Panel on the Nintendo DS Menu Screen, Or Press the a Button, and the Game Will Start with the Title Screen Displayed
    NTR-A8TP-UKV INSTRUCTIONINSTRUCTION BOOKLETBOOKLET (CONTAINS(CONTAINS IMPORTANTIMPORTANT HEALTHHEALTH ANDAND SAFETYSAFETY INFORMATION)INFORMATION) [0610/UKV/NTR] WIRELESS DS SINGLE-CARD DOWNLOAD PLAY THIS GAME ALLOWS WIRELESS MULTIPLAYER GAMES DOWNLOADED FROM ONE GAME CARD. This seal is your assurance that Nintendo 2–4 has reviewed this product and that it has met our standards for excellence This product uses the LC Font by Sharp Corporation. LCFONT, LC Font and the LC logo mark in workmanship, reliability and are trademarks of Sharp Corporation. entertainment value. Always look for this seal when buying games and accessories to ensure complete com- patibility with your Nintendo Product. Thank you for selecting the MARIO PARTY™ DS Game Card for Nintendo DS™ systems. IMPORTANT: Please carefully read the important health and safety information included in this booklet before using your Nintendo DS system, Game Card, Game Pak or accessory. Please read this Instruction Booklet thoroughly to ensure maximum enjoyment of your new game. Important warranty and hotline information can be found in the separate Age Rating, Software Warranty and Contact Information Leaflet. Always save these documents for future reference. This Game Card will work only with Nintendo DS systems. IMPORTANT: The use of an unlawful device with your Nintendo DS system may render this game unplayable. © 2007 NINTENDO. © 2007 HUDSON SOFT. TM, ® AND THE NINTENDO DS LOGO ARE TRADEMARKS OF NINTENDO. © 2007 NINTENDO. Contents Story 5 Characters 6 Basic Touch Screen Operation 8 Getting Started 9 Controls 12 Game Modes 14 Understanding the Display 15 How the Game Works 16 Story Mode (1 Player) 23 Party Mode (1 – 4 Players) 24 The Party Boards 27 Minigame Mode (1– 4 Players) 30 Puzzle Mode (1– 2 Players) 35 Multiplayer (2 – 4 Players) 36 Gallery 40 Minigame Lists 42 4 Story It all happened late one night..
    [Show full text]
  • DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES a Dissertation Submitted in Partial Satisfaction of the Requirements for the Degree Of
    UNIVERSITY OF CALIFORNIA SANTA CRUZ CHANGEFUL TALES: DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Aaron A. Reed June 2017 The Dissertation of Aaron A. Reed is approved: Noah Wardrip-Fruin, Chair Michael Mateas Michael Chemers Dean Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright c by Aaron A. Reed 2017 Table of Contents List of Figures viii List of Tables xii Abstract xiii Acknowledgments xv Introduction 1 1 Framework 15 1.1 Vocabulary . 15 1.1.1 Foundational terms . 15 1.1.2 Storygames . 18 1.1.2.1 Adventure as prototypical storygame . 19 1.1.2.2 What Isn't a Storygame? . 21 1.1.3 Expressive Input . 24 1.1.4 Why Fiction? . 27 1.2 A Framework for Storygame Discussion . 30 1.2.1 The Slipperiness of Genre . 30 1.2.2 Inputs, Events, and Actions . 31 1.2.3 Mechanics and Dynamics . 32 1.2.4 Operational Logics . 33 1.2.5 Narrative Mechanics . 34 1.2.6 Narrative Logics . 36 1.2.7 The Choice Graph: A Standard Narrative Logic . 38 2 The Adventure Game: An Existing Storygame Mode 44 2.1 Definition . 46 2.2 Eureka Stories . 56 2.3 The Adventure Triangle and its Flaws . 60 2.3.1 Instability . 65 iii 2.4 Blue Lacuna ................................. 66 2.5 Three Design Solutions . 69 2.5.1 The Witness ............................. 70 2.5.2 Firewatch ............................... 78 2.5.3 Her Story ............................... 86 2.6 A Technological Fix? .
