DOCSLIB.ORG

Theologie in De Game

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theologie in De Game Theologie in de game Is de vrucht van ongehoorzaamheid zelfstandigheid? Masterthesis in de Systematische Theologie voor de Master Gemeentepredikant van de Protestants Theologische Universiteit te Amsterdam student: A.G. (Bram) Wassenaar [email protected] eerste begeleider: Prof. dr. H.S. (Rick) Benjamins [email protected] tweede begeleider: Dr. F.G. (Frank) Bosman [email protected] eerste versie: 25 juni 2018 huidige versie 1.04: 6 juli 2018 INHOUDSOPGAVE 0. Inleiding 5 0.1 Probleemstelling 5 0.2 Doelstellingen 5 0.3 Vraagstelling 6 Hoofdvraag: Welke theologische reflectie brengt de game The Talos Principle aan in de discussie over nut en noodzaak van ongehoorzaamheid en zelfstandigheid in de God- menselijke relatie, vis-a7-vis de visies op dit thema van Bavinck en Tanner? 0.4 Theoretisch kader 6 DEEL I: THEOLOGIE IN GAMES? 7 1. Waarom zijn games belangrijk voor de theologie? 7 1.1 Taak van de theologie 7 2. Hoe games te begrijpen en te benaderen 9 2.1 (Techniek)filosofische vooronderstellingen 9 2.2 Onderzoek naar definities van 'spel' en 'game' 10 2.3 Resultaat: Zeven karakteristieke kenmerken van 'computergames' 11 2.3.1 Kenmerk 1: Computergames zijn een specifieke vorm van spel. 11 2.3.2 Kenmerk 2: Games zijn computerprogramma’s die bedoeld zijn als spel. 12 2.3.3 Kenmerk 3: Games zijn een expressief medium en een vorm van kunst. 12 2.3.4 Kenmerk 4: Games zijn een technisch en cultureel artefact. 13 2.3.5 Kenmerk 5: Games zijn ontworpen voor een bepaalde spelerservaring. 13 2.3.6 Kenmerk 6: Games zijn interactief. 14 2.3.7 Kenmerk 7: Games zijn narratief. 15 2.3.8 Een conclusie over wat een game is? 17 2.4 Het debat: Op welke manier games benaderen? 18 2.4.1 Verschillende benaderingen van een game: 18 narratieve benaderingen en ludologie 2.4.2 Eigen positionering in debat ludologische en 18 narratieve benaderingen van games 2.4.3 Conclusie: hoe games te benaderen 19 3. Op welke manier bevatten games theologische beweringen? 20 3.1 Het narratieve karakter van games in algemene zin 20 3.2 Theologisch langs de zeven kenmerken van games 21 3.3 Theologische onderzoeksdefinitie: games als ‘interactive playable texts’ (Bosman) 22 3.4 Conclusie 24 4. Methode om games te analyseren 25 4.1 Drie mogelijke benaderingen om games te bestuderen 25 4.2 Beschrijving van Bosmans methodologie 25 4.3 Evaluatie van Bosmans methodologie 27 4.4 Dubbelzesmethode 28 4.4.1 Zes aspecten van religieuze verwijzingen in games 28 4.4.2 Zesstappenmethode 29 DEEL II: THEOLOGIE IN THE TALOS PRINCIPLE 30 5. Beschrijving van The Talos Principle 30 5.1 Lezen: Algemene beschrijving van The Talos Principle 30 5.1.1 Het begin van The Talos Principle 30 5.1.2 Doel van The Talos Principle 32 5.1.3 Interne bronnen van The Talos Principle 33 5.1.4 Drie eindes: iteratie, losmaking, transformatie tot boodschapper 35 5.2 Graven: Verdere toelichting op The Talos Principle 37 5.2.1 Over de titel 37 5.2.2 De werelden van The Talos Principle: binnen, buiten, en boven 38 5.2.3 De vier soorten ‘narrative’ in The Talos Principle 39 5.2.4 Welke niveaus van religie komen voor in The Talos Principle? 