Transactionism

Media in Mind ◽  
2019 ◽  
pp. 19-48
Author(s):  
Daniel Reynolds

This chapter proposes a theoretical approach to media use that treats media and their users’ minds as continuous with one another. It calls this approach “transactionism.” It shows how the philosophy of John Dewey is relevant to the study of contemporary media. The chapter shows how Dewey’s ideas can clarify historical problems from throughout the history of media studies. It uses examples from video games and films to illustrate the utility of transactionism in thinking about individual media and in thinking about relationships among media. It shows how contemporary philosophy of mind extends concepts from Dewey’s philosophy. This clarifies the relationship between Dewey’s ideas and the film and video game examples that the chapter presents.

Author(s):  
Daniel Reynolds

Media in Mind argues that media perform constitutive roles in the minds of media users. It employs pragmatic philosophy and contemporary philosophy of mind in showing how media function in their users’ minds. This troubles the concept of internal mental representations, which has been central to both media studies and philosophy of mind. Media in Mind discusses film and video games that pose perceptual challenges for their users. It proposes new understandings of media platforms and interfaces. It discusses platforms as a way of thinking about emergence, a theoretical concern that crosses disciplinary boundaries. It shows how the interface goes beyond the surface of media to encompass media users and their interactions with media technologies. It shows how media technologists imagine the bodies of potential users of the devices that they design. It proposes that media, media technologies, minds, and bodies should be considered as aspects of a continuous ecology in which they all participate.


2017 ◽  
Vol 14 (7-8) ◽  
pp. 742-762
Author(s):  
Michael Ryan Skolnik ◽  
Steven Conway

Alongside their material dimensions, video game arcades were simultaneously metaphysical spaces where participants negotiated social and cultural convention, thus contributing to identity formation and performance within game culture. While physical arcade spaces have receded in number, the metaphysical elements of the arcades persist. We examine the historical conditions around the establishment of so-called arcade culture, taking into account the history of public entertainment spaces, such as pool halls, coin-operated entertainment technologies, video games, and the demographic and economic conditions during the arcade’s peak popularity, which are historically connected to the advent of bachelor subculture. Drawing on these complementary histories, we examine the social and historical movement of arcades and arcade culture, focusing upon the Street Fighter series and the fighting game community (FGC). Through this case study, we argue that moral panics concerning arcades, processes of cultural norm selection, technological shifts, and the demographic peculiarities of arcade culture all contributed to its current decline and discuss how they affect the contemporary FGC.


2021 ◽  
Vol 2 (3) ◽  
pp. 34-55
Author(s):  
Ailbhe Warde-Brown

The relationship between music, sound, space, and time plays a crucial role in attempts to define the concept of “immersion” in video games. Isabella van Elferen’s ALI (affect-literacy-interaction) model for video game musical immersion offers one of the most integrated approaches to reading connections between sonic cues and the “magic circle” of gameplay. There are challenges, however, in systematically applying this primarily event-focused model to particular aspects of the “open-world” genre. Most notable is the dampening of narrative and ludic restrictions afforded by more intricately layered textual elements, alongside open-ended in-game environments that allow for instances of more nonlinear, exploratory gameplay. This article addresses these challenges through synthesizing the ALI model with more spatially focused elements of Gordon Calleja’s player involvement model, exploring sonic immersion in greater depth via the notion of spatiotemporal involvement. This presents a theoretical framework that broadens analysis beyond a simple focus on the immediate narrative or ludic sequence. Ubisoft’s open-world action-adventure franchise Assassin’s Creed is a particularly useful case study for the application of this concept. This is primarily because of its characteristic focus on blending elements of the historical game and the open-world game through its use of real-world history and geography. Together, the series’s various diegetic and nondiegetic sonic elements invite variable degrees of participation in “historical experiences of virtual space.” The outcome of this research intends to put such intermingled expressions of space, place, and time at the forefront of a ludomusicological approach to immersion in the open-world genre.


2021 ◽  
pp. 406-425
Author(s):  
Saïda El Boudouhi

At a time where the future of investment law is often reinvented, this exercise of juris-fiction aims at exploring the relationship between the Barcelona Traction judgment and the course of foreign investment law to determine whether there was room for another evolution. Relying on a theoretical approach that combines normativism with legal realism in an original way, the study looks at different turning points in the course of foreign investment law in order to isolate those which appear as contingent, ie those which could have happened as they could have not happened. Such an enquiry leads to assessing the relative weight that the Barcelona Traction case has played in the remarkable expansion of investor-state dispute settlement. After a short introduction, section II introduces the methodology and used concepts. Section III looks at a few events in the history of foreign investment law in order to distinguish what was contingent and what was unavoidable while, at the same time, identifying what could be turning points. After having set the attention on the Barcelona Traction judgment as a contingent turning point among others, section IV further assesses the causality link between the judgment and foreign investment law through an exercise of imagination in which are considered not only the possible but also the likely effects of a different outcome to the case. By way of conclusion, section V suggests that the Barcelona Traction judgment itself, rather than foreign investment law, was, however, so tightly constrained that it could hardly have been different. It however highlights that the same cannot be said of the Diallo judgment, thus showing that contingency is often related to legal indeterminacy.


