DOCSLIB.ORG

Projectuality in Digital Gameworlds

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Projectuality in Digital Gameworlds Projectuality in Digital Gameworlds Daniel Vella University of Malta Msida, MSD2080, Malta [email protected] Stefano Gualeni University of Malta Msida, MSD2080, Malta [email protected] Keywords Phenomenology, existentialism, goals, projects, subjectivity, worldness INTRODUCTION With the objective of articulating an understanding of the existential structure of the player’s engagement with the gameworld, this paper draws on the notion of the ‘project,’ as developed in the existential philosophy of Martin Heidegger (1962[1927]) and, in particular, of Jean-Paul Sartre (1966[1943]). The existential notion of the project could generally defined as an orientation towards an overarching goal that, at its core, reveals the aspiration to shape one’s individual existence in a certain way. The project is an activity of self-determination – a process through which the individual works towards being “a certain type of person” (McInerney, 1979, 667). It is in the light of this projectual disposition that things are recognized as meaningful to the individual. It is because of that attitude that the things a player encounters in a gameworld are interpreted as important, secondary, pleasant, unpleasant, negligible, desirable, right, wrong, etc. The in-game project frames game entities as resources, obstacles, boundaries, friends, foes, and it is in this way that the digital game environment, as the player’s existential situation, takes the conscious form of a meaningful world of possibility. The paper’s exploration of the player’s engagement with the gameworld through the lens of projectuality shall be structured around two main questions. The first concerns the projectuality of the individual’s being in a non-actual context: how does an existential project give shape to the playing individual’s being in the gameworld? The second question, then, focuses on the relation between the individual’s being in the gameworld and her overarching existential project: in what way(s) does the practice of taking on a virtual project figure in the overarching project of the playing individual’s being? This paper shall draw on existing existential approaches to the study of virtual world experience (Gualeni 2015), as well as player experience in gameworlds more specifically. Extended Abstract Presented at DiGRA 2018 © 2018 Authors & Digital Games Research Association DiGRA. Personal and educational classroom use of this paper is allowed, commercial use requires specific permission from the author. In the latter case, the notions of the gameplay condition (Leino, 2010), the ludic subjectposition (Vella 2015) and the gameplay situation (Kania 2017), in different but related ways, advance a position according to which the digital game environment is adopted as the existential situation for a subjectivity she develops within the gameworld – a “ludic subjectivity” (Vella, 2015, 22). Tying in with the general recognition, in formalist attempts at game definition, of an orientation towards goals or preferred outcomes as being a key element of games, the three existential approaches to games mentioned above also identify a directedness towards goals or projects as being at the core of the player’s perception of the gameworld (eg. Avedon and Sutton-Smith 1971, 7; Suits 1990[1978], 34; Costikyan 2002, 11-14; Juul 2005, 36). Leino specifically involves Sartre, arguing that digital games “simultaneously facilitate and resist a particular (kind of) project, which makes the particular (kind of) project stand out among all possible (kinds of) projects” (2010, 135). Vella writes that “the setting of goals towards which [the player’s] efforts are directed [...] makes the gameworld appear to the player in the light of these goals” (2015, 284). Likewise, Kania’s notion of the gameplay situation is intimately tied to the pursuit of a goal – the gameplay situation is “experienced as purposeful from the internal perspective [to the gameworld] with relation to its goal” (2017, 62). In order to answer the first of its two questions, then, the paper will expand upon these understandings to highlight the ways in which the player’s goal-orientation, through shaping what Hans Georg Gadamer terms the “comportment” particular to a given playing, shapes