DOCSLIB.ORG

Engaging with Videogames

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Engaging with Videogames INTER - DISCIPLINARY PRESS Engaging with Videogames Critical Issues Series Editors Dr Robert Fisher Lisa Howard Dr Ken Monteith Advisory Board Karl Spracklen Simon Bacon Katarzyna Bronk Stephen Morris Jo Chipperfield John Parry Ann-Marie Cook Ana Borlescu Peter Mario Kreuter Peter Twohig S Ram Vemuri Kenneth Wilson John Hochheimer A Critical Issues research and publications project. http://www.inter-disciplinary.net/critical-issues/ The Cyber Hub ‘Videogame Cultures and the Future of Interactive Entertainment’ 2014 Engaging with Videogames: Play, Theory and Practice Edited by Dawn Stobbart and Monica Evans Inter-Disciplinary Press Oxford, United Kingdom © Inter-Disciplinary Press 2014 http://www.inter-disciplinary.net/publishing/id-press/ The Inter-Disciplinary Press is part of Inter-Disciplinary.Net – a global network for research and publishing. The Inter-Disciplinary Press aims to promote and encourage the kind of work which is collaborative, innovative, imaginative, and which provides an exemplar for inter-disciplinary and multi-disciplinary publishing. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission of Inter-Disciplinary Press. Inter-Disciplinary Press, Priory House, 149B Wroslyn Road, Freeland, Oxfordshire. OX29 8HR, United Kingdom. +44 (0)1993 882087 ISBN: 978-1-84888-295-9 First published in the United Kingdom in eBook format in 2014. First Edition. Table of Contents Introduction ix Dawn Stobbart and Monica Evans Part 1 Gaming Practices and Education Toward a Social-Constructivist View of Serious Games: Practical Implications for the Design of a Sexual Health Education Video Game 3 Sara Mathieu-C. and Louis-Martin Guay From Adventure to Education: Exploring Meanings of Scenario and Dimension in Video Games 17 Justina Gröber Exploring the Idealised Self: Avatars as a Vessel for Adolescent Identity Exploration and Growth 27 Peter Wonica Situating Play Cultures: A Survey of Videogame Players and Practices in France 37 Rufat Samuel, Coavoux Samuel, Hovig Ter Minassian ‘Where Is Life?’ Commitment and Micro-Interactions in Videogames 53 Hovig Ter Minassian, Isabel Colón de Carvajal, Manuel Boutet and Mathieu Triclot The Phenomenology of Video Games: How Gamers Perceive Games and Gaming 65 Benjamin Čulig, Marko Katavić, Jasenka Kuček and Antonia Matković Part 2 Gaming Practices and Culture The Involvement of Mythology with Player Experience in MMOs 79 Michael Andreen It’s Just a Game, or Is It?: A Study of Racism in Game and Character Design 91 Steven Billingslea II Exploring Experimental Video Gaming as a ‘Body without Organs’ 101 Corné du Plessis Funny Games: Understanding Videogames as Slapstick and the Experience of Game-Worlds as Shared Cultural References 109 Ben Hudson Gaming the Taboo in the Finlandisation Era Finland: The Case of Raid over Moscow 121 Tero Pasanen Immersion vs. Emersive Effects in Videogames 133 Piotr Kubiński Part 3 Videogame Theory Playing with Fiction: Ludology and the Evolution of Narrative in Videogames 145 Dawn Stobbart What Is Videogame History? 155 Nick Webber Text as Ruleset: How Games Precede Humanities 169 Roger Travis Challenging Ideologies of Gender through Indie Games 177 Karen Mentz The Backwards Progressional: Is More Really Better? 187 Sarah Hope Scoggins Videogames as Art: The Spirit of the ‘Literary Artist’ in the Discourse of Game-Making 195 Agnieszka Kliś-Brodowska and Bartłomiej Kuchciński Ergodic Agency: How Play Manifests Understanding 205 Isaac Karth Part 4 From Theory to Practice ‘Get Over It!’: Sexuality and Sexual Diversity in Video Games 219 René Schallegger The End of the End as We Know It: A Philosophical Look at the Narration in Mass Effect 231 Thomas Morisset The Virtual Identities of Actual Gamers: An Analysis of Popular Response to Mass Effect 3 239 Jakub Siwak Implicit and Explicit Video Game Structure in Shaun of the Dead and Scott Pilgrim vs. The World 247 Jamie Skidmore Rewriting Morality: Women, Sexuality and Morality in Dishonored 255 Meaghan Ingram Spaces of the Past: Nostalgia in the Murder on the Orient Express and The Last Express 265 Radha Dalal Constructing a Reality: A Post-Structural Analysis of Deus Ex 277 Luke S. Bernfeld Introduction Dawn Stobbart and Monica Evans The chapters in