![]() ![]() After inspecting the notion as a composite of the established terms game and play, I suggest that the description needs to be complemented with attention to the ways in which the both the activity and experience of gameplay are shaped by materiality. Assuming a premise from the colloquial use of the term as referring simultaneously to qualities of the player, the game artefact and the activity of play, I seek to establish a footing for the concept beyond its colloquial use. While the concept widely used within the discourses of game studies and game design, its definitions are less than satisfactory, often reducing the phenomenon to consequences of rules or interactivity. In this chapter I discuss the notion of gameplay in the context of computer games. The abstract is, after all, the most read section of every article. G: You can work that out just remember not to overlook it. I might instead mention the part where we discuss computational artifactuality as the element that enables performance evaluation, or perhaps the problematization of "winning" and "losing" in videogames. And that's a gaming journal, right? I'm sure they see the importance of exploring the ongoing ludification of culture in the scholarly field as well. G: I guess the article itself functions as the "defending note" here, provided the reader finds it productive. S: Are you sure about the latter part? We did not make too many "defending notes" on that topic, to be honest. G: Then just add that you employ the rhetoric of Socratic dialogue, and that you also make some defending notes for using it as an instrument for academic communication. ![]() How about saying that you suggest performance evaluation as the aspect that distinguishes videogames from games? S: I think they want a bit more. S: I am certainly aware of that, but I cannot break the rules. You must be aware that cutting the dialogue in 350 words misses our whole point, which was not to provide a definition for the videogame, but to participate in the process of defining it. Why would you want to do something like that? S: Well, I just recalled that the article requires an abstract of 350 words, and I know you are good with small talk. Skepticus: One more thing, Grasshopper! Grasshopper: Yes? S: Could you summarize our dialogue in 350 words? G: I'm sorry, Skepticus, but I don't think I understand. Que ha passat per provocar aquest canvi? Text complet (PDF) Node complet (PDF) Pero aixo no explica el fet que els estudis estetics sobre jocs siguin possibles en l'actualitat, i fins i tot en alguns entorns academics, s'estimulin i rebin suport amb beques. Podem intentar explicar aquesta manca assenyalant que les elits estetiques i teoriques que conreen l'analisi d'objectes artistics dels mitjans (literatura, arts visuals, teatre, musica) solen considerar els jocs com una cosa trivial i popular. Aquesta falta d'interes continuada pot semblar estranya, pero nomes si considerem que els jocs tradicionals i els jocs d'ordinador son intrinsecament similars, la qual cosa no es aixi. A diferencia de les teories de jocs en matematiques o ciencies socials, que son molt mes antigues, els jocs es van convertir en objecte d'estudi per a les humanitats nomes quan els videojocs i jocs d'ordinador es van tornar populars. L'estudi de l'estetica dels jocs es una practica recent que abasta menys de dues decades. This article shows how playful resistance challenges both authoritarian governance and the capitalist logic of gaming, offering a glimpse into how the actual process of gamification has taken place in a non-Western context. Two forms of gaming capital are identified: one is the technical competencies needed to design games the other is the cultural capacity to imagine social movements through game design mechanisms. ![]() Gaming capital has become a useful resource for organizing contentious activities and disseminating progressive political views. When investigating Chinese progressive social movements, this study found that the development of local gaming industries has conditioned three ways in which gameplay elements are employed to organize "playful resistance": game as an action tactic, game as the mechanism for critical pedagogics, and game as a tool for public education. This article uses the Bourdieusian tradition to examine the relationship between gameplay elements and contentious politics. ![]()
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