the determination of an in-game ludic self. To answer the second question, then, the paper will draw upon the notion of the “double perspectival structure” of ludic engagement (Vella 2015, 55-71), according to which the player simultaneously inhabits a subjective standpoint internal to the gameworld (the ludic subjectivity) and her own subjective standpoint as an individual external to the gameworld. On this basis, this paper proposes an understanding of ludic subjectivity as standing in a nested relation to the individual’s subjectivity in the actual world, and argues that it is this relation that allows gameworld experience to gain significance in the light of the individual’s projectual existence. The arguments advanced in this paper pave the way for a comprehensive understanding of the transformative, self-transformative, and therapeutic possibilities and advantages afforded by the exercising of ludic subjectivities in digital game worlds. BIBLIOGRAPHY Avedon, E. M., & Sutton-Smith, B. (1971). The Study of Games. New York, NY: John Wiley & Sons. Costikyan, G. (2002) “I Have No Words And I Must Design,” in Mäyrä, F. (ed.), Proceedings of the Computer Games and Digital Cultures Conference, Tampere, Finland: Tampere University Press, pp. 9-33. Gadamer, H. G. 1989 [1960] Truth and Method. London: Sheed & Ward. Gualeni, S. (2015) Virtual Worlds as philosophical tools. Basingstoke, UK: Palgrave Macmillan. Heidegger, M. (1962) [1927] Being and Time. Trans. Macquarrie, J. and Robinson, E. San Francisco, CA: Harper & Row Publishers Inc. Juul, J. (2005) Half-Real: Video Games Between Real Rules and Fictional Worlds. Cambridge, MA: MIT Press. -- 2 -- Kania, M. M. (2017) Perspectives of the Avatar: Sketching the Existential Aesthetics of Digital Games. Wroclaw, Poland: University of Lower Silesia Press. Leino, O.T. (2010) Emotions in Play: On the Constitution of Emotion in Solitary Computer Game Play. [Doctoral dissertation]. IT University of Copenhagen, Denmark McInerney, P. (1979) “Self-Determination and the Project”. In The Journal of Philosophy 76:11, 663-677. Suits, B. (1990) The Grasshopper: Games, Life and Utopia. Boston, MA: David R. Godine. Vella, D. (2015) The ludic subject and the ludic self: Investigating the ‘I-in-the Gameworld’. [Doctoral dissertation]. IT University of Copenhagen, Denmark. -- 3 -- .
Load more

Recommended publications
  • Investigating the Ontological in Virtual Reality Performance
    Investigating the Ontological in Virtual Reality Performance Research Question: How do the theatre makers PIPS: lab and Urland/CREW investigate Stefano Gualeni’s concept that virtual reality is an ‘ontological tool’ that redefines human-technology relationships? Master Thesis: Contemporary Theatre, Dance and Dramaturgy MA Nadine Westveer De Mul 6168477 Supervisor: Chiel Kattenbelt Submission date: 15th August 2018 Word Count: 17,427 Westveer De Mul 2 ABSTRACT This thesis offers a critical and philosophical reflection on how the theatre makers PIPS:lab, Urland and CREW use virtual reality as an “ontological tool”, a term coined by Italian game designer and philosopher Stefano Gualeni in his text Virtual Worlds as Philosophical Tools: How to Philosophize with a Digital Hammer (2015). The research decodes the fragments of ontology in relation to Heideggerian philosophy and additional postphenomenological ideas that are divided between two sub-topics: Space and the body. These two thematic guidelines identify how the theatre makers use specific framing techniques to blur or expose how technology frames our own ontological reality, which Gualeni defines as a transition from traditional ontologies to virtual ontologies (Gualeni 2015). The research hypothesises that virtual realities potential as an ontological tool reveals the human necessity to have agency, feel present and understand the mechanics of one’s own virtual reality experience; in order to escape any applied definition of existential dread to the contextualisation of human-technology relationships. Acknowledgements: I would like to say a special thank you to the following individuals who have significantly helped me through this thesis journey: Thank you Urland for providing and trusting me with vital resources, To my father for his translation support, To David for his patience, And Jane, for being a wonderful study companion throughout this journey.