this volume reflect the discussions that occurred during the 5th Global Conference on Videogame Cultures and the Future of Interactive Entertainment, held as part of Cyber Hub activity within the Inter-Disciplinary.Net Critical Issues research hub at Mansfield College, Oxford, United Kingdom in July 2013. This edited collection of chapters provides a snapshot of the inquiries, discussions, and conclusions drawn at this conference. Game studies remains a highly interdisciplinary field, and as such tends to bring together scholars and researchers from a wide variety of fields. This conference included experts in literature, visual art, history, classics, film studies, new media studies, phenomenology, education, philosophy, psychology and the social sciences, as well as game studies, design, and development. Additionally, twelve nationalities were represented at this conference, which included scholars from Austria, Canada, Croatia, the Czech Republic, Finland, France, New Zealand, Poland, Qatar, South Africa, the United Kingdom and the United States (including an unusually large delegation from the state of Texas). Throughout the conference, numerous topics were developed among the presentations and discussions. The most prevalent conversation involved linking the practices of gaming to educational possibilities, particularly for adolescents and young adults. Discussions of identity theory and formation led easily to structural concerns about developing serious games to raise awareness, inspire change, and educate underserved or at-risk populations. Much discussion also surrounded the identity of ‘gamers’ themselves, from surveys of the habits and practices of gamer populations to individual and cultural perceptions of gamer-ness. Another series of conversations centred on the cultures of gaming, particularly as they relate to gender identity, racial identity and nationality. These discussions expanded to other cultural expressions, such as comedy, horror, political history and nostalgia. Also pervasive throughout the conference were the presentation of new theories and models for understanding the videogame as a medium. Theories covered a wide variety of topics, including a controversial suggestion that the humanities be recontextualised as a subset of game studies. Other theories involved ideologies of gender, new forms of player agency and immersion, player progression and the categorisation of rulesets. Discussions of narratology and ludology were again present, although framed this time in wider questions of videogame history, games as art practice, and the evolution of narrative structures as a whole. Much of the conference considered movement between theory and practice in the field of game studies as a whole. In-depth discussions, close readings, and analyses of games included the Mass Effect series, Dishonored, Murder on the Orient Express, Deus Ex, Braid, The Walking Dead and World of Warcraft. Delegates discussed games that spanned genres, platforms and history, from triple- x Introduction __________________________________________________________________ A games released only months before the conference such as The Last of Us and Tomb Raider 2013, to games nearly thirty years old such as Raid over Moscow, to obscure experimental games such as Slave of God. Close analyses were also influenced by the techniques and practices of numerous fields, from art history to true literary criticism, and many discussions centred on the potential translation of analytical techniques to game studies from other fields. The conference included two workshop sessions, in which participants explored practical and methodological aspects of game development and design. Tim Christopher led the workshop ‘Metagaming for Academics,’ in which participants learned to rapidly prototype multiple sets of game mechanics, a widespread practice in both digital and analogue game development. Monica Evans led the workshop ‘Digital Mobile Game Design,’ which introduced participants to concept, pre-production, and design methodologies for digital games intended for mobile, social and handheld platforms. Two game prototypes resulted from these workshops, ‘Tim’s Game,’ and ‘Animal Regatta,’ a competitive zoo-centric boat racing game. To reflect the primary topics of the conference discussed above, the twenty-six chapters of the book have been organised into four parts: Part 1: Gaming Practices and Education Part 2: Gaming Practices and Culture Part 3: Videogame Theory Part 4: From Theory to Practice The first part of the book presents six chapters focused on gaming practices as they relate to various forms of education. Sara Mathieu-C. and Louis-Martin Guay begin the section with their chapter ‘Toward a Social-Constructivist View of Serious Games: Practical Implications for the Design of a Sexual Health Education Video Game.’ Looking primarily at sexual health education programmes for adolescents, the chapter discusses how a social-constructivist educational paradigm might be leveraged to create innovative and impactful serious games in the field of sexual health. Justina Gröber, in her chapter ‘From Adventure to Education: Exploring Meanings of Scenario and Dimension in Video
Load more

Recommended publications
  • Gender and Sexuality
    Elyse Lemoine November 21, 2013 Game Studies I I am the Shadow, the True Self: Exploring Dungeons, Gender, Sexuality, and Identity in Persona 4 In the small, foggy town of Inaba, trouble brews as people begin to disappearing, reappearing on a TV program called the “Midnight Channel,” where they become cartoonish impersonations of themselves, broadcasting their thoughts and feelings to the world. When the fog rolls into Inaba, it brings the corpses of the missing with it. In the Japanese roleplaying game, Shin Megami Tensei: Persona 4, the player assumes the role of a silent, male protagonist, the Hero, on a mission to save as many people from the Midnight Channel as possible and figure out who the true culprit is behind these disappearances, all while managing school, studying, part-time jobs, and his social life. The game has two main methods of gameplay: one in the town of Inaba, where the player is a powerless high school student trying to manage his life, and one in the television world, where the player and his party must explore dungeons and fight Shadows using the power of Persona. These dungeons, as manifestations of the human psyche, allow players to experience and interact with characters struggling with ideas of self-perception, identity, gender, and sexuality. In Persona 3, players were given Tartarus to explore, a dungeon accessible almost every night. Balancing one’s social life along with exploring this single dungeon became the core mechanic of the game. Persona 4 followed a similar mechanic, only with smaller, individualized dungeons that appear one at a time, tied directly to the game’s main characters.
    [Show full text]
  • Xbox Cheats Guide Ght´ Page 1 10/05/2004 007 Agent Under Fire
    Xbox Cheats Guide 007 Agent Under Fire Golden CH-6: Beat level 2 with 50,000 or more points Infinite missiles while in the car: Beat level 3 with 70,000 or more points Get Mp model - poseidon guard: Get 130000 points and all 007 medallions for level 11 Get regenerative armor: Get 130000 points for level 11 Get golden bullets: Get 120000 points for level 10 Get golden armor: Get 110000 points for level 9 Get MP weapon - calypso: Get 100000 points and all 007 medallions for level 8 Get rapid fire: Get 100000 points for level 8 Get MP model - carrier guard: Get 130000 points and all 007 medallions for level 12 Get unlimited ammo for golden gun: Get 130000 points on level 12 Get Mp weapon - Viper: Get 90000 points and all 007 medallions for level 6 Get Mp model - Guard: Get 90000 points and all 007 medallions for level 5 Mp modifier - full arsenal: Get 110000 points and all 007 medallions in level 9 Get golden clip: Get 90000 points for level 5 Get MP power up - Gravity boots: Get 70000 points and all 007 medallions for level 4 Get golden accuracy: Get 70000 points for level 4 Get mp model - Alpine Guard: Get 100000 points and all gold medallions for level 7 ghðtï Page 1 10/05/2004 Xbox Cheats Guide Get ( SWEET ) car Lotus Espirit: Get 100000 points for level 7 Get golden grenades: Get 90000 points for level 6 Get Mp model Stealth Bond: Get 70000 points and all gold medallions for level 3 Get Golden Gun mode for (MP): Get 50000 points and all 007 medallions for level 2 Get rocket manor ( MP ): Get 50000 points and all gold 007 medalions on first level Hidden Room: On the level Bad Diplomacy get to the second floor and go right when you get off the lift.
