Space and Media

2018 ◽  
pp. 29-38
Keyword(s):  
User Interfaces ◽  
Video Game ◽  
Computer Game ◽  
Point Of View ◽  
Relevant Aspect ◽  
Current Generation ◽  
Natural User Interfaces ◽  
Input And Output ◽  
Third Person ◽  
The One

The tool identified for data collection of this research project is a video game, which makes the topic of the representation of space in videogame an absolutely relevant aspect for the project. This work bases on the statement of Jenkins, according to which “game space never exists in abstract, but always experientially”. In the current generation of video games, talking about position of the camera assumes a different value than in film or television language, assuming the meaning of point of view from which the game is visually (and auditory) presented and determines the spatial perspective of a computer game. The most common distinction, with respect to the position of the camera, is between First Person Camera, where space is presented from the perceptive perspective of the player's avatar and Third Person Camera, where the perspective is not directly the one of the avatar. This category, in fact, is very extensive, and poorly lends itself to a single definition. Under the umbrella of Third Person Camera are both perspectives associated with the avatar, but framing it externally (a camera follows the avatar) and those in which the camera is fixed. Moreover, the position of the camera compared to the avatar (from behind, left, right, Orbit Camera, etc.), or with respect to the environment (from above, from a precise point of reference) is not a neutral choice. In the present work, we use the categorization proposed by Britta Neitzel (Neitzel, 2002), which, taking up the work of Jean Mitry about The Aesthetics and Psychology of the Cinema (Mitry & King, 1997), distinguishes between subjective, semisubjective or objectives views. The chapter provides examples of different perspectives, and introduces the concept of Natural User Interfaces, which include movements based on input and output, on discretion, on voice, and evolve towards an efficient use of the senses in the interaction with machines.

The Term «Computer Game»: The Experience of an Interdisciplinary Analysis

2021 ◽  
Author(s):  
A.A. Vasiliev ◽  
◽  
Yu.V. Pechatnova ◽  
Keyword(s):  
Video Game ◽  
Computer Games ◽  
Social Evolution ◽  
Computer Game ◽  
Interdisciplinary Approach ◽  
Legal Regulation ◽  
Economic Feasibility ◽  
Point Of View ◽  
Legal Analysis ◽  
New Variety

The article is devoted to a comprehensive interdisciplinary study of the term «game» and its relatively new variety – computer game. The need to use an interdisciplinary approach to the study of the term is explained by the versatility and multi-aspect nature of the phenomenon under study. The article reveals the meaning of the concept «game» in the philosophical, aesthetic, historical, cultural, linguistic, psychological, technological and legal dimensions. The research methodology includes historical, systematic methods, as well as the method of formal legal analysis. The author emphasizes the influence of the development of forms of game activity on the development of social evolution, as well as the interaction of the game and the achievements of scientific and technological progress. The relevance of studying the term «computer game» lies in the fact that computer games have become the most popular type of gaming activity and the most profitable commercial product on the modern market. In this regard, terminological certainty is necessary due to the economic feasibility and effective legal regulation of the development, implementation and use of computer games. The authors propose to identify the main features of the concept «game», in general, and the specific features of the term «computer game», in particular. Based on the set of features, the author's definition of the concept «computer game» is proposed. In order to distinguish the studied concept from related categories, the analysis of the terms «electronic game» and «video game» is carried out. In conclusion, the authors assess the approaches to the legal regulation of computer games from the point of view of domestic legislation. As a result of the analysis of the possibility of attributing a computer game to a variety of programs for electronic computers or a variety of multimedia products, the choice was made in favor of the latter. Thus, at present, in order to solve legal problems related to the development and use of a computer game, the authors propose the application of the law analogy.

scholarly journals Multimodal Hand Gesture Classification for the Human–Car Interaction

Informatics ◽  
2020 ◽  
Vol 7 (3) ◽  
pp. 31
Author(s):  
Andrea D’Eusanio ◽  
Alessandro Simoni ◽  
Stefano Pini ◽  
Guido Borghi ◽  
Roberto Vezzani ◽  
...  
Keyword(s):  
User Interfaces ◽  
Low Cost ◽  
Point Of View ◽  
Infrared Images ◽  
Infrared Sensors ◽  
High Quality ◽  
Natural User Interfaces ◽  
Time Performance ◽  
Dynamic Gestures ◽  
Public Dataset