    [Show full text]
  • André Thomas 1020 Sanctuary Ct., College Station TX 77840 Phone: +1 407-927-8617 [email protected]
    André Thomas 1020 Sanctuary Ct., College Station TX 77840 Phone: +1 407-927-8617 [email protected] Education M.F.A, Game Design 2017 Laguna College of Art & Design Final Work: “Pandit” • Advisors: Curtis Murphy, Bob Nicoll, Stefano Gualeni Diploma/Apprenticeship Tool & Die Making 1990 VEB Weimar Werk, Germany Academic and Professional Experience Current Positions Assistant Professor of the Practice, 2017 - present Texas A&M University, College of Architecture, Department of Visualization Director, LIVE lab 2017 - present Texas A&M University, College of Architecture, Department of Visualization CEO, 2014 - present Triseum LLC, Bryan TX Founded the company which is a spin off from Texas A&M University and has been created to commercialize the products that are being designed and developed in the LIVE lab. Past Academic Positions Lecturer, 2015 - 2017 Texas A&M University, College of Architecture, Department of Visualization Visiting associate Lecturer, 2003 - 2004 University of the Arts London, London College of Communication, UK Past Professional Positions Head of Graphics, 2007 – 2013 Madden NFL ’08 – ‘14 (game) NCAA College Football ’08 – ‘14 (game) NFL Head Coach ‘10 (game) NFL Blitz (game) NFL Tour (game) EA Sports Football, Electronic Arts, Orlando FL Responsible for the strategy, planning and execution of all Graphics development for all Football Franchises, Madden NFL, NCAA Football, Head Coach, NFL Tour, and NFL Arcade on all SKU’s. • Leading and directing graphics development for Football products • Establishing product
    [Show full text]
  • Self-Reflexive Videogames
    Issue 05 – 2016 Self-refexive videogames STEFANO GUALENI University of Malta [email protected] Self-refexive videogames Observations and corollaries on virtual worlds as philosophical artifacts ABSTRACT Self-refexive videogames are videogames designed to materialize critical and/or satirical perspectives on the ways in which videogames themselves are designed, played, sold, manipulated, experienced, and understood as social ob- jects. This essay focuses on the use of virtual worlds as mediators, and in partic- ular on the use of videogames to guide and encourage refections on technical, interactive, and thematic conventions in videogame design and development. Structurally, it is composed of two interconnected parts: In the frst part of this essay, I will discuss NECESSARY EVIL (Gualeni et al., 2013), an experimental videogame that I designed as a self-refexive virtual ar- tifact. With the objective of clarifying the philosophical aspirations of self-refex- ive videogames – and in order to understand how those aspirations can be practi- cally pursued – I will dissect and examine the design decisions that contributed to the qualities of NECESSARY EVIL as an example of “playable philosophy”. Taking of from the perspectives on self-refexive videogames ofered in the frst part of the essay, the second half will focus on virtual worlds as viable mediators of philosophical thought more in general. In this section, I will argue that, both through the practice of game design and through the interactive ex- periences of virtual worlds, twenty-frst century philosophers have the possibil- ity to challenge the ofen-unquestioned understanding of written discourse as the only context in which philosophical thought can emerge and be developed.
    [Show full text]
  • What Is It Like to Be a Digital Bat.Pdf
    What is it Like to Be a (Digital) Bat? STEFANO GUALENI NHTV University of Applied Sciences - International Game Design and Architecture - Reduitlaan 41, 4814 DC – Breda (The Netherlands) [email protected] 0. ABSTRACT Could a person ever transcend what it is like to experience and understand the world as a human being? Could humans ever know what it is like to be another entity? In the last century, similar questions about human subjectivity have often been raised within the context of post-metaphysical thinking. In particular, the ones presented at the beginning of this paragraph were tackled from the perspective of philosophy of mind by Thomas Nagel in his 1974 essay What is it Like to Be a Bat? Nagel’s reflections and answers to those interrogatives were elaborated before the social diffusion of computers and did not anticipate the cultural impact of a technology capable of disclosing interactive and persistent experiences of virtual worlds as well as virtual alternatives to the ‘self’. This paper utilizes the observations, the theoretical insights and hypothetical suggestions offered in What is it Like to Be a Bat? and Martin Heidegger’s framework for a philosophical understanding of technology as its theoretical springboards. The scope of my reflection is precisely that of assessing the potential of interactive digital media for transcending human subjectivity. The chosen theoretical perspectives lead to the preliminary conclusion that, even if there is no way of either mapping or reproducing the consciousness of a real bat, interactive digital technology can grant access to experiences and even systems of perception that were inaccessible to humans prior to the advent of computers.