    [Show full text]
  • Theescapist 042.Pdf
    putting an interview with the Garriott Games Lost My Emotion” the “Gaming at Keep up the good work. brothers, an article from newcomer Nick the Margins” series and even “The Play Bousfield about an old adventure game, Is the Thing,” you described the need for A loyal reader, Originally, this week’s issue was The Last Express and an article from games that show the consequences of Nathan Jeles supposed to be “Gaming’s Young Turks Greg Costikyan sharing the roots of our actions, and allow us to make and Slavs,” an issue about the rise of games, all in the same issue. I’ll look decisions that will affect the outcome of To the Editor: First, let’s get the usual gaming in Eastern Europe, both in forward to your comments on The Lounge. the game. In our society there are fewer pleasantries dispensed with. I love the development and in playerbase. I and fewer people willing to take magazine, read it every week, enjoy received several article pitches on the Cheers, responsibility for their actions or believe thinking about the issues it throws up, topic and the issue was nearly full. And that their actions have no consequences. and love that other people think games then flu season hit. And then allergies Many of these people are in the marketing are more than they may first appear. hit. All but one of my writers for this issue demographic for video games. It is great has fallen prey to flu, allergies or a minor to see a group of people who are interested There’s one game, one, that has made bout of forgetfulness.
    [Show full text]
  • Game Narrative Review
    Game Narrative Review ==================== Your name (one name, please): Ian Switaj Your school: Rochester Institute of Technology Your email: [email protected] Month/Year you submitted this review: December 2013 ==================== Game Title: Shin Megami Tensei: Persona 4 Platform: Playstation 2 Genre: Role-playing, Social simulation Release Date: July 10, 2008 (JP) / December 9, 2008 (NA) Developer: Atlus Publisher: Atlus Game Writer/Creative Director/Narrative Designer: Katsura Hashino (Director), Azusa Kido (Scenario and Social Link Planning Leader), Yuichiro Tanaka and Akira Kawasaki (Scenario Writer), US Localization: Martin Britton, James Kuroki, Mai Namba, and Jensen Kamiya (Translator), Nich Maragos (Lead Editor) Overview Persona 4 is a Japanese Roleplaying Game (JRPG) in which a group of high school students are trying to capture the culprit responsible for a chain of murders and kidnappings that began plaguing their town starting April 11, 2011. In the town of Inaba a rumor is going around that by looking at a TV screen at 12:00 AM on a rainy night the face of the viewer’s soulmate will be revealed. The player takes control of a second year high school student who is forced to move to the countryside and live with his uncle’s family for an entire year while his parents are overseas on business and, as a result, becomes inexplicitly involved in the supernatural chain of murders. Victims that are thrown into the TV are attacked and ultimately killed by their Shadows, or manifestations of their repressed psyches, and are found dead in the human world on days of fog. The protagonist and his team of Persona users, must brave the horrors and unknowns of the mysterious TV world populated by Shadows, beings that represent the generally negative emotions and psyches of mankind, in order to seek the truth behind the chain of mysterious murders and their connections to this mysterious rumor, rescue the victims, and uncover the identity of the culprit responsible.
    [Show full text]
  • Sciences Du Jeu, 5
    Sciences du jeu 5 | 2016 Jeux traditionnels et jeux numériques : filiations, croisements, recompositions Édition électronique URL : http://journals.openedition.org/sdj/544 DOI : 10.4000/sdj.544 ISSN : 2269-2657 Éditeur Laboratoire EXPERICE - Centre de Recherche Interuniversitaire Expérience Ressources Culturelles Education Référence électronique Sciences du jeu, 5 | 2016, « Jeux traditionnels et jeux numériques : filiations, croisements, recompositions » [En ligne], mis en ligne le 20 février 2016, consulté le 18 mars 2020. URL : http:// journals.openedition.org/sdj/544 ; DOI : https://doi.org/10.4000/sdj.544 Ce document a été généré automatiquement le 18 mars 2020. La revue Sciences du jeu est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 SOMMAIRE Dossier thématique Correspondances et contrastes entre jeux traditionnels et jeux numériques Delphine Buzy-Christmann, Laurent Di Filippo, Stéphane Goria et Pauline Thévenot Rejouer le récit dans différentes adaptations ludiques de l’univers de J.R.R. Tolkien Simon Dor La conception de jeux en réalité alternée reliés aux séries télévisées. La scénarisation de fictions ludiques hybrides, entre jeu traditionnel et jeu numérique Marida Di Crosta et Ana Chantôme Un ordinateur champion du monde d’Échecs : histoire d’un affrontement homme-machine Lisa Rougetet Les jeux vidéo compétitifs au prisme des jeux sportifs : du sport au sport électronique Nicolas Besombes L’emploi des jeux dans l’enseignement
    [Show full text]
  • TIMESPLITTERS 2Player(S) Inserted Into a Memory Card Slot (A/B)