The recent spread of low-cost and high-quality RGB-D and infrared sensors has supported the development of Natural User Interfaces (NUIs) in which the interaction is carried without the use of physical devices such as keyboards and mouse. In this paper, we propose a NUI based on dynamic hand gestures, acquired with RGB, depth and infrared sensors. The system is developed for the challenging automotive context, aiming at reducing the driver’s distraction during the driving activity. Specifically, the proposed framework is based on a multimodal combination of Convolutional Neural Networks whose input is represented by depth and infrared images, achieving a good level of light invariance, a key element in vision-based in-car systems. We test our system on a recent multimodal dataset collected in a realistic automotive setting, placing the sensors in an innovative point of view, i.e., in the tunnel console looking upwards. The dataset consists of a great amount of labelled frames containing 12 dynamic gestures performed by multiple subjects, making it suitable for deep learning-based approaches. In addition, we test the system on a different well-known public dataset, created for the interaction between the driver and the car. Experimental results on both datasets reveal the efficacy and the real-time performance of the proposed method.

Why Can I See My Avatar? Embodied Visual Engagement in the Third-Person Video Game

2016 ◽  
Vol 12 (2) ◽  
pp. 179-199 ◽  
Author(s):  
Daniel Black
Keyword(s):  
Video Game ◽  
Point Of View ◽  
First Person ◽  
Separate Entity ◽  
Entertainment Media ◽  
Film And Television ◽  
Representational Space ◽  
Third Person ◽  
The Third Person ◽  
Visual Engagement

This essay seeks to answer two questions raised by the success of video games where the player looks at the character she is playing rather than seeming to inhabit the same coordinates as the character within the game space. First, why is the experience of playing these games not innately inferior to that of playing games with a first-person point of view, given that the sense of being a character sensing and acting inside the game space could be expected to be much stronger when the character’s body seems to be one’s own rather than a separate entity in the game space? And second, if the first-person point of view is so “immersive” and provides such a sense of being “inside” the representational space as is sometimes claimed, why has it never been so prominent in other audiovisual entertainment media such as film and television?

scholarly journals Country Case Study. Who Owns a Video Game in Spain?

2021 ◽  
Author(s):  
LAURA CABALLERO TRENADO
Keyword(s):  
Video Game ◽  
Point Of View ◽  
The European Union ◽  
Country Case Study ◽  
Specific Regulation ◽  
Audiovisual Work ◽  
The One ◽  
Gray Areas ◽  
Program Software

<p>How is a video game legally protected? In Spain there is no specific regulation that shields the creation of a video game. This absence implies that we have to conceive a video game as a mosaic of separate pieces and treat them as different works, in order to grant it comprehensive protection. Thus, on the one hand, it is necessary to process and register the computer program (software) that supports the video game. On the other, the same must be done with the visual part (audiovisual work). This Article deals with the protection of the software and the graphic part, as well as the catalog of rights inherent to both. There are many “gray areas” presented by the abundant casuistry, which is a challenge from the legal point of view. Due to the above, given that the legislation on the subject is insufficient to answer all the questions, it is necessary to resort to the jurisprudence of the Court of Justice of the European Union (CJEU), in order to clarify and delimit the scope of the different ways of protecting a video game, since, according to what has been pointed out, there is no glimpse of a proposal to standardize this matter on the near horizon.</p>

scholarly journals Country Case Study. Who Owns a Video Game in Spain?

2021 ◽  
Author(s):  
LAURA CABALLERO TRENADO
Keyword(s):  
Video Game ◽  
Point Of View ◽  
The European Union ◽  
Country Case Study ◽  
Specific Regulation ◽  
Audiovisual Work ◽  
The One ◽  
Gray Areas ◽  
Program Software