40 5.3 Selecteren: Welke belangrijke theologische en filosofische thema’s 40 zitten er in The Talos Principle? 2 5.4 Beschrijven: Het tuinmotief als hoofdthema van The Talos Principle 41 5.5 Volgende analysestappen: op weg naar een driegesprek 42 DEEL III: TWEE ANDERE THEOLOGISCHE VISIES (BAVINCK, TANNER) 43 6. Waarom kies ik voor Herman Bavinck en Kathryn Tanner? 43 7. Wat zegt Herman Bavinck in Gereformeerde Dogmatiek over nut en noodzaak van 44 ongehoorzaamheid en zelfstandigheid in de God-menselijke relatie? 7.1 Hoofdlijnen van Bavinck, Gereformeerde Dogmatiek 44 7.2 Bavinck scheppingstheologie 44 7.2.1 Schepping gelegen in ‘de raad Gods’ 45 7.2.2 Schepping (GD2, §33) 45 7.2.3 Openbaring noodzakelijk 46 7.2.4 OntstaanstheorieeGn: creatio ex nihilo en andere kosmogonieeGn 46 7.2.5 Creatio ex nihilo versus gnosticisme 47 7.2.6 Hemel en aarde: de geestelijke wereld (GD2, §34) en 48 de stoffelijke wereld (GD2, §35) 7.2.7 Conclusies over Bavincks scheppingstheologie 49 7.3 Bavincks theologische antropologie 49 7.3.1 Bavinck over de mens als imago Dei (GD2, §37) 49 7.3.2 Adam en Christus: de bestemming van de mens (GD2, §38) 50 7.3.3 Keuzevrijheid en het proefgebod 50 7.3.4 Conclusies over Bavincks theologische antropologie 51 7.4 Conclusie: Bavinck over (on)gehoorzaamheid, zelfstandigheid en onafhankelijkheid 51 8. Wat zegt Kathryn Tanner in God and Creation in Christian Theology over nut en noodzaak 52 van ongehoorzaamheid en zelfstandigheid in de God-menselijke relatie? 8.1 Hoofdlijnen van Tanner, God and Creation in Christian Theology 52 8.1.1 (Post)moderne vragen en bezwaren 52 8.1.2 Tanners antwoord: Analyse en de noodzaak voor theologische spreekregels 53 8.1.3 Het opstellen van theologische spreekregels (G&C, H1) 53 8.1.4 Tanner: Twee basisstructuren in spreken over God (G&C, H2) 54 8.1.5 Tanners samenvatting (G&C, H1-H3) 55 8.2 Tanners scheppingstheologie 55 8.2.1 Gods transcendentie en immanentie 55 8.2.2 Creatio ex nihilo: schepping als Gods genadegave 56 8.2.3 Conclusies over Tanners scheppingstheologie 56 8.3 Tanners theologische antropologie 57 8.3.1 Tanner over imago Dei 57 8.3.2 Conclusies over Tanners theologische antropologie 58 8.4 Conclusie: Tanner over (on)gehoorzaamheid, zelfstandigheid en onafhankelijkheid 58 9. Vergelijking tussen de theologische visies Bavinck en Tanner 59 9.1 Overeenkomsten tussen Bavinck en Tanner 59 9.1.1 Overeenkomsten in scheppingstheologie 59 9.1.2 Overeenkomsten in theologische antropologie 59 9.1.3 Overeenkomsten in soteriologie 59 9.2 Verschillen tussen Bavinck en Tanner 60 9.2.1 Accentverschillen 60 9.2.2 Grotere verschillen 60 9.3 Resultaat van de vergelijking: Welke bandbreedte in christelijk spreken is er? 61 DEEL IV: DRIEGESPREK EN EVALUATIE 62 10. Interpreteren en normeren: met The Talos Principle in gesprek over nut en noodzaak 62 van ongehoorzaamheid en zelfstandigheid in de God-menselijke relatie 10.1 Interpreteren: The Talos Principle als hervertelling van Genesis 2 en 3 62 10.2 Normeren: Evaluatie 65 10.2.1 Evaluatie van de theologische beweringen van The Talos Principle 65 10.2.2 Evaluatie van de theologische visie van The Talos Principle 66 10.3 Leren: Wat kunnen wij leren van The Talos Principle? 