    [Show full text]
  • Satirical Game Design
    Satirical Game Design: The Case of the Boardgame Construction BOOM! Jasper Schellekens Stefano Caselli [email protected] Institute of Digital Games, University of Malta Institute of Digital Games, University of Malta Msida, Malta Msida, Malta [email protected] Stefano Gualeni Krista Bonello Rutter Giappone Institute of Digital Games, University of Malta Department of English, University of Malta Msida, Malta Msida, Malta ABSTRACT citizens lacking tangible influence on the decision-making process. To recognize satire, the audience must be aware of the context This situation ultimately fueled the frustration and indignation that and the satirical intent of the work in question. Academic research resulted in the creation of Construction BOOM! [29]. on the possibilities and effects of satire in games is minimal, if The game was designed with the intent to critique what the compared with other rhetorical uses of playful interaction. This authors perceived to be the absurd nonchalance of the general paper contributes to our understanding of satire in games by dis- population in the face of the unrestrained real estate development cussing and annotating design decisions that were meant to be that they were confronted with, and impacted by, on a daily basis. taken satirically. More specifically, the focus of this paper is Con- National alarm was only raised following a number of collapses struction BOOM!, a tile-laying boardgame designed by the some of adjacent to construction sites in 2019 [4, 10, 23, 62, 64, 67] and also the authors of the paper (Gualeni and Schellekens) themselves with provided the impetus to the development of the game mechanics the overt intention of satirizing the current situation of real-estate of Construction BOOM! [29].
    [Show full text]
  • Curriculum Vitae
    CURRENT ACADEMIC POSTS: ■ Associate Professor at the Institute of Digital Games (IDG) at the University of Malta - Research areas: Game Design, Philosophy of Technology, Existentialism, Game Studies, and Virtual Worlds Research (since my promotion in March 2016) ■ Visiting Professor in Game Design at the MFA in Game Design at the Laguna College of Art and Design (LCAD), Laguna Beach (California) (since June 2015) PREVIOUS ACADEMIC POSTS: ■ Visiting Researcher at the Centre for Digital Humanities (CDH) at the University of Gothenburg, Gothenburg (Sweden) (September 2018 - February 2019) ■ Senior Lecturer in Game Design at the Institute of Digital Games (IDG) at the University of Malta (January 2015 until my promotion in March 2016) ■ Lecturer in Game Design, Game Architecture, and Game Studies at the Breda University of Applied Sciences (BUAS), Breda (The Netherlands) (August 2006 - January 2015) EDUCATION: ♠ ERASMUS UNIVERSITY ROTTERDAM, Rotterdam (the Netherlands) Ph. D. in Philosophy (April 2014) – Dissertation title: AUGMENTED ONTOLOGIES (Prof. Jos de Mul) ♥ HOGESCHOL VOOR DE KUNSTEN UTRECHT, Utrecht (the Netherlands) M. A. in Fine Arts (August 2008) – Thesis title: OPERA MORTA ♦ POLYTECHNIC UNIVERSITY OF MILAN, Milan (Italy) M. Sc. in Architecture (July 2004, five-year Laurea Magistralis) – obtained cum laude ♣ LICEO SCIENTIFICO C. BATTISTI, Lovere (Italy) Diploma (July 1997) awarded with a final grade of 60/60 I COMMERCIALLY PUBLISHED GAMES: ■ Hyperbole (2021), PC 3D action puzzle (by Nils Deslé, in open beta at: https://nilsdesle.itch.io/hyperbole) My roles: additional game design ■ The Horrendous Parade (2011), iPad and iPhone action-puzzle game developed by Double Jungle S.a.S. My roles: creative director, game designer, writer, IP owner ■ Fronte del Basket 2 (2006), PC internationally licensed basketball simulation developed by Idoru S.r.L.