    TS2 GC final 9/23/02 11:05 AM Page ii WARNING - Electric Shock FPO To avoid electric shock when you use this system: Inside Front Cover Use only the AC adapter that comes with your system. Do not use the AC adapter if it has damaged, split or broken cords or wires. Remove before printing Make sure that the AC adapter cord is fully inserted into the wall outlet or See the “TS2 GC ins cov.eps” document extension cord. Always carefully disconnect all plugs by pulling on the plug and not on the cord. for the actual page Make sure the Nintendo GameCube power switch is turned OFF before removing the AC adapter cord from an outlet. CAUTION - Motion Sickness Playing video games can cause motion sickness. If you or your child feel dizzy or nauseous when playing video games with this system, stop playing and rest. Do not drive or engage in other demanding activity until you feel better. CAUTION - Laser Device The Nintendo GameCube is a Class 1 laser product. Do not attempt to disassemble the Nintendo GameCube. Refer servicing to qualified personnel only. Caution - Use of controls or adjustments or procedures other than those specified herein may result in hazardous radiation exposure. CONTROLLER NEUTRAL POSITION RESET If the L or R Buttons are pressed or the Control Stick or C Stick are moved out of neutral position when the power is turned ON, those positions will be set as the neutral position, causing incorrect game control during game play. To reset the controller, release all buttons and sticks to allow them to return to the L Button R Button correct neutral position, then hold down the X, Y and START/PAUSE Buttons simultaneously for 3 seconds.
    [Show full text]
  • Gaming Flashback: Timesplitters 2 in Or Modern Era of Gaming, Where Yearly Call of Duty Releases Are Hotly Awaited and the Lates
    Gaming Flashback: TimeSplitters 2 In or modern era of gaming, where yearly Call of Duty releases are hotly awaited and the latest Halo release can be the backbone of the latest console generation, it’s hard to believe that the first- person shooter genre was once regarded with apprehension. In truth, this mode of gaming is barely a decade old, in its popular form. Back in the mid-2000s, when I was passing from junior high to high school and really getting my feet wet in video games, as a whole, I used to scoff at the genre. Sure, there were a few fun outliers, and a couple of rounds of Goldeneye 007 were good during a birthday party, but I could see no way in which they could ever supersede my beloved RPGs or RTS games. The party game corner was already fully claimed by Super Smash Bros, Mario Kart, and fighting games like Soul Calibur 2 – perish the thought of some run-and-gun nonsense ever taking their place! But naïve I was, dear readers! How wrong I could be! Because it only took one party for a friend of a friend to show me the light; and the savior was called TimeSplitters2. Released in October of 2002, this ridiculous FPS was the smash sequel to an early PS2 title created by a splinter team from the legendary Rare studios, henceforth known as Free Radical. Combining their technical know-how from the aforementioned Goldeneye for the N64 and a wry British comedy, TimeSplitters 2 lets players kill each other and enemy bots with a variety of weapons as a plethora of characters, from throughout time, space, and sanity.
    [Show full text]
  • An Analysis and Expansion of Queerbaiting in Video Games
    Wilfrid Laurier University Scholars Commons @ Laurier Cultural Analysis and Social Theory Major Research Papers Cultural Analysis and Social Theory 8-2018 Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games Jessica Kathryn Needham Wilfrid Laurier University Follow this and additional works at: https://scholars.wlu.ca/cast_mrp Part of the Communication Technology and New Media Commons, Gender and Sexuality Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Needham, Jessica Kathryn, "Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games" (2018). Cultural Analysis and Social Theory Major Research Papers. 6. https://scholars.wlu.ca/cast_mrp/6 This Article is brought to you for free and open access by the Cultural Analysis and Social Theory at Scholars Commons @ Laurier. It has been accepted for inclusion in Cultural Analysis and Social Theory Major Research Papers by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. Queering player agency and paratexts: An analysis and expansion of queerbaiting in video games by Jessica Kathryn Needham Honours Rhetoric and Professional Writing, Arts and Business, University of Waterloo, 2016 Major Research Paper Submitted to the M.A. in Cultural Analysis and Social Theory in partial fulfillment of the requirements for Master of Arts Wilfrid Laurier University 2018 © Jessica Kathryn Needham 2018 1 Abstract Queerbaiting refers to the way that consumers are lured in with a queer storyline only to have it taken away, collapse into tragic cliché, or fail to offer affirmative representation. Recent queerbaiting research has focused almost exclusively on television, leaving gaps in the ways queer representation is negotiated in other media forms.