    [Show full text]
  • Literary, Subsidiary, and Foreign Rights Agents
    Literary, Subsidiary, and Foreign Rights Agents A Mini-Guide by John Kremer Copyright © 2011 by John Kremer All rights reserved. Open Horizons P. O. Box 2887 Taos NM 87571 575-751-3398 Fax: 575-751-3100 Email: [email protected] Web: http://www.bookmarket.com Introduction Below are the names and contact information for more than 1,450+ literary agents who sell rights for books. For additional lists, see the end of this report. The agents highlighted with a bigger indent are known to work with self-publishers or publishers in helping them to sell subsidiary, film, foreign, and reprint rights for books. All 325+ foreign literary agents (highlighted in bold green) listed here are known to work with one or more independent publishers or authors in selling foreign rights. Some of the major literary agencies are highlighted in bold red. To locate the 260 agents that deal with first-time novelists, look for the agents highlighted with bigger type. You can also locate them by searching for: “first novel” by using the search function in your web browser or word processing program. Unknown author Jennifer Weiner was turned down by 23 agents before finding one who thought a novel about a plus-size heroine would sell. Her book, Good in Bed, became a bestseller. The lesson? Don't take 23 agents word for it. Find the 24th that believes in you and your book. When querying agents, be selective. Don't send to everyone. Send to those that really look like they might be interested in what you have to offer.
    [Show full text]
  • Sjwizzut 2014 Antwoorden
    SJWizzut 2014 SJWizzut 2014 SJWizzut 2014 Welkom & Speluitleg Welkom… Fijn dat je mee doet aan de eerste SJWizzut … Naast deze avond waarop je vragen zo snel en goed mogelijk moet beantwoorden, mogen alle teamleden GRATIS naar onze Feestavond (uitslagavond) komen. Aangezien er een verschil zit tussen GRATIS en VOOR NIKS….kom je deze avond GRATIS…maar niet VOOR NIKS… Gezellig bij praten met de andere teams en haar teamleden… Het ‘ophalen’ van de uitslag en horen van sommige antwoorden… Maar bovenal een super gezellige avond met een LIVE BAND (Blind Date). Regeltjes Zoals bij elke quiz hebben wij ook regels…lees deze rustig door om zo goed mogelijk je vragen te kunnen beantwoorden en de hoogste score te bereiken. Wanneer wordt een antwoord goed gerekend? Simpel: als het antwoord goed is. Daarnaast gelden de volgende geboden: • Vul de antwoorden in op de grijze kaders van dit vragenboekje. Zoals deze… • Schrijf duidelijk. Aan niet of slecht leesbare antwoorden worden geen punten toegekend. • Spel correct. Als er om een specifieke naam gevraagd wordt, dan moet deze goed gespeld zijn. Wanneer moet het vragenboekje weer worden ingeleverd? Het ingevulde vragenboekje moet worden ingeleverd in De Poel VOOR 23:00 uur. Alleen de teams die hun vragenboekje tijdig en op de juiste wijze hebben ingeleverd dingen mee naar de prijzen. Hoe moet het vragenboekje worden ingeleverd? Stop alle categorieën van de Quiz op de juiste volgorde terug in het mapje en lever het zo in. Hoe werkt de puntentelling? In het totaal bestaat deze quiz uit 9 categorieën. Voor elke categorie zijn 200 punten te verdienen.
    [Show full text]
  • CREANDO: Tool for Creating Pervasive Games to Increase the Learning Motivation in Higher Education Students
    CREANDO: Tool for creating pervasive games to increase the learning motivation in higher education students Jeferson Arango-López a,b,⁎, Carlos C. Cerón Valdivieso a, Cesar A. Collazos a, b c,d Francisco Luis Gutiérrez Vela , Fernando Moreira a University of Cauca – FIET, Street 5 N° 4-70, Popayán, Colombia b University of Granada, ETSIIT, Department of Languages and Informatics Systems, Street Periodista Daniel Saucedo Aranda, s/n, 18071 Granada, Spain c Univ Portucalense, REMIT, IJP, Rua Dr. António Bernardino Almeida 541-619, 4200-072 Porto, Portugal d IEETA, Univ Aveiro, Aveiro, Portugal A R T I C L E I N F O A B S T R A C T Keywords: The pervasive games (PG) have had a great reception in recent years. This kind of games com- bines the Pervasive game virtual world with the real world to generate extensions of reality in terms of time, space and social Narrative interaction. These extensions have involved users in experiences as varied as those exposed by Learning motivation augmented reality and the location of the player or mixed reality scenarios. In the educational context, Digital transformation games have been integrated little by little into learning processes. Speci fically, PG have shown to have a higher level of immersion in people's daily activities. Therefore, a greater impact is generated when integrating the technologies of the PG and the narrative of a story that is told through the gaming experience. In order to explore some fields, we focus the study on the narrative and geolocation applied to close spaces, it is a way of giving an enriched experience to the player through a digital transformation perspective.
