Fares Kayali - ARGs, Persuasion in Context

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My presentation on Alternate Reality Games, persuasion and context from this years FROG Vienna games conference.

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Fares Kayali - ARGs, Persuasion in Context

  1. 1. ARGs - PERSUASION IN CONTEXTFares Kayali, Margarete Jahrmann, Josef Schuh, Brigitte FeldererUniversity of Applied Arts Vienna
  2. 2. “In a very basic sense, the magic circle of a game is wherethe game takes place. To play a game means entering intoa magic circle, or perhaps creating one as a game begins.” Salen, K. & Zimmerman, E. (2004) ‘Rules of play’.
  3. 3. spaces of possibility Nathalie Pozzi & Eric Zimmerman, 3h ago.
  4. 4. Juul, J. (2005) ‘Half-Real - Video Games between Real Rules and Fictional Worlds’.
  5. 5. Juul, J. (2008) ‘The Magic Circle and the Puzzle Piece’.
  6. 6. “We need to draw on [..] theories that provide a morecomprehensive understanding of social life, and locategaming and play as part of a much wider canvas.” Crawford, G. (2009) ‘Forget the Magic Circle (or Towards a Sociology of Video Games)’
  7. 7. “I assume that definitions of a situation are built up inaccordance with principals of organization which governevents […] and our subjective involvement in them; frame isthe word I use to refer to such of these basic elements as Iam able to identify.” Goffman, Erving (1974) ‘Frame Analysis: An Essay on the Organization of Experience’.
  8. 8. “This app is a dream machine that transforms the world around you into a dreamworld. It uses augmented soundto induce dreams through the headset of your iPhone and iPod Touch. It will change your perception of reality.” http://inceptiontheapp.com/
  9. 9. layers of context urban space ------------- inception: the movie --- mobile play ------------- game mechanics ------
  10. 10. layers of context distorted audio ---------- urban space ------------- inception: the movie --- mobile play ------------- game mechanics ------
  11. 11. layers of context music ---------------------- distorted audio ---------- urban space ------------- inception: the movie --- mobile play ------------- game mechanics ------
  12. 12. layers of context active listening ----------- music ---------------------- distorted audio ---------- urban space ------------- inception: the movie --- mobile play ------------- game mechanics ------
  13. 13. layers of context … active listening ----------- music ---------------------- distorted audio ---------- urban space ------------- inception: the movie --- mobile play ------------- game mechanics ------ …
  14. 14. http://bachodi.wordpress.com/2010/07/20/inception-the-movie-in-pseudo-code/
  15. 15. http://www.worldwithoutoil.org/
  16. 16. “Can an online social music game allow Viennese teenagersto change their understanding of cultural diversity in orderto overcome ethnical boundaries?” Department of Communication, University of Vienna Institute of Design and Assessment of Technology, Vienna UT http://igw.tuwien.ac.at/seriousbeats/
  17. 17. “Serious Beats is a social impact game that lets playersDJ with snippets of youtube videos. It empowers them tomake music together.” http://igw.tuwien.ac.at/seriousbeats/
  18. 18. TAKEAWAY◊ ARGs can be regarded as composed out of permeableintertwined layers of social, cultural and play context.
  19. 19. “Technology, Exchange and Flow”Artistic Media Practices and Commercial Application “The crucial question is how can we understand the relationship between commercial applications and implementation of artistic media practices in Europe? Is it determined by technological opportunity? Or the exchange between artists, producers and consumers?” http://trans-techresearch.net/tef/
  20. 20. Pervasive Prosumer Play (PPP) It will explore, through theory and practice, [..] Alternate Reality Games (ARGs), used as a tactic of persuasion by both artists and industrial producers of political propaganda and marketing strategies. http://trans-techresearch.net/tef/vienna
  21. 21. Pervasive Prosumer Play (PPP)
  22. 22. BUILD ON GAME LITERACY Gonzalo Frasca (2002), September 12th
  23. 23. /ppp/SCANNER Map Scanner Inventory Voting
  24. 24. /ppp/codes
  25. 25. /ppp/scanner
  26. 26. “Subliminal messages subtly persuade us. Sometimes thesubliminal message is what is implied and not spokenconsciously.” (Burroughs, W. S., 1964. Nova Express, New York)
  27. 27. M. Jahrmann, F. Kayali, J. Schuh, B. Felderer (2011), AAA Profiler
  28. 28. TAKEAWAY◊ ARGs can be regarded as composed out of permeableintertwined layers of social, cultural and play context.◊ building on game literacy helps game elments to reach out todifferent contexts and to enable ‘persuasion’.
  29. 29. ‘ABSURD COUPLING’“[..] as the mass of commodities become more and moreabsurd, absurdity becomes a commodity in its own right.” Guy-Ernest Debord (1967) ‘The Society of the Spectacle’.
  30. 30. Feng Mengbo (2002), Q4U
  31. 31. /ppp/grotesque
  32. 32. “The distortions introduced in the detourned elements mustbe as simplified as possible, since the main impact of adétournement is directly related to the conscious orsemiconscious recollection of the original contexts of theelements.” Guy-Ernest Debord ‘Methods of Détournement’.
  33. 33. /ppp/daisy
  34. 34. /ppp/DAISy Inventory
  35. 35. /ppp/daisy
  36. 36. TAKEAWAY◊ ARGs can be regarded as composed out of permeableintertwined layers of social, cultural and play context.◊ building on game literacy helps game elments to reach out todifferent contexts and to enable ‘persuasion’.◊ conversely games can uncover ‘tactics of persuasion’ and‘propaganda’ by distorting these contexts.
  37. 37. thank you! @faresK

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