    [Show full text]
  • Game Developer Power 50 the Binding November 2012 of Isaac
    THE LEADING GAME INDUSTRY MAGAZINE VOL19 NO 11 NOVEMBER 2012 INSIDE: GAME DEVELOPER POWER 50 THE BINDING NOVEMBER 2012 OF ISAAC www.unrealengine.com real Matinee extensively for Lost Planet 3. many inspirations from visionary directors Spark Unlimited Explores Sophos said these tools empower level de- such as Ridley Scott and John Carpenter. Lost Planet 3 with signers, artist, animators and sound design- Using UE3’s volumetric lighting capabilities ers to quickly prototype, iterate and polish of the engine, Spark was able to more effec- Unreal Engine 3 gameplay scenarios and cinematics. With tively create the moody atmosphere and light- multiple departments being comfortable with ing schemes to help create a sci-fi world that Capcom has enlisted Los Angeles developer Kismet and Matinee, engineers and design- shows as nicely as the reference it draws upon. Spark Unlimited to continue the adventures ers are no longer the bottleneck when it “Even though it takes place in the future, in the world of E.D.N. III. Lost Planet 3 is a comes to implementing assets, which fa- we defi nitely took a lot of inspiration from the prequel to the original game, offering fans of cilitates rapid development and leads to a Old West frontier,” said Sophos. “We also the franchise a very different experience in higher level of polish across the entire game. wanted a lived-in, retro-vibe, so high-tech the harsh, icy conditions of the unforgiving Sophos said the communication between hardware took a backseat to improvised planet. The game combines on-foot third-per- Spark and Epic has been great in its ongoing weapons and real-world fi rearms.
    [Show full text]
  • A Clash Between Game and Narrative
    ¢¡¤£¦¥¦§¦¨©§ ¦ ¦¦¡¤¥¦ ¦¦ ¥¦§ ¦ ¦ ¨© ¦¡¤¥¦¦¦¦¡¤¨©¥ ¨©¦¡¤¨© ¦¥¦§¦¦¥¦ ¦¦¦ ¦¦¥¦¦¨©§¦ ¦!#" ¦$¦¥¦ %¤©¥¦¦¥¦©¨©¦§ &' ¦¦ () ¦§¦¡¤¨©¡*¦¡¤¥ ,+- ¦¦¨© ./¦ ¦ ¦¦¦¥ ¦ ¦ ./¨©¡¤¥ ¦¦¡¤ ¦¥¦0#1 ¦¨©¥¦¦§¦¨©¡¤ ,2 ¦¥¦ ¦£¦¦¦¥ ¦0#%¤¥¦$3¦¦¦¦46555 Introduction ThisistheEnglishtranslationofmymaster’sthesisoncomputergamesandinteractivefiction. Duringtranslation,Ihavetriedtoreproducemyoriginalthesisratherfaithfully.Thethesiswas completedinFebruary1999,andtodayImaynotcompletelyagreewithallconclusionsorpresup- positionsinthetext,butIthinkitcontinuestopresentaclearstandpointontherelationbetween gamesandnarratives. Version0.92. Copenhagen,April2001. JesperJuul Tableofcontents INTRODUCTION..................................................................................................................................................... 1 THEORYONCOMPUTERGAMES ................................................................................................................................ 2 THEUTOPIAOFINTERACTIVEFICTION...................................................................................................................... 2 THECONFLICTBETWEENGAMEANDNARRATIVE ...................................................................................................... 3 INTERACTIVEFICTIONINPRACTICE........................................................................................................................... 4 THELUREOFTHEGAME..........................................................................................................................................
