Monday, March 14, 2011

tools can be processes as well as products....

Wednesday, March 16 – Creative processes and products as tools, using tools, generating tools
Ito, chapter 5 on gaming (note PROCESS not product)

(during the break read chapter 6 on creative production as well)

boundary work: 
• 235: "making distinctions between different kinds of gaming identities and between the world of gaming and mainstream culture...."
• some forms it takes as discussed in Ito: gamer/non-gamer; killing time/hanging out vs. rec. gaming expertise; boy/girl; digital native vs. older generation; addiction & compulsion vs. social health & maturity  
• other possibilities? ethnographic ecologies vs. game designing; extensive vs. intensive; disciplinary differences, eg. HCI & English vs. ethno-methodological sociology of knowledge; inclusive practices vs. exclusionary & specialized forms of expertise; insider vs. outsider? game scholars vs. gamers? game scholar-gamers vs. play & learning scholars 

• what counts here as "accessibility" or exclusion?? what about gripes like "boys with toys"? or status driven sports identities vs. interest driven gamers identities? commitments of time and energy, greater and lesser? "I don't have enough time for my First Life..."? ebb and flow of intensities

• games as learning as play


Johnson 2005: 10: "the landscape of popular culture involves the clash of competing forces: the neurological appetites of the brain, the economics of the culture industry, changing technological platforms. The specific ways those forces collide play a determining role in the type of popular culture we ultimately consume. The work of the critic, in this instance, is to diagram those forces, not decode them."

• what kind of boundary work does Johnson do?
Some vocabularies: King, Johnson, Bolter & Grusin
* From Steven Johnson, Everything Bad (Riverhead, 2005) [these are Johnson's terms, Katie's definitions] 54-89:
Probing--learning the rules of a simulation by trial and error, while necessarily also checking out its edges, limits and unexpected artifacts or patterns
Telescoping--apprehending simultaneously all the structures of nested hierarchy and mobilizing them in various sequences
Flashing arrows--signposts to help the reader entangle themselves properly into the book
filling-in--tentatively trying out possible materials in spaces left empty in production, sometimes deliberately, sometimes inadvertently
multiple threading--keeping track of many story arcs and a range of narrative frames, noting which ones are currently active and which ones are latent but potentially significant
texture--noting which details are irrelevant but added tacitly for the pleasures of seeming realisms
layered jokes--rich associations built up humorously over long time frames that animate a complex intermedia intertextuality

* From Bolter & Grusin, Remediation (MIT, 1999): 68:

"What is remarkable is that these seemingly contradictory logics not only coexist in digital media today, but are mutually dependent. Immediacy depends upon hypermediacy.... The desire for immediacy leads to a process of appropriation and critique by which digital media reshape or 'remediate' one another and their analog predecessors such as film, television, and photography."

"The entertainment industry defines repurposing as pouring a familiar content into another media form; a comic book series is repurposed as a live-action movie, a televised cartoon, a video game, and a set of action toys. The goal is not to replace the earlier forms, to which the company may own the rights, but rather to spread the content over as many markets as possible. Each of those forms takes part of its meaning from the other products in a process of honorific remediation and at the same time makes a tacit claim to offer an experience that the other forms cannot. Together these products constitute a hypermediated environment in which the repurposed content is available to all the senses at once…."

Only a taste of exciting resources and research on gaming and learning:
Gee 2003, 2007; Salen & Zimmerman 2004, Juul 2005, Jenkins 2006, Pearce & Artemesia 2009, Taylor 2009

Us at Theorizing the Web!

WHAT SHOULD YOU BE DOCUMENTING AT JARAH'S SITE? remember, do it with an eye to what senior seminar students in WMST should be synthetically gathering together (we discussed here) This site well be your "logbook." And everything else should go up here too. How will you put in your storyboard for example? Figure out how to use this site to do all the things asked for: this will take some ingenuity and will be a contribution to our program!

=> • tools & skills: demo and write up of what you learn new and what you get better at
You will participate in skills building in the course of the class, perhaps in workshops, with team members or partners, or on your own. You will demonstrate a new skill or something you got especially better at and write up how that happened and how it matters.  

=> • inventories and brainstorming write ups, document online presence, logbooking
All through the class you will keep a logbook of what you have done, what you are in the middle of doing, what you are working toward. You will turn in a cumulative log each time you work through one of the five stages of the class. [Learning Outcomes Assessments or LOAs are taken for our department from this class.]

=> • storyboard (crafty, electronic, or online), includes presentation & digital picture
A storyboard is a form of visual thinking and planning. It allows you to visually demonstrate to yourself and others a sequence of steps in an interactive and/or collaborative process. It allows you to reorder your procedures, to brainstorm with others, and to create consensus. You will present your storyboard and turn in a digital picture to document it.

Wednesday, March 23 – SPRING BREAK

4.    People — who are you trying to reach? how can they help right now?
• projects and conference workshop 


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