67 CONCLUSIE 68 3 BRONNEN & BIJLAGEN 69 Bronnen 69 Ludografie 69 Internet: video's, blogs 70 Over The Talos Principle 70 Andere internetbronnen 70 Literatuur: over games en theologie 72 Literatuur: theologie 74 Overige literatuur 75 Bijlagen 76 Bijlage A: Verklarende woordenlijst 76 Bijlage B: Aspecten van de Wijsbegeerte der wetsidee 77 Bijlage C: Overzicht van definities van 'spel', 'spelen', en 'computergames' 78 C1. Van een rondgang langs definities van 'spel' en 'spelen' 78 C2. Naar een definitie van 'computergames' 79 Bijlage D: Beschrijving van narratieve benaderingen, ludologie, en hun debat 82 D1. Beschrijving van narratieve benaderingen (in het bijzonder de narratologie) 82 D2. Beschrijving van de ludologie 82 D3. Het debat tussen ludologie en narratieve benaderingen 83 Bijlage E: Overzicht van theologische verwijzingen in The Talos Principle 84 E1. Algemene verwijzingen 84 E2. Hoofdpersonen 85 E3. Overzicht van ingame karakters 87 E4. Berichten, de QR-codes per locatie 90 E5. Stamboom van karakters uit The Talos Principle 90 Bijlage F: Taxonomie van typen spelers 92 F1. Bartles taxonomie van typen spelers 92 F2. 'Exploration' of 'the joy of discovery' 92 Bijlage G: Gamegenres of taxonomieGn van typen games 93 G1. ‘Klassieke’ gangbare indelingen van gamegenres 93 G2. MDA: ‘Mechanics, Dynamics, Aesthetics’ 94 G3. voorstel van Frank Bosman: 8 parameters 94 4 0. INLEIDING In mijn zoektocht naar theologie in de game The Talos Principle bega ik nog grotendeels onbetreden paden. In deze inleiding zet ik daarom de te zetten stappen uiteen. Na de probleemstelling volgen mijn doelstellingen die uitmonden in mijn hoofdvraag. Tot slot schets ik in het kort mijn theoretisch kader. De methode die ik wil gebruiken zal later, in hoofdstuk 4, besproken worden. 0.1 PROBLEEMSTELLING De probleemstelling van deze masterthesis is dat videogames1 door velen nog ondergewaardeerd worden, ook in de theologie. En dat is zonde, want hier valt onder andere voor de theologie nog een wereld te winnen. Nu worden games op z’n ‘best’ weggezet als ‘maar een spelletje’ en op z’n slechtst als verderfelijk voor de spelers die er agressief, verslaafd en/of sociaal geïsoleerd door zouden raken. Games zouden kinderspeelgoed zijn en triviaal tijdverdrijf. Volgens James Newman worden games nog vaak gezien als “mere trifles—low art—carrying none of the weight, gravitas or credibility of more traditional media.”2 Daarom zouden games niet serieus genomen hoeven te worden. Net als bij elk nieuw medium speelt mee dat onbekend onbemind maakt en wordt er gewaarschuwd voor (mogelijke) kwalijke invloeden. Grotendeels zijn die angsten onterecht en moeten verklaringen gezocht worden in de nuances van complexe interacties van alle aspecten van het menselijk leven.3 Het is daarom belangrijk om ook onderzoek te doen naar de positieve invloeden van games. Want in weerwil van de gedachte dat ze ‘maar een spelletje’ zijn, oefenen games wel degelijk invloed uit op hun spelers en op de culturen waarin ze geproduceerd worden. Net als alle andere vormen van kunst en media – zoals boeken, muziek en films – zijn games een cultuurproduct. Daarin komen onder meer opvattingen over goed en fout, over hoe de wereld in elkaar steekt, en over de betekenis van mens-zijn tot uiting.
