This document discusses Lefebvre's concept of rhythmanalysis and its application to digital, traditional, and pervasive games. It explains that for Lefebvre, rhythm emerges from the interaction of place, time, and energy expenditure. The document outlines different types of rhythms and discusses how the "rhythmanalyst" uses the body to listen to rhythms. It argues that digital games form rhythmic interactions between the player and game, while pervasive games can explore social rhythms and how culture shapes gestures through "dressage."
The document provides information about Egyptian independence and culture in the 1950s including important figures like Gamal Abdel Nasser and Umm Kulthum. It also lists various Egyptian folk rhythms and dances like the masmoudi, fallahi, and saaidi styles. The document concludes with exam instructions that involve identifying rhythms, short answers, and an essay drawing from chapters in the course materials.
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The document discusses creative technology education and provides tips for its development. It notes that computing is now ubiquitous and there is both demand and supply for creative technology skills. However, not everyone can develop these skills and institutions need to ensure they are developing students' human qualities like reflection alongside technical abilities. Educators are encouraged to take a transdisciplinary approach, focus on real-world problems over specific technologies, and provide incubation spaces for students to develop their ideas.
I've had to remove the videos from the file to reduce the size for upload. There are some notes on the page, but they will likely make less sense without the. They are quite key pieces of material.
This document discusses the relationship between gameplay and everyday experiences. It examines de Certeau's concept of tactics and strategies used in everyday life and compares it to elements of games. Specifically, it analyzes the dichotomy between the Dionysian and Apollonian principles and how they relate to a tactical aesthetic found in both everyday life and games. The document aims to reevaluate de Certeau's work by exploring how everyday tactics can be understood through a ludic or gameplay lens.
The document provides information about Egyptian independence and culture in the 1950s including important figures like Gamal Abdel Nasser and Umm Kulthum. It also lists various Egyptian folk rhythms and dances like the masmoudi, fallahi, and saaidi styles. The document concludes with exam instructions that involve identifying rhythms, short answers, and an essay drawing from chapters in the course materials.
Digital Insights from Pervasive & Urban GamingDan Dixon
Pervasive and Urban Gaming are new forms of experimental game design that explore technology and the possibilities of urban space to create innovative forms of playful experience. This talk that I gave at GDCNZ15 looks at insights from my ethnographic research and how these can be applied in more traditional digital gaming.
This document discusses gameful design and introduces the MDA (mechanics-dynamics-aesthetics) analysis model. It begins by defining gameful design and distinguishing it from gamification. Participants then apply the MDA model to analyze existing games and design challenges. The core experience loop is introduced as a framework for designing engaging and rewarding user experiences. Finally, gameful design is positioned as a useful lens for user experience design and the MDA model is reinforced as a tool for both analysis and design.
The document provides time management tips organized into sections on organizing, planning ahead, avoiding time stealers, health, techniques, and common mistakes. Some key tips include creating to-do lists and using checklists, planning the next day's tasks, limiting distractions from online activities and phone calls, scheduling time for exercise and personal activities each day, and using time management techniques like the Pomodoro method to focus on one task at a time for set periods. Common mistakes to avoid are constantly checking email, getting distracted by other computer activities, multitasking, and working in interruptive environments.
Big Games and Hipsters: Cool Capital in Pervasive Gaming FestivalsDan Dixon
Pervasive and street gamers are compared and contrasted with the infamous subculture known as hipsters, showing that although they are quite different social groups their aesthetics operate in similar ways. Specific attention is given to the emergent, socially relative nature of these aesthetics and the operation of ‘cool’ cultural capital. These findings are based on ethnographic field work carried out in 2010 at the Come Out and Play festival.
The document discusses creative technology education and provides tips for its development. It notes that computing is now ubiquitous and there is both demand and supply for creative technology skills. However, not everyone can develop these skills and institutions need to ensure they are developing students' human qualities like reflection alongside technical abilities. Educators are encouraged to take a transdisciplinary approach, focus on real-world problems over specific technologies, and provide incubation spaces for students to develop their ideas.
I've had to remove the videos from the file to reduce the size for upload. There are some notes on the page, but they will likely make less sense without the. They are quite key pieces of material.
This document discusses the relationship between gameplay and everyday experiences. It examines de Certeau's concept of tactics and strategies used in everyday life and compares it to elements of games. Specifically, it analyzes the dichotomy between the Dionysian and Apollonian principles and how they relate to a tactical aesthetic found in both everyday life and games. The document aims to reevaluate de Certeau's work by exploring how everyday tactics can be understood through a ludic or gameplay lens.
This document summarizes Nietzsche's views on play, games, and aesthetics and compares them to the work of philosopher Roger Caillois. It contrasts Nietzsche's concepts of the Apollonian and Dionysian with Caillois' categories of paidia, ludus, alea, ilinx, and mimicry. The document also references views from Gadamer and Nietzsche on play and its relationship to seriousness.
This document discusses various definitions of games provided by scholars over time. It notes that while scholars generally agree that games have rules and goals or outcomes, there are still open debates around other key components of games. The document also examines taking a player perspective in defining games and considers whether this helps address problems in defining them. It concludes by questioning if different online activities can truly be considered games.