    [Show full text]
  • Mechanisms for Adopting Subjectivities in the Gameworld Daniel Vella University of Malta Msida, MSD2080 Malta [email protected]
    Processes of Roling: Mechanisms for Adopting Subjectivities in the Gameworld Daniel Vella University of Malta Msida, MSD2080 Malta [email protected] Stefano Gualeni Jonne Arjoranta University of Malta University of Jyväskylä Msida, MSD2080 PL 35, 40014 Malta Finland [email protected] [email protected] Keywords subjectivity, roling, gameworld, embodiment EXTENDED ABSTRACT This text focuses on what we shall term processes of ‘roling’ – that is, those practices, experiences, and activities by which the player is led to form an understanding of, and to internalize, a particular subjectivity or role in relation to the virtual world of a game. This subjective existence in the gameworld is determined by a variety of factors, including the capabilities and limitations the player is given towards the gameworld– and, resultingly, the affordances available to her (Linderoth 2013), the goals she has set or has allowed to be set for herself, and the ways in which she can be affected by other entities in the gameworld. This understanding of the player’s in-game subjectivity is grounded in theorizations, within existing game studies literature, of notions like embodiment (Taylor 2002; Grodal 2003; Klevjer 2006; 2012; Bayliss 2007a; 2007b; Gee 2008; Gregersen and Grodal 2009; Martin 2012; Keogh 2018), the Game Ego (Wilhelmsson 2008), incorporation (Calleja 2011), the gameplay situation (Kania 2017) and ludic or virtual subjectivity (Vella 2015; 2016; Vella and Gualeni 2019). The subjectivity that such approaches theorize, then, has little to do with the socially and cognitively complex practices of role-playing (Bowman 2013); instead, it refers to the formally structured standpoint established for the “implied player” (Aarseth 2007) of the game – and which any actual playing individual can choose to align themselves with or react against.
    [Show full text]
  • OF US, PLAYERS Pathways in the Diffusion of Digital Gaming: Relocations, Pervasiveness, Gamification Edited by the Editors at GAME
    ISSN 2280-7705 The Italian Journal www.gamejournal.it Associazione Culturale LUDICA of Game Studies Games as Art, Media, Entertainment Issue 01, 2012 – volume 1 JOURNAL (PEER-REVIEWED) ALL OF US, PLAYERS Pathways in the diffusion of digital gaming: relocations, pervasiveness, gamification Edited by the Editors at GAME GAME JOURNAL – Peer-Reviewed Section Issue 01 – 2012 GAME Journal Games as Art, Media, Entertainment G|A|M|E is an international, peer-reviewed, free access games studies journal. G|A|M|E publishes one monographic issue per year A PROJECT BY SUPERVISING EDITORS Associazione Culturale LUDICA Antioco Floris (Università di Cagliari), Roy Menarini (Università di Udine), Leonardo Quaresima (Università di Udine) Reggio Calabria IT & London UK HQ: Via Vittorio Veneto 33 89123 Reggio Calabria, Italy EDITORS Offices: 52 Kelly Avenue, London SE15 5LH, UK Stefano Baschiera (Queen’s University, Belfast), Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Università di Bologna), Adam Gallimore In association with (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), filmforumfestival.it Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador (Università Cattolica, Milano) WITH THE PATRONAGE OF Università di Cagliari ADVISORY BOARD Dipartimento di Storia, Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College
    [Show full text]
  • In the Contexts of Video Game Studies and Video Game Design, The
    The Philosophy of Computer Games Conference, Berlin 2015 SELF-TRANSFORMATION THROUGH GAME DESIGN Stefano Gualeni 0. INTRODUCTION Communication is an activity that characterizes all living forms, and it is a particularly challenging one. As human beings, we experience difficulties in conveying ideas or explaining processes on an everyday basis. Such difficulties become progressively more vexing with the growing complexity of what we intend to communicate. Our struggling with the articulation of notions is often also a symptom of our not having a complete or completely conscious understanding of the very information that we are trying to communicate. The mere ‘working understanding’ of something hardly enables us to clearly and efficiently teach or explain that something to someone else. It appears as if we can only competently organize, re-focus, and metaphorize concepts and courses of action for our interlocutors (and comfortably meet their communicative preferences) once we have sufficiently internalized that particular knowledge or that specific process ourselves. Every time we design something that is meant to have a communicative or didactical purpose (such as a recipe, a ‘serious’ videogame, or a conference presentation), we are faced first and foremost with the challenge of consolidating and completing our own knowledge about what we are trying to communicate. This paper will focus on the transformations that occur in human beings when they are involved in the process of structuring information for other human beings. Its conceptual basis is the notion according to which during the process of structuring transformative experiences for somebody, we inherently develop and refine our own sensitivity and knowledge.