Load more

Recommended publications
  • NG16 Program
    C M Y CM MY CY CMY K PROGRAM 2016 #nordicgame Award-winning projects from Swiss indie studios Surprising Gamedesigns / Innovative Gameplay Late Shift Niche Booth Booth CtrlMovie AG Niche Game C2 lateshift-movie.com niche-game.com C4 Welcome to Nordic Game 2016: Knowledge, Emotion, Business. We are very proud to welcome you to three days of Knowledge, Emotion and Business. It’s the thirteenth edition of the conference, and it’s been Personal hectic, fun, challenging and inspiring to prepare it for you. Booth Photorealistic C5 Avatar SDK We look at this year’s show as sort of a reboot. We have focused heavily Dacuda AG dacuda.com on tweaking some essential parts, while maintaining the elements that we know you love and define as the special Nordic Game experience. As always, we’re more than happy to get feedback and input from you, because this show is as much yours as it is ours, and we want to keep on learning and improving. So, we hope you are ready to listen, talk, learn, share, build, connect, evolve, inspire, laugh, drink, eat, joke, be serious, have fun, be tired but also happy, and that you will enjoy NG16 as much as we enjoyed creating it. Thank you for joining us, and may you and your business prosper! The Nordic Game 2016 Team Booth World Never End Schlicht Booth C7 HeartQuake Studios Mr. Whale’s Game Service C8 heartquakestudios.com schlichtgame.ch NG16 TIME SCHEDULE We are 17 May PRE-CONFERENCE DAY 13:00 – 17:00 Badge pick-up 14:00 Game City Studio Tour pick-up 18 May CONFERENCE DAY 1 Join us to democratize 9:00 Badge pick-up
    [Show full text]
  • 056 – New Puzzle Videogames — 3/4
    056 – New Puzzle videogames — 3/4 Here, a succinct review of different types of puzzle videogames published between 2001 and 2020. Not in chronological order. Single character control ● Antichamber – 2013 A first-person puzzle-platform game released for Microsoft Windows, Linux and OS X. Many of the puzzles are based on phenomena that occur within impossible objects created by the game engine, such as passages that lead the player to different locations depending on which way they face, and structures that seem otherwise impossible within normal three- dimensional space. The game includes elements of psychological exploration through brief messages of advice to help the player figure out solutions to the puzzles as well as adages for real life. The player controls the unnamed protagonist from a first- person perspective, in an environment full of obstacles. Upon completing a core set of puzzles, the player can access the exit door, upon which he starts to chase down a black cloudlike shape, using all the solving techniques learned before. Eventually he is able to capture the cloud as a black cube and enter a final, more expansive area, where the shape becomes a waiting shell. The shell creates a structure around it (similar to the game's logo) and sucks everything around it into its center, sending the screen to black and ending the game. ● Bobby Carrot – 2004 A video game series developed for iOS and as a WiiWare. The object of the game is to collect all of the carrots in an area and reach a point on the map that progresses the player to the next level.
    [Show full text]
  • Artificial General Intelligence in Games: Where Play Meets Design and User Experience
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The IT University of Copenhagen's Repository ISSN 2186-7437 NII Shonan Meeting Report No.130 Artificial General Intelligence in Games: Where Play Meets Design and User Experience Ruck Thawonmas Julian Togelius Georgios N. Yannakakis March 18{21, 2019 National Institute of Informatics 2-1-2 Hitotsubashi, Chiyoda-Ku, Tokyo, Japan Artificial General Intelligence in Games: Where Play Meets Design and User Experience Organizers: Ruck Thawonmas (Ritsumeikan University, Japan) Julian Togelius (New York University, USA) Georgios N. Yannakakis (University of Malta, Malta) March 18{21, 2019 Plain English summary (lay summary): Arguably the grand goal of artificial intelligence (AI) research is to pro- duce machines that can solve multiple problems, not just one. Until recently, almost all research projects in the game AI field, however, have been very specific in that they focus on one particular way in which intelligence can be applied to video games. Most published work describes a particu- lar method|or a comparison of two or more methods|for performing a single task in a single game. If an AI approach is only tested on a single task for a single game, how can we argue that such a practice advances the scientific study of AI? And how can we argue that it is a useful method for a game designer or developer, who is likely working on a completely different game than the method was tested on? This Shonan meeting aims to discuss three aspects on how to generalize AI in games: how to play any games, how to model any game players, and how to generate any games, plus their potential applications.