The document outlines the key elements in web design, which can be categorized as the surface (visual design), skeleton (interface, navigation, and information design), and structure (information architecture and interaction design). It also discusses requirements and strategy. The surface focuses on visual aesthetics, the skeleton on usability, and the structure on organizing content. Additionally, the document contrasts designing for the web as a hypertext system versus a software application.
This document discusses elements that make experiences dramatic and engaging like games. It identifies that challenge, flow, clear goals and feedback, concentration, control and loss of self-consciousness where the experience is an end in itself can create engrossing play. Play can involve competition, exploration, collection, achievement, joking, creativity, leadership, storytelling and puzzles. Engagement increases with immersion and immediacy. An effective premise unifies the formal and dramatic elements of a game. Characters differ from avatars and player control varies from full will to full control. Story, world-building and dramatic arc are also discussed.
This document compares characteristics of games and game play across several frameworks put forth by different scholars including Sutton-Smith, Abt, Huizinga, Caillois, Suits, Crawford, Costikyan, and Fullerton. It examines whether each framework considers games to have rules, involve conflict/contest, be goal or outcome oriented, constitute an activity/process/event, involve decision making, or not serve an external purpose.
Death; a minor annoyance or an invitation to play?Dan Dixon
This document discusses death in the context of play and games. It explores how death is commonly experienced in childhood play and how it takes on new symbolic meanings in games, though it is not the same as real death. It examines death penalties in games as a system involving risk, reward and time. The document also discusses phenomenological perspectives on being engaged in the "magic circle" of play.
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This document summarizes Nietzsche's views on play, games, and aesthetics and compares them to the work of philosopher Roger Caillois. It contrasts Nietzsche's concepts of the Apollonian and Dionysian with Caillois' categories of paidia, ludus, alea, ilinx, and mimicry. The document also references views from Gadamer and Nietzsche on play and its relationship to seriousness.
This document discusses various definitions of games provided by scholars over time. It notes that while scholars generally agree that games have rules and goals or outcomes, there are still open debates around other key components of games. The document also examines taking a player perspective in defining games and considers whether this helps address problems in defining them. It concludes by questioning if different online activities can truly be considered games.
The document outlines the key elements in web design, which can be categorized as the surface (visual design), skeleton (interface, navigation, and information design), and structure (information architecture and interaction design). It also discusses requirements and strategy. The surface focuses on visual aesthetics, the skeleton on usability, and the structure on organizing content. Additionally, the document contrasts designing for the web as a hypertext system versus a software application.
This document discusses elements that make experiences dramatic and engaging like games. It identifies that challenge, flow, clear goals and feedback, concentration, control and loss of self-consciousness where the experience is an end in itself can create engrossing play. Play can involve competition, exploration, collection, achievement, joking, creativity, leadership, storytelling and puzzles. Engagement increases with immersion and immediacy. An effective premise unifies the formal and dramatic elements of a game. Characters differ from avatars and player control varies from full will to full control. Story, world-building and dramatic arc are also discussed.
This document compares characteristics of games and game play across several frameworks put forth by different scholars including Sutton-Smith, Abt, Huizinga, Caillois, Suits, Crawford, Costikyan, and Fullerton. It examines whether each framework considers games to have rules, involve conflict/contest, be goal or outcome oriented, constitute an activity/process/event, involve decision making, or not serve an external purpose.
Death; a minor annoyance or an invitation to play?Dan Dixon
This document discusses death in the context of play and games. It explores how death is commonly experienced in childhood play and how it takes on new symbolic meanings in games, though it is not the same as real death. It examines death penalties in games as a system involving risk, reward and time. The document also discusses phenomenological perspectives on being engaged in the "magic circle" of play.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
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This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
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In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
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Bodies, rhythms and digital games
1. “Everywhere there is an interaction between
a place, a time and an expenditure of energy
there is a rhythm.”
- Lefebvre
2. Bodies, Rhythm and Digital Games
An introduction to Lefebvre’s Rhythmanalysis and its
relationship to digital, traditional and pervasive games.
Dan Dixon
University of the West of England
Digital Cultures Research Centre | Pervasive Media Studio
3. Aims
➡ “Gameness” and aesthetics
➡ Why rhythmanalysis?
➡ The elements of rhythmanalysis
➡ The rhythmanalyst
➡ Dressage
➡ Digital games
➡ Pervasive games
6. movement systems/rhizome
& rhythm understanding
autotelic
lay ful pla
yfu
p Twirling Pervasive
Lego
l
gaming RPGs
rhythm-action PnP RPG
esMMORPGs
sensation
rhythmic gam tactical
FPS
Dancing Gambling
eve Ballroom
Navigation
ryd Walking Dancing Stockmarket
ryd ay
eve
Sports
ay
Dionysian earnest Apollonian
Lefebvre / Gadamer de Certeau
7. Henri Lefebvre
• Reacting to Marxist focus on Big
and Time.
• Le Quotidien
• mundane, everyday, repetitive
• Intro to Modernity constructed
like a symphony
• Rhythmanalysis specifically
mentioned in POS (1974)
• Rhythmanalysis published
posthumously in 1992
8. “Is there a general concept of rhythm?