    [Show full text]
  • Cruz Martinez, Manuel Alejandro.Pdf
    A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details The Potential of Video Games for Exploring Deconstructionist History Manuel Alejandro Cruz Martínez Thesis submitted for the degree of Doctor of Philosophy University of Sussex July 2019 2 Declaration I hereby declare that this thesis is the result of my own research. This thesis has not been and will not be submitted in whole or in part to another University for the award of any other degree. Manuel Alejandro Cruz Martínez 3 Abstract This thesis examines the potential of historical video games for exploring deconstructionist history. Historical video games have become one of the most popular and accessible forms of historical narratives in the 21st century, forming a key part of public engagement with history. This popularity has also placed these games under growing scrutiny, including calls for critically analysing their role in the construction and representation of historical narratives and epistemologies. For example, addressing topics like the emphasis on military history, the dominance of western perspectives and contexts, or teleological notions of progress.
    [Show full text]
  • VIRTUAL WELTSCHMERZ Things to Keep in Mind While Building Experience Machines and Other Tragic Technologies
    VIRTUAL WELTSCHMERZ Things to keep in mind while building experience machines and other tragic technologies Stefano Gualeni, Institute of Digital Games – University of Malta This is a pre-print draft for: Gualeni, S. 2017. “VIRTUAL WELTSCHMERZ - Things to keep in mind while building experience machines and other tragic technologies”. In Silcox, M. (ed.), Experience Machines: The Philosophy of Virtual Worlds, 113-133. London, UK: Rowman and Littlefield International. 0. INTRODUCTION Having made it this far into the present book, it is practical to assume that the readers are already familiar with ‘The Experience Machine’, a thought experiment that was proposed in the seventies by American philosopher Robert Nozick. To summarize: Nozick hypothesized the existence of a device capable of disclosing persistent virtual1 experiences for the human being using it. The experiences upheld by his fictional machine are envisaged to be indistinguishable from those that we, as humans, can develop in relation with the actual world. In this outline of Nozick’s thought experiment, I am using the descriptor ‘actual’ to indicate the analog contexts that we inhabit everyday as (and with) biological creatures. Nozick’s thought experiment challenged us to envision having access to a device that could indefinitely supplant our everyday experiences with virtual ones designed to maximize our pleasure and satisfaction. By presenting us with the possibility of an experience machine, he invited reflections on whether the way we live our lives is solely driven by the pleasure principle, or if there is something else that we value other than how we feel ‘from the inside’. If such a machine existed, asked the American philosopher, “would you plug in?” (Nozick, 1974, 42) As already mentioned in the introduction to this book, Nozick’s mental exercise has been differently invoked and interpreted in various contexts.
    [Show full text]
  • RE-FRAMING VIDEO GAMES in the LIGHT of CINEMA Edited by Riccardo Fassone, Federico Giordano, Ivan Girina
    ISSN 2280-7705 The Italian Journal www.gamejournal.it Associazione Culturale LUDICA of Game Studies Games as Art, Media, Entertainment Issue 04, 2015 – volume 2 CRITICAL SECTION (Non peer-reviewed) RE-FRAMING VIDEO GAMES IN THE LIGHT OF CINEMA Edited by Riccardo Fassone, Federico Giordano, Ivan Girina CRITICAL NOTES – Non peer-peviewed Issue 04 – 2015 GAME Journal Games as Art, Media, Entertainment G|A|M|E is an international, peer-reviewed, free access games studies journal. G|A|M|E publishes one monographic issue per year A PROJECT BY SUPERVISING EDITORS Associazione Culturale LUDICA Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Reggio Calabria IT & London UK Leonardo Quaresima (Università di Udine) HQ: Via Vittorio Veneto 33 89123 Reggio Calabria, Italy Offices: 52 Kelly Avenue, London SE15 5LH, UK EDITORS Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università In association with di Torino), Gabriele Ferri (Hogeschool van Amsterdam), Adam Gallimore (University of Warwick), Ivan Girina (University filmforumfestival.it of Warwick), Federico Giordano (Università per Stranieri di Perugia), Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London / Art and Civic Media, Innovation-Incubator, Leuphana University Lüneburg), Mauro WITH THE PATRONAGE OF Salvador (Università Cattolica, Milano). Università di Cagliari Dipartimento di Storia, ASSOCIATED EDITORS Beni Culturali e Territorio Stefano Baschiera (Queen’s University, Belfast), Stefano Gualeni (University of Malta), Altug Isigan (Izmir University, PARTNERS Izmir) ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College of the Arts), Jay David Bolter (Georgia Institute of Technology), Gordon C.
    [Show full text]