    [Show full text]
  • Kalle Kotipsykiatri -Tietokone- Ohjelma Tekoälyn Popularisoijana 1980-Luvulla
    THS Tekniikan Waiheita ISSN 2490-0443 Tekniikan Historian Seura ry. 37. vuosikerta:3 2019 https://journal.fi/tekniikanwaiheita ”Leiki pöpiä – Kalle parantaa”: Kalle kotipsykiatri -tietokone- ohjelma tekoälyn popularisoijana 1980-luvulla Petri Saarikoski, Markku Reunanen & Jaakko Suominen Jaakko Suominen https://orcid.org/0000-0003-1352-7699 To cite this article: Petri Saarikoski, Markku Reunanen & Jaakko Suominen, ”'Leiki pöpiä – Kalle parantaa': Kalle kotipsykiatri -tietokoneohjelma tekoälyn popularisoijana 1980-lu- vulla” Tekniikan Waiheita 37, no. 3 (2019): 6–30. https://dx.doi.org/10.33355/tw.86772 To link to this article: https://dx.doi.org/10.33355/tw.86772 ”Leiki pöpiä – Kalle parantaa”: Kalle kotipsykiatri -tietokone- ohjelma tekoälyn popularisoijana 1980-luvulla Petri Saarikoski1, Markku Reunanen2 & Jaakko Suominen3 Tekoälyä koskevalla vilkkaalla julkisuuskeskustelulla on oma monipuolinen taustahistoriansa. Artikke- lissa käsitellään Pekka Tolosen luoman Kalle kotipsykiatri -ohjelman vaiheita 1980-luvun tietokoneleh- distössä. Kalle kotipsykiatri tunnetaan varhaisena esimerkkinä tekoälyä simuloivasta keskusteluohjel- masta, jonka Commodore 64 -käännösversion koodivirheitä korjailtiin yli vuoden ajan kotitietokoneisiin erikoistuneessa MikroBitti -lehdessä. Johdanto Tekoälyltä koskevalta keskustelulta voi tuskin välttyä nykyään missään. Tekoäly esiintyy uu- tisissa, poliittisissa puheissa, mediajulkisuudessa sekä ihmisten kasvokkais- ja nettikeskuste- luissa. Tekoälyllä viitataan muun muassa robotteihin, erilaisiin digitaalisiin
    [Show full text]
  • Download Resume
    Objective A high performing, team-player in art direction, web design, and award winning computer animation, I am seeking a challenging full time opportunity to direct projects where my advanced skills, education, and 15+ years of professional experience can be fully utilized. Nicole Tostevin Summary of Qualifications Contact • Art Direction • Ecommerce Experience 415.203.0721 • Product Design • eLearning Educational Design [email protected] • Integrated Brand Design • Animatics • UI/UX Design • User Research Online Portfolio • Storyboarding • Usability Testing www.redheadart.com • WordPress Design/Development • User Stories / Journeys / Flows • Responsive Web Design • Interviews and Surveys • Information Graphics/Animation • Sketch |Wireframes • Social Media Design • Interactive Prototyping • Multimedia Storytelling • Low/High Fidelity Mockups • Graphic Design | Illustration • Style Guides • Animation | Motion Graphics • Mood Boards Education • CALIFORNIA INSTITUTE OF THE ARTS M.F.A. Experimental Animation, Graduate Film School, Valencia, CA • SAN FRANCISCO ART INSTITUTE 1/3 of M.F.A. work in Graduate Video, Computer Art, Performance Art • POMONA COLLEGE B.F.A. Art Major, Claremont Colleges, Claremont, CA Computer & Technology Skills • Adobe Creative Suite • Principle • Sketch | Zeplin • InVision • Adobe Experience Design • Framer • Adobe Photoshop • Keynote | PowerPoint • Adobe Illustrator • Google Slides • After Effects / Cinema 4D • Adobe Captivate • Premiere Pro • Docebo LMS • Adobe Animate • Google Web Designer • Flash |
    [Show full text]