    [Show full text]
  • BLAST THEORY Bibliography
    BLAST THEORY bibliography Books and Catalogues 2013 Eds. Michael Salmond, Gavin Ambrose, The Fundamentals of Interactive Design, 2013, pp. 169 (AVA Publishing, London) Eds. Regine Buschauer, Katharine S. Willis, Locative Media, 2013, pp. 277-278 (Transcript, Bielefeld) 2012 Eds. Julia Noordegraaf, Cosetta G. Saba, Barbara Le Maitre, Vinzenz Hediger, Preserving and Exhibiting Media Art: Challenges and Perspectives, 2012, pp. 16, 124, 149-158, 166-168, 187, 189, 195 (Amsterdam University Press, Netherlands) 2011 Alf Chang, ‘A Machine to See With’, Cross:: Digital Art Festival Taipei 2011, 2011, pp.38-39, [Department of Cultural Affairs, Taipei, Taiwan] Eric Gordon and Adriana de Souza e Silva, Net Locality; why Location Matters in a Networked World, 2011, pp.52, 68- 70, 100, 150 [Wiley Blackwell, Chichester, UK] Eds. Ulla Autenrieth, Andreas Blättler, Regine Buschauer, Doris Gassert, ‘Ulrike and Eamon Compliant – Mobile Phone Game on Identity’, Dis Connecting Media: Technik, Praxis und Ästhetik des Telefons: Vom Festnetz zum Handy, 2011, pp. 117-126 (Christoph Merian Verlag, Basel, Switzerland) Eds. Josef Bairlein, Christopher Balme, Jörg von Brincken, Wolf-Dieter Ernst, Meike Wagner, ‘Matt Adams in Gespräch: Technology, Politics, and Interactive Experiences’, Netzkulturen: kollektiv, kreativ, performativ, 2011, pp. 199-214 (epodium, Munich, Germany) Steve Benford and Gabriella Giannachi, ‘Performing Mixed Reality’, 2011 (The MIT Press, Cambridge, Massachusetts, US) Patric Crogan, ‘Gameplay mode: War, Simulation, And Technoculture’, 2011, pp. 153-154 (University of Minnesota Press, Minneapolis, US) Larissa Hjorth, ‘Urban Gaming –Stadt als transmedialer Spielplatz’ (City as transmedia Playground), Stadt Bauwelt, June, 2011, pp.48-48 (DE) Eds. Jonathan Pitches and Sita Popat, ‘Interactivity and the work of Blast Theory: Matt Adams in conversation with Alice O’Grady’, Performance Perspectives: A Critical Introduction, 2011, pp.
    [Show full text]
  • Gold Farming” HEEKS
    Understanding “Gold Farming” HEEKS Forum Understanding “Gold Farming”: Developing-Country Production for Virtual Gameworlds Richard Heeks Gold farming is the production of virtual goods and services for players of richard.heeks@manchester online games. It consists of real-world sales of in-game currency and asso- .ac.uk ciated items, including “high-level” game characters. These are created by Development Informatics “playborers”—workers employed to play in-game—whose output is sold Group for real money through various Web sites in so-called “real-money trad- Institute for Development ing.” Policy and Management There is growing academic interest in online games, including aspects School of Environment and Development such as real-money trading and gold farming (see, for example, Terra University of Manchester Nova, where much of this work is reported and discussed). However, there United Kingdom appear to be few, if any, academic publications looking at gold farming from a developing-country angle, and development agencies seem to have completely ignored it. That is problematic for three reasons. First, as described below, gold farming is already a signiªcant social and economic activity in developing countries. Second, it represents the ªrst example of a likely future devel- opment trend in outsourcing of online employment—what we might oth- erwise call “cybersourcing.” Third, it is one of a few emerging examples in developing countries of “liminal ICT work”—jobs associated with digi- tal technologies that exist on the edge of, or just below the threshold of, that which is deemed socially acceptable and/or formally legal. In basic terms, gold farming is a sizable developing-country phenome- non.
