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Moises Mañas-isea2011

Moises Mañas-isea2011






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    Moises Mañas-isea2011 Moises Mañas-isea2011 Presentation Transcript

    • 1
    • Panel: Interface Play: Media Environments for Ludic CyborgsLudic strategies in publicenvironmentsDates: Presented by:Thursday, 15 September, 2011 - 13:00 - 14:30 Moises Mañas (UPV) Authors: Moisés Mañas & M. José Martínez de Pisón (Laboratorio de luz -UPV) 2
    • DESCRIPTION OF THE ELEMENTS OF THE GAMEWe understand “environment” not only as the atmosphere thatsurrounds us, but also on one hand as characteristics that comefrom the social and we consider this social environment mainly asa “scenery of communication”Characteristics from the information technology field, defining theenvironment as a set of intrinsic conditions that are needed tomake the system work, like the type of program, process or thecharacteristics of the devises that it consists of.Rules are related to a political-social aspect and thecoexistence that the scenery of communicationCONDITIONS, EXTRINSIC, FUNCTIONALITY, SCENERYAND COMMUNICATION. 3
    • DESCRIPTION OF THE ELEMENTS OF THE GAME Visual model of the environment 4
    • THE ROLE OF THE MASS MEDIA WITHIN THEENVIRONMENT“These lines of the mechanisms don’t include or surround the system;each of them will be homogeneous on their own, (object, subject andlanguage) but it will go in different directions forming unbalancedsystems”Gilles, Deleuze, “¿Qué es un dispositivo?” in VV.AA., Michel Foucault Filósofo, (Barcelona: Gedisa,1990) 5
    • THE ROLE OF THE MASS MEDIA WITHIN THE ENVIRONMENTThe impact of the media on the social fabric• to create an emancipation and to raise the awareness of theindividual (Benjamin)• the perspectives of dehumanization, for the advancement oftechnological resources and the development of cultural industry.(Adorno & Horkheimer) They have drawn our present, hopeful but deceptive at the same time 6
    • NEW LUDIC STRATEGIES ON DIFFERENT LEVELSThe first level of strategies include among others: •The need to share the game: multi players. With the idea of not only1 sharing but creating collectively.[6] • Take back some of the rules that are established by the system: Social networks. Using them as a witness to the actions that happen in the game. • Generate new rules for the game. Build new media, with the intention of developing tactical strategies. • Play with the rules. Take the position of the joker to develop an in/out strategy in the actual system. • Create low cost devises towards the democratization of the actual system. [6] David Casacuberta, Creación Colectiva. En Internet el creador es el público (Sevilla: Gedisa, 2002) 7
    • NEW LUDIC STRATEGIES ON DIFFERENT LEVELSThe second level of ludic strategies placed: •A new use of festivities and celebrations as a strategic switch. Profanity2 of sacred public spaces [8], public shows [9]. •A rebalancing of the auditory and the visual. Suggesting the resonance as a relevant leader in the performative activity. •Reusing the protocols and systems of symbols as a strategy to learn the game quickly. •The re conquest of public transit spaces (squares and gardens) as play areas. Political game, economic and social. [8] Giorgio Agamben, Profanaciones, (Buenos Aires: Adriana Hidalgo, 2005), 101. [9] Mary Flanagan, Critical play. Radical game Design, (Massachusetts: MIT Press, 2009), 25. 8
    • NEW LUDIC STRATEGIES ON DIFFERENT LEVELSAnd these strategies can give way to:> • Renovation of the significant potential of symbolic forms • Use of the route (path) as a graphic adventure. • Reconversion of transit spaces in areas of consensus and public debate. • Democratization of media. • Search for Ludocracy. • Reconstruction of the game from the consensus and little by little from all the players. 9
    • ART AS A FUNDAMENTAL STRATEGYArt has the ability to bring together the rational andirrational containing a field as wide as the game. Paidiaand ludus find space in art. The strategy, the calculation,intuition or experience build practise that make us awarethat we are playing and not just see and also interact inthe “first person” 10
    • N55 rocket systemBy N55 http://www.n55.dk/manuals/n55rocketsystem/n55rocketsystem.html 11
    • Cellphone DiscoBy Amsterdams Informationlab http://www.cellphonedisco.org 12
    • Remain in lightBy Haruki Nishijima http://www.kontejner.org/remain-in-light-english 13
    • Body MoviesBy Rafael Lozano-Hemmer 14
    • Lummo BlocksBy Carles Guitiérrez, Mar Canet and Jordi Puig 15
    • News MapBy Marcos Weskamp and Dan Albritton 16
    • Men in GreyBy Julian Olivier and Danja Vasiliev 17
    • Urban CodemakersBy Troy Innocent http://urbancodemakers.net/blog/ 18
    • Hybrid PlaygroundBy Diego Díaz and Clara Boj 19
    • Skate & Parkour 20
    • CONCLUSIONS • we can sense this scenery of communication like a porous sphere that takes on the themes and contributions of all the players • space in which we can make a new turn to recuperate the public debate culture, lost through its transformation in the culture of public consumption.And resuming the idea of ludic strategy of profanity through thegame Agamben, the citizen is freed from the rules of theinstitutional sphere, of what is sacred as he states, and hegrants a new dimension of use: “to restore the game to itspurely profane vocation is a political task”Giorgio Agamben, Profanaciones, (Buenos Aires: Adriana Hidalgo, 2005), 101. 21
    • CONCLUSIONS This environment that we propose is the correct place where : • we can generate communities of media producers through creative and ludic aspects. • we have been collecting elements that shape this possible post- medial, redefining the role and extensiveness of the devises toward independent low cost systems • adopt as a tactical strategy the decision to act from the microphone without losing effective communication and producing a change of collective attitude by experiencing the gameIts construction is feasible for the public distribution of free and openknowledge, growing outside of academic contexts under a more flexibleand dynamic structure, and also by the diffusion of artistic practices 22
    • CONCLUSIONSHave we already seen this presentin the public sphere? 23
    • Protest March 19th - 15M Valencia movement Spanish revolution. 24
    • CONCLUSIONS“imagine the development of the independent devices thatgiven their agility and presumed strategic effectiveness, willsoon be able to rearrange the landscape of artistic mediationsof experience”José Luís Brea, “Transformaciones contemporáneas de la imagen-movimiento: postfotografía, post-cinema,post-media,” Acción paralela 5 (2006), 49 25
    • CONCLUSIONS“imagine the development of the independent devices thatgiven their agility and presumed strategic effectiveness, willsoon be able to rearrange the landscape of artistic mediationsof experience”José Luís Brea, “Transformaciones contemporáneas de la imagen-movimiento: postfotografía, post-cinema,post-media,” Acción paralela 5 (2006), 49In these ludic devices, of action and communication is where we seethe prints of ludocracy. Citizens’ re adapting of the rules of the gamestep by step and under its consensus. LUDOCRACY 26
    • Presentation by:Moisés Mañas Laboratorio de Luz. BBAA Universidad Politécnica de Valencia SPAIN moimacar@esc.upv.es 27