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  • 1. WEEK 6 PRESENTATION ON- PERVASIVE PERFORMANCE Prepared by Annie Lok, Dana Baasiri, Trevor Roach, Varsha Thadani, Vivian Kam
  • 2. CHARADES
    • Game can be played by anyone, anywhere without any props, tools, or technology
    • Only relies upon people.
    • Personal and intimate
    • Very social game
    • Requires teamwork and reliability
    • Creates a closer knit community – Lack of technology?
    • Use of Physical space not cyber space!
  • 3. DISCUSSION QUESTION 1
    • How you think that gaming matters with learning? In addition, do you think is the gaming content that affects learning or is the technique of playing the game that matters for learning?
  • 4. TOWARD AN ECOLOGY OF GAMING - By: Katie Salen
  • 5. KATIE SALEN BIOGRAPHY
    • 1. Background
    • Game, interactive, animator designer
    • Taught at many schools including Parsons School of Design, School of Visual Arts etc.
    • Worked on a film called Walking Life as an animator
    • Also, the co-author of a textbook on game design called Rules of Play: Game
  • 6. KATIE SALEN BIOGRAPHY (2)
    • 2. Current Work:
    • Lead Designer on a digital game designed to teach game design to middle school and high school youth.
    • She also writes on game design, design education and game culture
    • She has also written books and lectured on how the creation and the use of games can be a foundation for learning and innovation in our ever accelerating world
  • 7. KATIE SALEN BIOGRAPHY (3)
    • 3. Influences:
    • Her primary influences is developing a critical practice that designs different types of games
    • Big games, downloadable, conference and hybrid games.
    • The change in consciousness of people through time has affected how games are developed and played from casual games, to second life games and more
  • 8. FOUR MAIN QUESTIONS ASKED:
    • What forms of participatory practices do games and gaming engender for youth; which forms of learning are present, missing, or reinforced through gaming?
    • What gaming literacies, or families of practice produced by games and gaming attitudes, do we see emerging?
  • 9. FOUR MAIN QUESTIONS ASKED: (2)
    • How does gaming act as a point of entry of departure for other forms of knowledge, literacies, and social organization?
    • What barriers of entry into gaming and game communities exist, and what are the implications for those who haven’t been invited to play?
  • 10.
    • Salen’s goal is to offer an understanding of the various ways in which gaming should and could matter to those considering the future of learning.
  • 11. LEARNING ECOLOGIES
    • Explores the spaces of intersection between gaming, the design of dynamic and player-driven learning spaces, and the role that each play for kids familiar with video games.
    • Articulates a form of learning ecology that is present in the way that kids game.
    • The culture of video game play is one tangled up with other cultural practices.
    • Designer Amit Pitaru  making digital games accessible to a wider audience benefits everyone by providing opportunities for play across communities.
      • As kids get left out of video game play and other digitally based experiences, they will continue to fall behind.
  • 12. HIDDEN AGENDA
    • Games have been used as learning tools.
    • Ian Bogost “The Rhetoric of Video Games”
  • 13. HIDDEN AGENDA (2) IAN BOGOST “THE RHETORIC OF VIDEO GAMES”
    • “ Playing video games is a kind of literacy. Not the literacy that helps us read books or write term papers, but the kind of literacy that helps us make or critique the systems we live in . . . . When we learn to play games with an eye toward uncovering their procedural rhetorics, we learn to ask questions about the models such games present” (Bogost).
  • 14. HIDDEN AGENDA (3) IAN BOGOST “THE RHETORIC OF VIDEO GAMES”
    • Procedural rhetoric (Bogost)  the art of persuasion through rule-based representations and interactions.
    • Video games construct arguments about the way social and cultural systems work in the world.
      • Example: how race and gender are codified and constructed within games.
    • Opens up the possibility for defining a new set of literacies associated with reading, producing and playing games.
  • 15. GAMING LITERACIES
    • Builds on the belief that exposure to the flexible rule sets and iterative, cyclical play embodied in both design and gaming practices are critical for thinking about literacy.
  • 16. GAMING LITERACIES(2) SQUIRE “OPEN ENDED VIDEO GAMES”
    • Attempts to take into account a set of disparate activities that partially define the current landscape of work around games and learning.
      • Video game based learning environments = designed experiences focusing on open ended simulation games.
      • Interested in observing and analyzing the learning occurring in these commercial, games, and in transforming this understanding into an effective design framework.
  • 17. GAMING LITERACIES(3) SQUIRE “OPEN ENDED VIDEO GAMES”
    • As students progress, they develop new interests, which then propel them out of the community of practice toward new areas of interest.
    • Gaming drives kids to discover and nurture interests they may not know they have.
  • 18. GAMING LITERACIES(4)
    • Examples that Salen offers :
      • Jane McGonigal  Alternate reality games are well suited to encouraging reflection on the skills that players use to meet new challenges.
      • Ondrejka  The use of virtual worlds as building blocks.
      • Barry Joseph  Gaming as a form of youth media.
  • 19. GAMING LITERACIES(5)
    • 4 types of gaming literacies:
      • Learning to “read” a game system.
      • Learning to navigate a complex system of out-of-game resources.