    [Show full text]
  • Performance in an Alternate Reality Game
    The Malthusian Paradox: Performance in an Alternate Reality Game ELIZABETH EVANS, MARTIN FLINTHAM, SARAH MARTINDALE University of Nottingham Nottingham NG81BB, UK { elizabeth.evans, martin.flintham, sarah.martindale }@nottingham.ac.uk Tel: +44 115 748 4041 Fax: +44 115 823 2551 URL: www.nottingham.ac.uk Abstract. The Malthusian Paradox is a transmedia alternate reality game (ARG) created by artists Dominic Shaw and Adam Sporne played by 300 participants over three months. We explore the design of the game, which cast players as agents of a radical organisation attempting to uncover the truth behind a kidnapping and a sinister biotech corporation, and highlight how it redefined performative frames by blurring conventional performer and spectator roles in sometimes discomforting ways. Players participated in the game via a broad spectrum of interaction channels, including performative group spectacles and 1-to-1 engagements with game characters in public settings, making use of low- and high-tech physical and online artefacts including bespoke and third party websites. Players and game characters communicated via telephony and social media in both a designed and an ad-hoc manner. We reflect on the production and orchestration of the game, including the dynamic nature of the strong episodic narrative driven by professionally produced short films that attempted to respond to the actions of players; and the difficulty of designing for engagement across hybrid and temporally expansive performance space. We suggest that an ARG whose boundaries
    [Show full text]
  • The Game of Tetris in Machine Learning
    The Game of Tetris in Machine Learning Simon´ Algorta 1 Ozg¨ ur¨ S¸ims¸ek 2 Abstract proaches to other games and to real-world problems. In the Appendix we provide a table of the algorithms reviewed The game of Tetris is an important benchmark and a description of the features used. for research in artificial intelligence and ma- chine learning. This paper provides a histori- cal account of the algorithmic developments in 2. The Game of Tetris Tetris and discusses open challenges. Hand- Tetris is one of the most well liked video games of all time. crafted controllers, genetic algorithms, and rein- It was created by Alexey Pajitnov in the USSR in 1984. forcement learning have all contributed to good It quickly turned into a popular culture icon that ignited solutions. However, existing solutions fall far copyright battles amid the tensions of the final years of the short of what can be achieved by expert players Cold War (Temple, 2004). playing without time pressure. Further study of the game has the potential to contribute to impor- The game is played on a two-dimensional grid, initially tant areas of research, including feature discov- empty. The grid gradually fills up as pieces of different ery, autonomous learning of action hierarchies, shapes, called Tetriminos, fall from the top, one at a time. and sample-efficient reinforcement learning. The player can control how each Tetrimino lands by rotat- ing it and moving it horizontally, to the left or to the right, any number of times, as it falls one row at a time until one 1.
    [Show full text]
  • Disruptive Innovation and Internationalization Strategies: the Case of the Videogame Industry Par Shoma Patnaik
    HEC MONTRÉAL Disruptive Innovation and Internationalization Strategies: The Case of the Videogame Industry par Shoma Patnaik Sciences de la gestion (Option International Business) Mémoire présenté en vue de l’obtention du grade de maîtrise ès sciences en gestion (M. Sc.) Décembre 2017 © Shoma Patnaik, 2017 Résumé Ce mémoire a pour objectif une analyse des deux tendances très pertinentes dans le milieu du commerce d'aujourd'hui – l'innovation de rupture et l'internationalisation. L'innovation de rupture (en anglais, « disruptive innovation ») est particulièrement devenue un mot à la mode. Cependant, cela n'est pas assez étudié dans la recherche académique, surtout dans le contexte des affaires internationales. De plus, la théorie de l'innovation de rupture est fréquemment incomprise et mal-appliquée. Ce mémoire vise donc à combler ces lacunes, non seulement en examinant en détail la théorie de l'innovation de rupture, ses antécédents théoriques et ses liens avec l'internationalisation, mais en outre, en situant l'étude dans l'industrie des jeux vidéo, il découvre de nouvelles tendances industrielles et pratiques en examinant le mouvement ascendant des jeux mobiles et jeux en lignes. Le mémoire commence par un dessein des liens entre l'innovation de rupture et l'internationalisation, sur le fondement que la recherche de nouveaux débouchés est un élément critique dans la théorie de l'innovation de rupture. En formulant des propositions tirées de la littérature académique, je postule que les entreprises « disruptives » auront une vitesse d'internationalisation plus élevée que celle des entreprises traditionnelles. De plus, elles auront plus de facilité à franchir l'obstacle de la distance entre des marchés et pénétreront dans des domaines inconnus et inexploités.
    [Show full text]