<p>How is a video game legally protected? In Spain there is no specific regulation that shields the creation of a video game. This absence implies that we have to conceive a video game as a mosaic of separate pieces and treat them as different works, in order to grant it comprehensive protection. Thus, on the one hand, it is necessary to process and register the computer program (software) that supports the video game. On the other, the same must be done with the visual part (audiovisual work). This Article deals with the protection of the software and the graphic part, as well as the catalog of rights inherent to both. There are many “gray areas” presented by the abundant casuistry, which is a challenge from the legal point of view. Due to the above, given that the legislation on the subject is insufficient to answer all the questions, it is necessary to resort to the jurisprudence of the Court of Justice of the European Union (CJEU), in order to clarify and delimit the scope of the different ways of protecting a video game, since, according to what has been pointed out, there is no glimpse of a proposal to standardize this matter on the near horizon.</p>

scholarly journals Pensamiento crítico versus razón arrogante

2005 ◽  
pp. 11-27
Author(s):  
Carlos Pereda
Keyword(s):  
Point Of View ◽  
The Other ◽  
First Person ◽  
Critical Thought ◽  
Ethical Implications ◽  
The Third ◽  
Third Person ◽  
Multiple Levels ◽  
The One ◽  
The Third Person

In this article, several levels in which can be proposed/presented the old dilemma of liberty and determinism are discussed and which is the task of critical thought or, particularly, of this critical thought that is philosophy. On the one hand, this dilemma is confronted in its metaphysical side. On the other, its epistemological and ethical implications are considered. Along this multiple levels I particularly consider the crash between the point of view of the first person and the third person.

scholarly journals Tangible interaction on tabletop, an illustrated federating framework

2017 ◽  
Vol Volume 5, Number 1 (Research articles) ◽  
Author(s):  
Sophie Lepreux ◽  
Julien Castet ◽  
Nadine Couture ◽  
Emmanuel Dubois ◽  
Christophe Kolski ◽  
...  
Keyword(s):  
User Interfaces ◽  
Point Of View ◽  
Tangible Interaction ◽  
Tangible User Interfaces ◽  
Complex Part ◽  
The Everyday ◽  
Tangible Object ◽  
International Audience ◽  
Coffee Table ◽  
The One

International audience Since many years, the Human-Computer Interaction community is interested in the tangible user interfaces (TUI). A part of these TUI focuses on the interaction performed with one or several objects. The domain is in extension by the development of contactless objects (using NFC, RFID technology, etc.). In the system, tangible objects could represent data, action, or complex part. Interaction on a table, which is a common furniture in the everyday life and used in multiple activities (desktop, coffee table, kitchen table, etc.), opens a new way for the research and development in HCI. This article proposes to use a framework, previously proposed in a conjunct article, to characterize applications supported by the couple <interactive tabletop, tangible object>. These applications aim at supporting complex business tasks; they are described from a technological point of view on the one hand, and from an applicative point of view on the other hand. These applications show the benefit brought by the couple <interactive tabletop, tangible object> to the interaction and they are immersed in the framework. The framework shows with these instantiations that it is generic and supports such descriptions. Depuis plusieurs années, les interfaces tangibles impliquant des interactions réalisées via un ou plusieurs objets prennent une importance grandissante en interaction homme-machine. Ce domaine est en extension grâce au développement d'objets exploitant des technologies sans contact (NFC, RFID, etc.). L'objet tangible représente un sujet ou une action ; cet objet agit sur le système, telle une action sur une interface « classique ». L'interaction sur table, c'est-à-dire sur un meuble présent dans la vie courante et utilisé à diverses fins (bureau, table à manger, table de salon, table bar, etc.), ouvre un champ nouveau de recherche et de développement. Nous proposons d'illustrer un cadre proposé dans un article conjoint, en positionnant des applications mettant en oeuvre le couple <table, objet tangible>. Plusieurs applications, visant à supporter chacune une tâche métier complexe, sont décrites à la fois d'un point de vue technologique et d'un point de vue applicatif. Ces applications montrent les apports de l'association <table, objet tangible> à l'interaction et sont caractérisées selon les dimensions du cadre de conception présenté dans un article conjoint, montrant ainsi la généricité et le pouvoir descriptif du cadre proposé.

scholarly journals An Analysis of the Ideological Potential of Video Games from the Point of View of James Gibson’s Theory of Affordances

2020 ◽  
Vol 32 (3) ◽  
pp. 32-52
Author(s):  
L.V. Moyzhes ◽  
Keyword(s):  
Video Games ◽  
Video Game ◽  
Cultural Background ◽  
Unique Property ◽  
Point Of View ◽  
Game Studies ◽  
The Other ◽  
Final Decision ◽  
Other Hand ◽  
The One

The purpose of this article is to propose a method for analyzing the ideo­logical content of video games while taking into account the agency of the players. The interactivity of video games as a medium has been attracting the attention of researchers for many years, raising, in particular, the ques­tion of how this unique property serves to broadcast certain ideologies. The ability of games to make ideological statements was discussed by Bogost, Frasca, Aarseth, and many other pioneers of game studies. Video games were analyzed both in the context of older media forms that promoted certain ideas through plots, visuals, and other traditional means, and as unique types of objects that can make statements through rules. I aim to introduce the player — as a subject who is able to transform and conceptual­ize the game based on their own cultural background — to this discussion. Using James Gibson’s theory of affordances, I want to acknowledge the player’s freedom of interpretation, the potential to assign one or another ideology to the game in each playthrough. On the one hand, the player acts as a consumer of content; on the other hand, they are a co-author who will use the tools offered by the video game to produce their own state­ments, to be interpreted independently. This leaves the final decision about the ideology of the game to the consumer; thus, game studies need an ap­proach that allows the analysis of the ideological content of specific games. It is especially important in the light of more and more games prioritizing player freedom and not providing any clear plot or even victory conditions. Of course, research can still proclaim, and rightfully so, that the specific rules in such games bear traces of certain ideological systems — capitalism or secularism, for example. But individual players could undermine such interpretations both at the level of reading the game as a “text”, and at the level of interactive actions inspired by those readings.

scholarly journals The impact of video game character viewpoints and task on perceptions of cognitive and similarity identification

2020 ◽  
Vol 14 (4) ◽  
Author(s):  
Vincent J. Cicchirillo
Keyword(s):  
Experimental Design ◽  
Current Literature ◽  
Video Game ◽  
Point Of View ◽  
First Person ◽  
Theoretical Understanding ◽  
Task Motivation ◽  
Third Person ◽  
The Impact ◽  
And Task

The following study examines the effect of character viewpoints in a video game and task (motivation) on outcomes associated with identification and enjoyment. The study employs a 2 (first-person viewpoint vs. third-person viewpoint) × 2 (task vs. no task) experimental design to test potential theoretical impacts of identification. Specifically, this study looked at how first-person and third-person viewpoints impact identification (cognitive vs. similarity) and enjoyment after playing a video game. The results showed that third-person perspectives through manipulated gaming objectives (task) positively impacted identification. Furthermore, task was associated with higher game play enjoyment. This study adds to the current literature by comparing different type’s identification (cognitive vs. similarity) and how these concepts are impacted by point-of-view and motivation. Thus, extending our theoretical understanding of identification.

A narratological approach to literary journalism: how an interplay between voice and point of view may create empathy with the Other

Tekstualia ◽  
2016 ◽  
Vol 4 (47) ◽  
pp. 5-28 ◽  
Author(s):  
Cecilia Aare
Keyword(s):  
Point Of View ◽  
The Other ◽  
Special Role ◽  
Literary Journalism ◽  
Implied Author ◽  
Third Person ◽  
Classical Narratology ◽  
Narrative Techniques ◽  
The One

The aim of this article is to present a model for analyzing the interplay between voice and point of view in literary journalism/reportage. The model can be used to nuance previous researchers’ discussions about „subjective” and „objective” journalism. It also problematizes the reporter’s special role as an eyewitness by highlighting how narrative techniques can create empathy with the Other and move the reader’s gaze away from the reporter, away from the one who is witnessing. Using tools from classical narratology, I focus on the form of the texts. The tools help me investigate the narrator’s as well as the characters’ subjectivity and interpret the narrative’s construction as an expression of a journalistic mission. I systematize variables such as the narrator’s visibility, the relation between an experiencing reporter and a narrating reporter, the interplay between the experiencing reporter and other characters in the text, and in what way a level with a director (an implied author) can facilitate a comparison between various kinds of literary journalism. I also examine whether it might be time to abandon the theory that a fi rst-person reportage is more subjective in general than a third-person reportage. I explore whether it is instead the narrator’s visibility that determines the position of the text on a scale between „subjective” and „objective” forms.

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