2020 ◽  
pp. tobaccocontrol-2019-055300
Author(s):  
Susan Forsyth ◽  
Patricia A McDaniel

BackgroundSince 1972, Philip Morris (PM) has sponsored motorsports. Racing video games are a popular genre among youth and often emulate the branding of their real-life counterparts, potentially exposing youth to tobacco imagery. We examined racing video games for the presence of Marlboro imagery and explored the history of efforts to remove or regulate such imagery.MethodsWe searched the Truth Tobacco Industry documents for relevant documents and used information from video game-related websites and game play videos to identify racing video games that contained Marlboro trademarks and imagery. We also collected information on the Entertainment Software Ratings Board’s (ESRB) tobacco-specific and overall game ratings.FindingsIn 1989, negative publicity surrounding the presence of Marlboro logos in racing games led PM to threaten legal action against two game makers for copyright infringement. PM also launched a media campaign promoting this intervention as evidence of its commitment to youth smoking prevention. Nonetheless, we identified 219 video games from 1979 to 2018 that contained Marlboro trademarks and/or Marlboro-sponsored drivers and livery. Among the games in our sample with an ESRB game rating, all but one received an ‘E,’ indicating appropriateness for everyone, and all but three lacked tobacco content descriptors.ConclusionRacing video games have been and continue to be a vehicle for exposing adolescents to the Marlboro brand. Because voluntary efforts by PM and the video game industry to prevent youth exposure to tobacco brands in video games have been ineffective, USA and international policy-makers should prohibit tobacco content in video games.


Author(s):  
Lavinia McLean ◽  
Mark D. Griffiths

Previous research has indicated that playing violent video games may be associated with an increase in acceptance of violence and positive attitudes towards perpetrators of crime. This study is the first to investigate the relationship between playing violent video games and attitudes towards victims of crime. A total of 206 young people (aged 12-24 years) completed measures of attitudes towards victims and violent video game exposure. The results suggest that exposure to violent video games is associated with less concern being reported for victims of crime. Young people who play more violent video games reported less concern for general victims and for culpable victims, and these effects cannot be explained by gender or age differences. The results are discussed in relation to relevant research in the area, along with recommendations for future research.


Author(s):  
Derek A. Burrill ◽  
Melissa Blanco Borelli

This chapter acts as a video game battle or interaction between the two authors. It discusses how dance video games construct corporeality. It provides an overview of Microsoft Xbox 360Dance Central’srelationship to choreography, choreographers, and dance analysis. It also theorizes how bodies and corporeality function in a virtual world. Finally, the chapter considers how avatar bodies provide new ways of thinking about the relationship between technology and the body.


2020 ◽  
Author(s):  
Ismael Edrein Espinosa-Curiel ◽  
Edgar Efrén Pozas-Bogarin ◽  
Juan Martínez-Miranda ◽  
Humberto Pérez-Espinosa

BACKGROUND The design and use of serious video games for children have increased in recent years. To maximize the effects of these games, it is essential to understand the children’s experiences through playing. Previous studies identified that enjoyment and user experience satisfaction of the players are principal factors that can influence the success of serious video games and the learning of their players. However, research about the relationship between enjoyment and user experience satisfaction with learning in children 8 to 10 years old is sparse. OBJECTIVE We examined the relationship of enjoyment and user experience satisfaction with the learning of children aged 8 to 10 years while playing a serious video game for health, FoodRateMaster. This serious video game teaches children about the characteristics of healthy and unhealthy foods and how to identify them in their environment. METHODS Children aged 8 to 10 years were recruited from a primary school in Mexico. Participants completed 12 individual gaming sessions with FoodRateMaster in 6 weeks. A food knowledge questionnaire was administered before and after game play to assess the players’ food knowledge. In addition, after the gaming sessions, the children’s enjoyment and user experience satisfaction were evaluated using the EGameFlow questionnaire and the Game User Experience Satisfaction Scale (GUESS) questionnaire. RESULTS We found significant positive associations for children’s (n=60) posttest knowledge with enjoyment (r<sub>58</sub>=0.36, <i>P</i>=.005) and user experience satisfaction (r<sub>58</sub>=0.27, <i>P</i>=.04). The children’s posttest knowledge scores were also positively correlated with challenge (r<sub>58</sub>=0.38, <i>P</i>=.003), knowledge improvement (r<sub>58</sub>=0.38, <i>P</i>=.003), and goal clarity (r<sub>58</sub>=0.29, <i>P</i>=.02) EGameFlow subscales and with narrative (r<sub>58</sub>=0.35, <i>P</i>=.006), creative freedom (r<sub>58</sub>=0.26, <i>P</i>=.04), and visual esthetics (r<sub>58</sub>=0.32, <i>P</i>=.01) GUESS subscales. Regression analysis indicated that the EGameFlow (F<sub>7,52</sub>=2.74, <i>P</i>=.02, R<sup>2</sup>=0.27) and the GUESS (F<sub>8,51</sub>=2.20, <i>P</i>=.04, R<sup>2</sup>=0.26) ratings significantly predicted the children’s posttest knowledge scores. EGameFlow challenge (β=0.40, <i>t</i><sub>52</sub>=2.17, <i>P</i>=.04) and knowledge improvement (β=0.29, <i>t</i><sub>52</sub>=2.06, <i>P</i>=.04) subscales significantly contributed to predicting children’s learning. None of the GUESS subscales significantly contributed to predicting children’s learning. CONCLUSIONS The findings of this study suggest that both enjoyment and user experience satisfaction for children aged 8 to 10 years were positively correlated with their learning and that were significant predictors of it. Challenge, knowledge improvement, narrative, creative freedom, and visual esthetics subscales correlated positively with children’s learning. In addition, challenge and knowledge improvement contributed to predicting their learning. These results are relevant to consider during the design stages of serious games developed for young children’s learning purposes.


2021 ◽  
Vol 11 (2) ◽  
pp. 635-658
Author(s):  
Özgür ÖZSOY ◽  
Bülent Onur TURAN

One of the intersections of the video games and cinema industry is the subject of adaptation. There are many productions adapted from movies to video games or from video games to movies. In this study, it is aimed to define the response of the films adapted from video games on the audience side. The audience and the actor are part of these adapted productions, their location plays a role in shaping the future of these productions, in this context the results obtained in this study are valuable in terms of expressing the potential of these productions. In this study, two different methods were used to achieve objective results; Online survey with 11 professionals in the cinema industry and cinema education, an analysis of the data collected from the criticism sites on www.imdb.com and www.metascore.com, and the comments of registered users. With the analysis of these comments obtained from the audience, the focus of the audience has been determined, and with the answers given by the people who have received cinema education or professionals who are professional in the cinema sector, information has been provided on both the foresight and the situation in it. These methods are analyzed within themselves and in the conclusion part, the results of the two methods are combined. As a result, it is that the audience evaluates these films without separating them from the game and they wish that this cooperation will continue to develop and continue. It has been determined that failed film samples are not decisive for video games. Although the audience thinks that this genre will develop, more successful results will be achieved, it has been understood that the feeling of being active in the game is more dominant to the feeling of being passive in the movie. It was seen that the relationship of the audience with the films was video game centered, and the emotions he felt in the game and the details of the game were also looked for in the inner structure of the film.


2017 ◽  
Vol 8 (1) ◽  
pp. 35-48
Author(s):  
Rahmawan Jatmiko

Assassin’s Creed is a historical fiction video game developed and published by Ubisoft. This video game has been so far considered as one of the most violent video games. Assassin’s Creed III is the third sequel of which plot is set in a fictional history of real world events and follows the centuries-old conflict between the Assassins and the Templars. Based on this study, the plot, characters, characterization, and scenes in Assassin’s Creed III are deemed to be able to give positive teachings to the young generation, despite the fact that there are violent and sadistic scenes in the story. Haytham Kenway, who is “evil” protagonist in Assassin’s Creed Forsaken, is portrayed as an expert in using weapons, since he was kid. Separated from his family, Kenway was taken by mysterious mentor, who trained him to be the most deadly killer. Comparisons with classic characters such as Oedipus, Hamlet, or Indonesian legendary character Sangkuriang are intentionally made to sharpen the analysis. The finding of this study is that heroic value might be found in either protagonist or antagonistic characters, whose roles involved numerous violent actions. Comments from the official website and social media which claim that Assassin’s Creed has brought negative impacts on the consumers might not be totally true.


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