    [Show full text]
  • A06 Glossary 53182-04P 27..30
    THIS DOCUMENT IS IN DRAFT FORM, INCOMPLETE AND SUBJECT TO CHANGE AND THAT THE INFORMATION MUST BE READ IN CONJUNCTION WITH THE SECTION HEADED ‘‘WARNING’’ ON THE COVER OF THIS DOCUMENT. GLOSSARY OF TECHNICAL TERMS This glossary contains definitions of certain terms used in this document in connection with our Company and our business. Some of these may not correspond to standard industry definitions. ‘‘AAA title’’ an informal classification for high-quality games, typically developed by a professional team with large amount of time and investment and published by renowned publishers ‘‘ACG’’ a subculture of Greater China particularly referring to Japanese anime, comics and games, or the fictional world or characters created in such work ‘‘App Annie’’ a mobile data and analytics platform ‘‘ARPU’’ average revenue per month per monthly active account, which is calculated by dividing the revenue generated from a particular mobile game or all our mobile games, as applicable, for the respective period by the total MAUs of the particular mobile game or the aggregate of the total MAUs of all our mobile games, as applicable, for that period ‘‘beta testing’’ a form of pre-launch external player acceptance testing, which is usually accessible to a limited number of game players and used to obtain feedback regarding game quality ‘‘C++ language’’ a general-purpose programming language, as an extension of the C programming language ‘‘CAGR’’ compound annual growth rate ‘‘casual game’’ a genre of games that feature relatively simple but attractive gameplay
    [Show full text]
  • Worldbuilding Voices in the Soundscapes of Role-Playing Video Games
    University of Huddersfield Repository Jennifer, Smith Worldbuilding Voices in the Soundscapes of Role Playing Video Games Original Citation Jennifer, Smith (2020) Worldbuilding Voices in the Soundscapes of Role Playing Video Games. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35389/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Worldbuilding Voices in the Soundscapes of Role-Playing Video Games Jennifer Caron Smith A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield October 2020 1 Copyright Statement i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes.
    [Show full text]
  • Cloud Gaming
    Cloud Gaming Cristobal Barreto[0000-0002-0005-4880] [email protected] Universidad Cat´olicaNuestra Se~norade la Asunci´on Facultad de Ciencias y Tecnolog´ıa Asunci´on,Paraguay Resumen La nube es un fen´omeno que permite cambiar el modelo de negocios para ofrecer software a los clientes, permitiendo pasar de un modelo en el que se utiliza una licencia para instalar una versi´on"standalone"de alg´un programa o sistema a un modelo que permite ofrecer los mismos como un servicio basado en suscripci´on,a trav´esde alg´uncliente o simplemente el navegador web. A este modelo se le conoce como SaaS (siglas en ingles de Sofware as a Service que significa Software como un Servicio), muchas empresas optan por esta forma de ofrecer software y el mundo del gaming no se queda atr´as.De esta manera surge el GaaS (Gaming as a Servi- ce o Games as a Service que significa Juegos como Servicio), t´erminoque engloba tanto suscripciones o pases para adquirir acceso a librer´ıasde jue- gos, micro-transacciones, juegos en la nube (Cloud Gaming). Este trabajo de investigaci´onse trata de un estado del arte de los juegos en la nube, pasando por los principales modelos que se utilizan para su implementa- ci´ona los problemas que normalmente se presentan al implementarlos y soluciones que se utilizan para estos problemas. Palabras Clave: Cloud Gaming. GaaS. SaaS. Juegos en la nube 1 ´Indice 1. Introducci´on 4 2. Arquitectura 4 2.1. Juegos online . 5 2.2. RR-GaaS . 6 2.2.1.
    [Show full text]
  • Immersive Virtual Reality Game with Bimanual Interaction Techniques
    NATIONAL AND KAPODISTRIAN UNIVERSITY OF ATHENS SCHOOL OF SCIENCE DEPARTMENT OF INFORMATICS AND TELECOMMUNICATION BSc THESIS Break free (DI edition): Immersive Virtual Reality Game with Bimanual Interaction Techniques Theodoros N. Ratzos Supervisor: Maria Roussou, Assistant Professor ATHENS OCTOBER 2018 ΕΘΝΙΚΟ ΚΑΙ ΚΑΠΟΔΙΣΤΡΙΑΚΟ ΠΑΝΕΠΙΣΤΗΜΙΟ ΑΘΗΝΩΝ ΣΧΟΛΗ ΘΕΤΙΚΩΝ ΕΠΙΣΤΗΜΩΝ ΤΜΗΜΑ ΠΛΗΡΟΦΟΡΙΚΗΣ ΚΑΙ ΤΗΛΕΠΙΚΟΙΝΩΝΙΩΝ ΠΤΥΧΙΑΚΗ ΕΡΓΑΣΙΑ Break free (DI edition): Παιχνίδι Εικονικής Πραγματικότητας Εμβύθισης με Αμφίχειρες Τεχνικές Αλληλεπίδρασης Θεόδωρος Ν. Ράτζος Επιβλέπουσα: Μαρία Ρούσσου, Επίκουρη Καθηγήτρια ΑΘΗΝΑ ΟΚΤΩΒΡΙΟΣ 2018 BSc THESIS Break free (DI edition): Immersive Virtual Reality Game with Bimanual Interaction Techniques Theodoros N. Ratzos S.N.: 1115201300148 SUPERVISOR: Maria Roussou, Assistant Professor ΠΤΥΧΙΑΚΗ ΕΡΓΑΣΙΑ Break free (DI edition): Παιχνίδι Εικονικής Πραγματικότητας Εμβύθισης με Αμφίχειρες Τεχνικές Αλληλεπίδρασης Θεόδωρος Ν. Ράτζος Α.