Answers: yes, and everyone possesses it [...]
Yet the meanings of the term remain obscure.”
- Lefebvre
9. Rhythm according to
Lefebvre
• Repetition
• Reprise
• Measure
• A sequence of movements
• Time + Space... Rhythm
• dialectic
• “An organ has rhythm, but the
rhythm [...] is not an organ”
• “... it is an interaction”
Rhythm of Black Lines, Piet Mondrian
• Not just a beat or a waveform
10. Types of rhythm
• Cyclical
• Cosmic
• Natural
• Linear
• Begining and end
• Human and Artificial
• Isorhythmia
• Polyrhythmia
• Eurhythmia (symphonic)
Violin strings vibrating
• Arrhythmia
11. The rhythmanalyst
• “The body produces a garland
of rhythms... a bouquet”
• An aesthetic quality to
rhythms
• “At no moment have the
analysis of rhythms [...] lost
sight of the body.”
• Rhythm is a tool of analysis, not
the object to be analysed
• The body is not just the
subject, but also the tool of
Form is the Language of Time
analysis Robert Horowitz
• The Rhythmanalyst listens
12. Dressage
• Gestures are not natural
• We are “broken in” by
society and culture
• Personal gestures are
manipulated by external
rhythms
Construction: Black and White Counterpoint
Burton Wasserman
13. Digital Games
• Traditional, digital and
pervasive games all different
• Player forms a eurhythmia (or
isorhythmia) with the cybertext
that is the digital game
• There is a specific rhythm of
gameness, which is different
from the rhythms of other
cybertexts
Broadway Boogie Woogie, Piet Mondrian
• A form of dressage
14. Pervasive Games
• Social space and rhythms
• Not cybertexts
• Artistic spatial practice
• Explore rhythms of social space
• Explore dressage
• Breaching experiments
Personal Domain of Freedom and Ecstacy
• Turn the player into a Robert Horowitz
rhythmanalyst
15. Summary
➡ Rhythms are a route to “gameness”
➡ Time, Space, Rhythm
➡ Cyclical, Linear, Eurhythmia, Arrythmia
➡ Rhythmanalysts uses the body to listen to the aesthetics of social space
➡ Dressage - Culture breaks us to certain gestures
➡ Digital games - break us into certain gestures
➡ Pervasive games - artistic spatial practice that can explore gestures
Editor's Notes
Dionysus looks more like a gamer than apollo
Introduced in the Birth of Tragedy
Intertwined but separate
Not simple, equal, binary opposites
Described variously as principles, urges, attitudes not properties
Not implying that Computer Games or any other form of game is like Greek Tragedy
Movement is an intrinsic part of thinking about play, one that is often ignored when discussing computer games.
Pathways and patterns in rhythm action games, 2D shooters, platform games, etc.
Gaming is the pleasure of figuring out rules, understanding the system, the enjoyment of information and knowledge, the pleasure of mathematical beauty
Interestingly narrative is part of the Apollonian element and complex narrative is a new comer to games, really only emerging with computer games.
Apollonian is probably most evident in PC based RPGs, especially the turn based RPG where the flow of action is, or can be, interrupted by the player.
Rhythmic - conversational, dialectic,
Fuzzy areas
His Rhythmanalytical project took a long time to develop
Flows/Flux from Marx.
Marx is economics/politics, big power
Influenced by Bergson, Heidegger, Nietzsche, Marx.
Rhythm is something that we all get, but it is difficult to put one’s finger on it.
Bear in mind that this is French philosophy. So we’re not going to get definitional here.
Rhythm is a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions." While rhythm most commonly applies to sound, such as music and spoken language, it may also refer to visual presentation, as "timed movement through space. (WIkipedia, 2010)
Works at a physical and affective level
it is musical
utilises repetition and difference
not simply mechanical but also organic
cyclical and linear
at once continuous and also discrete
unites the quantitative and qualitative
Bergson’s duration... goes on to Lefebvre’s moment
Waves on the Mediterranean
Cyclical come from the heavens
From the massive scale of galaxies, suns, planets, down to the scale of cells, molecules and atoms
Not afraid to bring in some scientific metaphors or similes
Linear come from the social (not the internal biologically human)
Isorhythmia - in frequency
polyrhythmia - many rhythms going on at once
Eurhythmia - symphonic rhythms - the body - the rhythms working together
Arrhythmia - rhythms breaking down
A successor to the psychoanalysts
Maybe to all social and psychological investigators
Sense through using eurhythmia and arrhythmia
Data from all the senses
Must step outside the experience and evaluate
Humans break themselves in like animals
Again metaphors of organs, to society.
The rhythms of dressage are not the totality of rhythms
Linear and cyclical rhythms in games linking into our cyclical and linear rhythms
The game designer is a rhythmanalyst. Tying into our rhythms.
Game play is choreographed
Controller dances, popular dance form
The successful pervasive games have a rhythms borrowed from other rites
But also explore and play with those rhythms.
In many cases they need to inflict dressage to get you to play
In other cases they need you to break out of the cultural dressage, cf Garfinkel’s breaching experiments.