Platform Studies’ Epistemic Threshold

2015 ◽  
Vol 13 (4) ◽  
pp. 349-369 ◽  
Author(s):  
Thomas Apperley ◽  
Jussi Parikka
Keyword(s):  
Digital Games ◽  
Media Archaeology ◽  
Strong Connection ◽  
Historical Method ◽  
Technology And Culture

In recent methodological scholarship on digital games, a strong connection is noted between “platform studies” and media archaeology. While platform studies has its critics, who primarily lament the limitations of the project, a recent spate of publications in the field suggests considerable dynamism in platform studies as the concept is further developed. This article argues that by examining platform studies from the perspective of media archaeology, it becomes apparent that platform studies establishes an “epistemic threshold”. Additionally, platform studies is a historical method which both establish continuities and mark breaks with previous platforms and technologies. From the perspective of this threshold, this article explores epistemic questions that arise from how platform studies forms an archive, and how media archaeology can enrich the method’s explicit concerns and engagements with technology and culture.

scholarly journals Media archaeology-based Visual Music

2021 ◽  
pp. 7-30
Author(s):  
Alberto Novello
Keyword(s):  
Frame Rate ◽  
Artistic Practice ◽  
Media Archaeology ◽  
Strong Connection ◽  
Geometric Properties ◽  
Visual Music ◽  
The Aesthetic ◽  
Beam Movement

This article describes the intersection of Media Archaeology and Visual Music in my artistic practice that repurposes obsolete devices to investigate new connections between light and sound. I revive and hack tools from our analogue past: oscilloscopes, early game consoles, and lasers. I am attracted to their aesthetic difference from the ubiquitous digital projections: fluid beam movement, vibrant light, infinite resolution, absence of frame rate, and line-based image. The premise behind all my work is the synthesis of both image and sound from the same signal. This strong connection envelopes the audience in synchronous audiovisual information that reveals underlying geometric properties of sound. In this text I describe the practice and the aesthetic potentials connected to few analog and digital hybridized systems to generate new sonic and visual experiences.

Word Play: A History of Voice Interaction in Digital Games

2017 ◽  
Vol 15 (2) ◽  
pp. 91-113 ◽  
Author(s):  
Fraser Allison ◽  
Marcus Carter ◽  
Martin Gibbs
Keyword(s):  
Game Design ◽  
Digital Games ◽  
Detailed Examination ◽  
Media Archaeology ◽  
Word Play ◽  
Different Types ◽  
History Of ◽  
Voice Interaction ◽  
Game Developers ◽  
Available Information

The use of voice interaction in digital games has a long and varied history of experimentation but has never achieved sustained, widespread success. In this article, we review the history of voice interaction in digital games from a media archaeology perspective. Through detailed examination of publicly available information, we have identified and classified all games that feature some form of voice interaction and have received a public release. Our analysis shows that the use of voice interaction in digital games has followed a tidal pattern: rising and falling in seven distinct phases in response to new platforms and enabling technologies. We note characteristic differences in the way Japanese and Western game developers have used voice interaction to create different types of relationships between players and in-game characters. Finally, we discuss the implications for game design and scholarship in light of the increasing ubiquity of voice interaction systems.

scholarly journals Anachronic Sonorities of Technoculture in Digital Games

2020 ◽  
Vol 13 (2) ◽  
pp. 5-18
Author(s):  
Eduardo Harry Luersen ◽  
Suzana Kilpp
Keyword(s):  
Digital Games ◽  
Frame Of Reference ◽  
Media Archaeology ◽  
Political Consequences ◽  
Partial Revision

The preliminary effort of this article consists in questioning some issues with the currently developed researches on the sound of digital games, in order to retrieve an approach capable of articulating communication, memory and culture, as a way to situate these extensively disseminated contemporary artefacts in a wider technocultural frame of reference. In order to achieve this goal, we propose a partial revision of prominent works dealing with the sonorities of digital games, contrasting them through the theoretical-methodological contributions of Walter Benjamin’s philosophy of the history and Media Archaeology. With this approach, which has important ethical-political consequences for the research in progress, we are able to reformulate questions being asked about the sounds of digital games, taking them instead as compelling objects for inquiries regarding our contemporary technoculture and a memory of media that surpasses them.

Will Love Tear Us Apart: Adapting the Lyrical to the Ludic

CounterText ◽  
2016 ◽  
Vol 2 (2) ◽  
pp. 217-235
Author(s):  
Gordon Calleja
Keyword(s):  
Design Process ◽  
Game Design ◽  
Digital Games ◽  
Design Decisions ◽  
The Core ◽  
Lyrical Poetry ◽  
Insight Into ◽  
Made In

This paper gives an insight into the design process of a game adaptation of Joy Division's Love Will Tear Us Apart (1980). It outlines the challenges faced in attempting to reconcile the diverging qualities of lyrical poetry and digital games. In so doing, the paper examines the design decisions made in every segment of the game with a particular focus on the tension between the core concerns of the lyrical work being adapted and established tenets of game design.

SENTRALISASI ISLAM MARJINAL

2017 ◽  
pp. 83-112
Author(s):  
Lukmanul Hakim
Keyword(s):  
Primary Sources ◽  
Historical Criticism ◽  
Islamic History ◽  
Ibn Khaldun ◽  
Historical Method ◽  
The Third ◽  
Work First

This paper aims to analyze the thoughts of Hamka in Malay Islamic Nysties Historiography. The method used is historical method, especially historiography approach. Characteristic of Hamka's work; First, writing techniques; Not using footnotes, style of language; Simple, alive, and communicative. The sources used by Hamka can be grouped into three groups; Primary sources, historical books composed by Muslim authors themselves; Second, the second source of material is the Dutch and British writers' writings on Indonesia and the Malay Land; Third, the third source of material materials that allegedly most of the writers of Islamic history in Indonesia did not get it. While from the Method of Historical Criticism, according to Hamka there are two ways to write history among Muslims; First collecting all the facts wherever it comes from, no matter whether the facts make sense or not, what needs to be taken care of is where this history is received. Second, judging the facts and giving their own opinions, after the facts were collected, this is the system used by Ibn Khaldun.

DARI PERSIA HINGGA CINA: Diskursus tentang Teori Kedatangan Islam di Melayu Nusantara

2018 ◽  
pp. 1-16
Author(s):  
Lukmanul Hakim
Keyword(s):  
The Other ◽  
Strong Tendency ◽  
Common View ◽  
Historical Method ◽  
Malay Archipelago

The arrival of Islam in Malay Archipelago to this day is still a debate, because no data and facts have been found to be scientifically justified, but also because of the unilateral nature of the various theories. There is a strong tendency, certain theories emphasize only the specific aspects, while ignoring the other aspects. Therefore, most of the theories that exist in certain aspects fail to explain the coming of Islam, and the process of Islamization. This paper aims to analyze the theory of the arrival of Islam in the Malay Archipelago world. The method used is historical method. Until now there are at least four theories that discuss the theory of the arrival of Islam in the Malay Archipelago world. The four theories are Gujarat theory, Mecca theory, Persian theory and fourth theory (Chinese). Each of these theories has the strengths and weaknesses and certainly these four theories have a common view of Islam as a religion developed in the archipelago through a peaceful way and Islam does not recognize mission as practiced by Christians and Catholics.

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