Μ.: 1115201300148 ΕΠΙΒΛΕΠΟΥΣΑ: Μαρία Ρούσσου, Επίκουρη Καθηγήτρια ABSTRACT Virtual Reality games are becoming more and more common, as the technological advancements enable increasingly faster and sophisticated hardware to become affordable to a greater number of people. Our home computers, whether they are desktops or laptops, are gradually getting more powerful and affordable, as time goes on. At the same time, head mounted display (HMD) manufacturers are developing better and cheaper gear for virtual reality gameplay. This has led to a boom of virtual reality games in the video game scene, as more and more game developers choose this new and exciting technology, to serve a unique experience to their customers. This thesis attempts to underline the core concepts around what really makes virtual reality games special by focusing on bimanual interaction techniques used in VR games. A virtual reality experience was developed to explore the effect of bimanual interactions on immersion and engagement.
    [Show full text]
  • Guide to Darkest Hour Index Introduction
    Guide to Darkest Hour Index Introduction......................................................................................................................................................4 New concepts...................................................................................................................................................5 Claims.........................................................................................................................................................5 Decisions.....................................................................................................................................................6 New Spying System....................................................................................................................................7 Improved trade system and stockpiles........................................................................................................8 Mobilization system....................................................................................................................................8 Automatic release of nations.....................................................................................................................10 Changes to the rebel system......................................................................................................................11 Actions and commands with triggers........................................................................................................11 Events
    [Show full text]
  • Bab I Pendahuluan
    BAB I PENDAHULUAN 1.1 Latar Belakang Meningkatnya perkembangan teknologi di era modern, merupakan salah satu proses dari globalisasi. Globalisasi dapat diartikan sebagai era kemajuan pengetahuan, alat transportasi, serta teknologi tanpa batas. Teknologi komunikasi informasi berkembang dengan sangat cepat ini tentunya memberikan manfaat yang besar bagi kehidupan manusia. Berbagai bidang kehidupan manusia mulai menerapkan berbagai perangkat berteknologi baru guna memudahkan kamunikasi dan pekerjaan (Sendari, 2019) . Salah satu efek dari globalisasi di bidang teknologi adalah terciptanya komputer, melalui komputer individu dapat saling terhubung bila memiliki jaringan internet. Jaringan internet memudahkan setiap individu untuk berbagi informasi, berinteraksi dengan individu lain yang menggunakan internet. Hal tersebut mengubah perilaku individu menjadi lebih modern. Salah satu contohnya adalah pergantian prilaku cara mengirim surat menjadi lebih praktis seperti penggunaan e-mail, atau aplikasi media sosial lainnya. 1 Tabel 1.1 20 Negara dengan Pengguna Internet Tebanyak sumber: Internet World Stats, 2019 Menurut data dari Internet World Stats (2020), China menjadi negara dengan pengguna internet terbanyak yakni 22,5 juta pengguna, sementara Indonesia berada di peringkat ke- 5 sebanyak 2 juta pengguna dan pertumbuhan internet sebesar 7,063%. Lalu menurut Digital Agency Indonesia pada tahun 2019 total populasi masyarakat Indonesia pada Januari 2019 diketahui sebanyak 355,5 juta pengguna ponsel. Hal ini membuat presentase pengguna ponsel lebih besar 133% dari jumlah asli masyarakat Indonesia. Dapat disimpulkan bahwa sebagian masyarakat Indonesia memiliki lebih dari satu ponsel. 2 sumber: Tomato Digital Indonesia , 2019 Gambar 1.1 Jumlah Pengguna Smartphone di Indonesia Masyarakat Indonesia tentunya menghabiskan banyak waktu online dalam satu hari. Selama 2019, pengguna internet di Indonesia yang berusia 16 hingga 64 tahun memiliki waktu rata-rata selama 7 jam 59 menit per hari untuk berada di dunia maya.
