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This article aims to present a research result on meanings of formative practice in the context of Institutional Program of Initiation to Teaching (PIBID). As a research method, adopted the sociological phenomenology that allowed, among other aspects, to understand the symbolic dimension of formative practice for each students. One of the principles of that method consists in the perspective that senses emerge from the relation with the other, bringing to surface the idea of intersubjectivity, thus configuring a phenomenology of social relations. In order to access the senses produced in the world of life, in encounter of consciousness with the world, in specific case of this research, in the context of formative practice, semistructured interview has been used with five undergraduate students invited to give a break in the flow of life for think about teacher training. The senses revealed in this study are close to the concern with student learning, having the teacher as the main driver of this process, as well as the student and his way of learning. There are also senses about difficulties that each student presents in application of knowledge and draws attention to the relation between knowledge and reality. Sense about the teacher-student relationship reveals concern with professional and human dimension as well as authority of teacher's knowledge in the classroom with students.Resumo Este artigo tem como objetivo apresentar resultado de pesquisa sobre sentidos de prática formativa no contexto do Programa Institucional de Bolsa de Iniciação à Docência (PIBID). Como método de pesquisa adotou-se a Fenomenologia Sociológica que permitiu, entre outros aspectos, compreender a dimensão simbólica da prática formativa para cada um dos estudantes. Um dos princípios desse método consiste na perspectiva de que os sentidos nascem da relação com o outro trazendo à tona a ideia de intersubjetividade configurando, assim, uma Fenomenologia das relações sociais. Para acessar os sentidos produzidos no mundo da vida, no encontro da consciência com o mundo, no caso especifico desta pesquisa, no contexto da prática formativa, foi utilizada a entrevista semiestruturada com cinco estudantes de licenciaturas diversas, convidados a suspender o fluxo da vida para pensar sobre sua formação docente. Os sentidos revelados neste estudo se aproximam na preocupação com a aprendizagem do estudante tendo o professor como principal condutor desse processo como, também, o estudante e seu modo de aprender. Aparecem, também, sentidos a respeito das dificuldades que cada aluno apresenta na aplicação do conhecimento e chama à atenção para a relação entre conhecimento e realidade. Sentidos sobre a relação professor-estudante revelam preocupação com a dimensão profissional e humana, bem como a autoridade do conhecimento do professor, em sala de aula, com os estudantes.ResumenEste artículo tiene como objetivo presentar resultados de investigación sobre sentidos de práctica formativa en el contexto del Programa Institucional de Beca de Iniciación a la Docencia (PIBID). Como método de investigación se adoptó si la fenomenología sociológica que permitió, entre otros aspectos, comprender la dimensión simbólica de la práctica formativa para cada uno de los estudiantes. Uno de los principios de este método consiste en la perspectiva de que los sentidos nacen de la relación con el otro trayendo a la superficie la idea de intersubjetividad, configurando así una fenomenología de las relaciones sociales. Para acceder a los sentidos producidos en el mundo de la vida, en el encuentro de la conciencia con el mundo, en el caso específico de esa investigación, en el contexto de la práctica formativa, se utilizó la entrevista semiestructurada con cinco estudiantes de licenciaturas diversas, invitados a suspender el flujo de la vida para pensar en su formación docente. Los sentidos revelados en este estudio se aproximan a la preocupación por el aprendizaje del estudiante teniendo el profesor como principal conductor de ese proceso como, también, el estudiante y su modo de aprender. Aparecen, también, sentidos respecto a las dificultades que cada alumno presenta en la aplicación del conocimiento y llama la atención sobre la relación entre conocimiento y realidad. Los sentidos sobre la relación profesor-estudiante revelan preocupación por la dimensión profesional y humana así como la autoridad del conocimiento del profesor, en el aula, con los estudiantes.Palavras-chave: Ensino superior, Fenomenologia sociológica, Prática formativa.Keywords: Higher education, Sociological phenomenology, Formative practice.Palabras clave: Enseñanza superior, Fenomenología sociológica, Práctica formativa.ReferencesAMADO, J. Manual de investigação qualitativa em educação. Portugal: Imprensa da Universidade de Coimbra, 2014.AMBROSETTI, N. B. et al. Contribuições do PIBID para a formação inicial de professores: o olhar dos estudantes. Educação em Perspectiva, Viçosa, v. 4, n. 1, p. 151-174, jan./jun. 2013. Disponível em http://www.seer.ufv.br/seer/educacaoemperspectiva/index.php/ppgeufv/article/viewFile/405/106 Acesso em 10/03/2017.ASSIS, A. S. de. Contribuições do PIBID para a valorização dos professores: o que dizem as teses e dissertações? 38ª Reunião Nacional da ANPEd – 01 a 05 de outubro de 2017, UFMA – São Luís. Disponível em http://38reuniao.anped.org.br/sites/default/files/resources/programacao/trabalho_38anped_2017_GT08_1256.pdf Acesso em 18/11/2017.BRASIL. Decreto nº 7.219, de 24 de junho de 2010. Dispõe sobre o Programa Institucional de Bolsa de Iniciação à Docência – Pibid. