fares kayali - args, persuasion in context
TRANSCRIPT
ARGs - PERSUASION IN CONTEXT
Fares Kayali, Margarete Jahrmann, Josef Schuh, Brigitte FeldererUniversity of Applied Arts Vienna
“In a very basic sense, the magic circle of a game is where the game takes place. To play a game means entering into a magic circle, or perhaps creating one as a game begins.”
Salen, K. & Zimmerman, E. (2004) ‘Rules of play’.
Nathalie Pozzi & Eric Zimmerman, 3h ago.
spaces of possibility
Juul, J. (2005) ‘Half-Real - Video Games between Real Rules and Fictional Worlds’.
Juul, J. (2008) ‘The Magic Circle and the Puzzle Piece’.
“We need to draw on [..] theories that provide a more comprehensive understanding of social life, and locate gaming and play as part of a much wider canvas.”
Crawford, G. (2009) ‘Forget the Magic Circle (or Towards a Sociology of Video Games)’
“I assume that definitions of a situation are built up in accordance with principals of organization which govern events […] and our subjective involvement in them; frame is the word I use to refer to such of these basic elements as I am able to identify.”
Goffman, Erving (1974) ‘Frame Analysis: An Essay on the Organization of Experience’.
“This app is a dream machine that transforms the world around you into a dreamworld. It uses augmented sound
to induce dreams through the headset of your iPhone and iPod Touch. It will change your perception of reality.”
http://inceptiontheapp.com/
layers of context
game mechanics ------mobile play -------------
inception: the movie ---
urban space -------------
layers of context
game mechanics ------mobile play -------------
inception: the movie ---
urban space -------------
distorted audio ----------
layers of context
game mechanics ------mobile play -------------
inception: the movie ---
urban space -------------
distorted audio ----------
music ----------------------
layers of context
game mechanics ------mobile play -------------
inception: the movie ---
urban space -------------
distorted audio ----------
music ----------------------
active listening -----------
layers of context
…
…
game mechanics ------mobile play -------------
inception: the movie ---
urban space -------------
distorted audio ----------
music ----------------------
active listening -----------
http://bachodi.wordpress.com/2010/07/20/inception-the-movie-in-pseudo-code/
“Can an online social music game allow Viennese teenagers to change their understanding of cultural diversity in order to overcome ethnical boundaries?”
Department of Communication, University of ViennaInstitute of Design and Assessment of Technology, Vienna UT
http://igw.tuwien.ac.at/seriousbeats/
“Serious Beats is a social impact game that lets players DJ with snippets of youtube videos. It empowers them to make music together.”
http://igw.tuwien.ac.at/seriousbeats/
TAKEAWAY
◊ ARGs can be regarded as composed out of permeable intertwined layers of social, cultural and play context.
“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/
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
Pervasive Prosumer Play (PPP)
Gonzalo Frasca (2002), September 12th
BUILD ON GAME LITERACY
Map Scanner Inventory Voting
/ppp/SCANNER
/ppp/codes
/ppp/scanner
“Subliminal messages subtly persuade us. Sometimes the subliminal message is what is implied and not spoken consciously.”
(Burroughs, W. S., 1964. Nova Express, New York)
M. Jahrmann, F. Kayali, J. Schuh, B. Felderer (2011), AAA Profiler
TAKEAWAY
◊ ARGs can be regarded as composed out of permeable intertwined layers of social, cultural and play context.
◊ building on game literacy helps game elments to reach out to different contexts and to enable ‘persuasion’.
“[..] as the mass of commodities become more and more absurd, absurdity becomes a commodity in its own right.”
Guy-Ernest Debord (1967) ‘The Society of the Spectacle’.
‘ABSURD COUPLING’
Feng Mengbo (2002), Q4U
/ppp/grotesque
“The distortions introduced in the detourned elements must be as simplified as possible, since the main impact of a détournement is directly related to the conscious or semiconscious recollection of the original contexts of the elements.”
Guy-Ernest Debord ‘Methods of Détournement’.
/ppp/daisy
Inventory
/ppp/DAISy
/ppp/daisy
TAKEAWAY
◊ ARGs can be regarded as composed out of permeable intertwined layers of social, cultural and play context.
◊ building on game literacy helps game elments to reach out to different contexts and to enable ‘persuasion’.
◊ conversely games can uncover ‘tactics of persuasion’ and ‘propaganda’ by distorting these contexts.
@faresK
thank you!