Players animation in computer gaming - real/virtual and subject/object in interaction Pål André Aarsand (palaa@tema.liu.se) Department of Child Studies

Social interaction and computer gaming The magic circle Temporally and spatially delimited from its surroundings (Huizinga, 1949; Goffman, 1961) Video games only take place on the screen (Juul, 2001; 2005) Activity frames (Goffman, 1974) What is seen as game by the participants Guide the activity at hand Borderwork (Barth, 1969) What is not me/us

The magic circle

Temporally and spatially delimited from its surroundings (Huizinga, 1949; Goffman, 1961)

Video games only take place on the screen (Juul, 2001; 2005)

Activity frames (Goffman, 1974)

What is seen as game by the participants

Guide the activity at hand

Borderwork (Barth, 1969)

What is not me/us

Methodology Everyday life of working families in Italy, Sweden and the US 8 Swedish families 22 children 16 adults (two working adults in each family) Data Videorecordings Interviews

Everyday life of working families in Italy, Sweden and the US

8 Swedish families

22 children

16 adults (two working adults in each family)

Data

Videorecordings

Interviews

Animation & active noising Animation ...as if they were talking on behalf of their avatar (Aarsand & Aronsson, 2007) ...verbally adresse characters in the computer game as if they were co-present (Turkle, 1984) Active noising ‘ sounds made by the participants to represent something specific’ (O'Reilly, 2005: 754)

Animation

...as if they were talking on behalf of their avatar (Aarsand & Aronsson, 2007)

...verbally adresse characters in the computer game as if they were co-present (Turkle, 1984)

Active noising

‘ sounds made by the participants to represent something specific’ (O'Reilly, 2005: 754)

Borderwork in gaming Real/virtual Active nosing and animation show how gamers adresses and orient to aspect outside the screen Displaying involvment part of framing the activity as gaming Subject/object Animation: where does the subject end? Acting in virtual landscapes Real/virtual and subject/object are dynamic fields in which these distinctions are negotiated

Real/virtual

Active nosing and animation show how gamers adresses and orient to aspect outside the screen

Displaying involvment part of framing the activity as gaming

Subject/object

Animation: where does the subject end?

Acting in virtual landscapes

Real/virtual and subject/object are dynamic fields in which these distinctions are negotiated