      • Negotiating the variable demands of fair play.
      • Learning how to collaborate within a multiplayer space.
    • Gaming can allow players to experience various perspectives.
  • 20. BEYOND GAME
    • Gaming  the sum total of activities, literacies, knowledge, and practices activated in and around any instance of a game.
    • Gaming is play across media, time, social spaces, and networks of meaning.
    • Includes engagement with digital FAQs, paper game guides, parents and siblings, the history of games, other players as well as the games themselves.
    • Requires players to be fluent in a series of connected literacies.
  • 21. BEYOND GAME (2)
    • Requires an attitude oriented towards risk taking, meaning, creation, problem solving, non-linear navigation, etc.
    • Lusory attitude  the attitude required of players in order to play.
  • 22. BEYOND GAME (3)
    • Different perspectives on the conditions of learning and play:
      • Gaming can include interaction with non-digital media.
      • The relationship between games and learning has a history that predates the advent of video games.
      • Learning about games and learning with games take place simultaneously.
      • There is no “one” game.
      • All play means something.
      • Players determine how they learn.
  • 23. KEY MOMENTS
    • “ Can I try?”  When a player unconsciously reaches for the game controller or mouse and asks if he can try.
    • “ Can I save it?”  Records the moment that the player feels invested in the experience.
    • “ Want me to show you?”  The player’s desire to teach another.
    • “ How did you do that?”  Desire to learn technique and skill.
    • Games invite learning through a reputation of trust.
  • 24. GAME TIME!!! - ONLINE GAMING (ONLINE POKER)
    • Lack of physical aspects
    • Not immediate response (no facial reactions)
    • Space and time are thrown out of balance
    • Reliance upon technology
    • Is a recreation of a game that possesses a lot of physical and emotional aspects
    • What does this cyber space change? Better? Worse?
  • 25. DISCUSSION QUESTION 2
    • When people can go online everywhere that has Wi-Fi or Internet service provided, how do you think it will lead to a better community building or vice versa and why?
  • 26. SUPERGAMING: UBIQUITOUS PLAY AND PERFORMANCE FOR MASSIVELY SCALED COMMUNITY - By Jane McGonigal
  • 27. JANE MCGONIGAL… IS A GAMES RESEARCHER AND DESIGNER AND SO MUCH MORE
    • Has PHD from UC Berkley in performance studies
    • With her game called The Lost Ring she was recognized by BrandWeek as the #1 Bright Idea of 2008
    • Her idea of “alternative reality business” was recognized by Harvard Business Review as one of the “Top 20 Breakthrough Idea of 2008”
    • Named one of the 20 Most Important Women in Videogaming in 2008
    • MIT Technology Review named her one of the top 35 innovators changing the world through technology.
  • 28. MORE MORE MORE
    • The more the better (optimal number of players required for more intense games, players experience pleasure in being part of a much larger, co-present whole)
    • More is different (unexpected things when you scale up)
    • More is needed (to connect to many individuals as possible)
  • 29. UBICOMP AKA. UBIQUITOUS COMPUTING
    • The practice of connecting and embedding increasingly smaller and more mobile computing devices and network technologies in everyday environment and public spaces
    • massively scaled communities
    • Ubicomp technologies like cell phones and wi-fi hot spots
  • 30. ARGUMENTS ABOUT SUPERGAMING & UBIQUITOUS PLAY
    • An audience – is typified by a one-way relationship between sender and receiver, and by the disconnection of its members from one another
    • Community – people typically send and receive messages and the members of a community are connected to one another, not just to some central outlet (two-way relationship)
  • 31. SOME LINKS
    • Flash Mob
      • http://flashmobcomputing.org/
    • Go Game
      • http://www.thegogame.com/team/index.asp
  • 32. CONCLUSION
    • Supergaming: 4 attributes
      • massively scaled (super size)
      • projected onto everyday public environments (super imposed)
      • heightens the power and capabilities of its players (superhero)
      • harnesses the play of distributed individuals in a high-performance problem solving unit (super computing)
    • Purpose of Supergaming:
      • To generate a visible expression that attracts an audience either local, online or through traditional media outlets
  • 33. GAME TIME!! – MAFIA
    • A new breed of gaming
    • Takes the best of both worlds.
    • Provides optimal connectivity between participants
    • Makes games multi-dimensional
    • Allows for new modes of creativity and expression
    • A primitive example of ARG’s
    • Promotes inclusiveness?
  • 34. GAME TIME!! - MAFIA
    • = Host
    • = Killer (chooses someone to kill)
    • = Doctor (chooses someone to save)
    • = Detective (finds the killer & convince civilians)
    • Numbers = civilians
  • 35. DISCUSSION QUESTION 3
    • Combining the two articles, how do think that gaming, especially supergaming can be taken into account as a pervasive performance?
  • 36. REFERENCES
    • McGonigal, Jane. “SuperGaming: Ubiquitous Play and Performance for Massively Scaled Community.” Modern Drama. 48, 3(2005): 471-491
    • Salen, Kate. “Toward an Ecology of Gaming.” The John D. and Catherine T. MacArthur Foundation Series on Digital Media Learning . (2008): 1-20