    [Show full text]
  • Preliminaries
    Version 07/2020 v2 The ROVR SteamVR Driver & Dashboard works with Steam VR games by enabling “binding” of hand- controller “First Person movement” native to the game to movement on a ROVR. So, for instance in The Talos Principle VR by Croteam, free walking is available by touching the left hand trackpad on a Vive hand controller – If you are in The Talos Principle VR and you stroke your finger forwards on the left hand controller trackpad then you would move forward in game. Similarly for Oculus Rift Touch – it’s usually Lefthand Thumbstick forward for forward motion in game and for the Oculus remote it will be D-Pad up. There are exceptions of which Nature Treks VR and Google Earth VR are examples. These both use trigger press for movement. Using Steam VR controller bindings allows hand controller native bindings i.e. those designed by the game developer for movement or actions in game to be “bound” to an alternative input device e.g. Native game movement is lefthand trackpad touch and this can be “bound” to movement on a ROVR VR treadmill. Fallout4 uses Left Trackpad/Thumbstick actions to move forward and so we’ll show how this is done, but the same approach can be used for all other VR games on Steam and many that are not. Because we are keen on making VR feel real and intuitive, we’ve included a really useful link which changes direction of movement for Fallout4 VR and Skyrim VR to be more intuitive for most people. So first up you need to know the native movement mechanics in the game you want to play.
    [Show full text]
  • The Talos Principle the Player Character, an Unnamed Android, Is Awoken in a Serene Environment
    An Imitation Game By Kyle Jacobs Summary ● Can machines think? ● Changing the question ● Testing the game ● Intelligence and Bias ● What makes a person? Can machines think? ~51% of all activity online is Machine-to-Machine Cisco Systems estimated 507 petabytes a month by 2016 The Imitation Game A B C What will happen when a machine The Interrogator takes the part of A must determine the sex of each in this game? individual. A will try and confuse C B will try and help C Digital Computers As universal machines ● Mimic any discrete-state machine ● Storage capacity ● Processing Speed ● All-in-one machine Testing the Game 1966 ELIZA 1980 “Chinese 2016 Tay Room” Mimicked human Tay was chatterbot The program enables that was originally conversation by a person in the room released via Twitter. It matching user to past the Turing Test was shut down only prompts to scripted without understanding 16 hours after its responses. chinese. launch. The Talos Principle The player character, an unnamed android, is awoken in a serene environment. A disembodied entity named Elohim instructs the android to explore the worlds he has created for it, and to solve the various puzzles to collect sigils, but warns it not to climb a tower at the centre of these worlds. As the android progresses, it becomes evident that these worlds exist only in virtual reality, and that it, like other androids it encounters, are separate artificial intelligence (AI) entities within a computer program. Some AIs it encounters act as Messengers, unquestioningly serving Elohim and guiding the android through the puzzles.
    [Show full text]
  • Share Purchase Agreement Wiki
    Share Purchase Agreement Wiki Wash remains frightened: she baized her dodder veils too exhilaratingly? Fuzzy and tappable Salomon desulphurizing almost terrifyingly, though Whittaker recognize his Locke cued. Myocardial Oleg archives very millesimally while Jerrome remains fundamentalist and unfeigning. Also a skill by creating an integral part of their fighting one of the skin ist bereits auf reddit dealt a purchase agreement and give parties should have fallen out about military, chart blanks for They get free items used by wiki roblox pen tapping to share information. Please provide additional comments. We make sure food and purchase agreement is a bank: original owner of skin away from actionable meeting mgk in description, as people who you. Click Here: How to Use Elevare. What a wiki and! Please set the appropriate Org to flash the desired page. Data helps make Google services more gratitude for you. Download new sounds today your push your tracks to weight heights! Fair use this wiki is here are always presented by clicking on a purchase yourself on this wiki! Shop the brands you love at the best shopping mall in Spokane Valley. Learn new and interesting things. This case does not belong to you. Palm tree seeds can be planted in a common pot to make at palm seedling, which grows into each palm sapling; the sapling can be planted in a fruit tree patch could be grown into a spice tree. At least one free of letter. Toyota vin number of another element of your purchase agreement, code and salt in everything: free vip in order to wiki is.
    [Show full text]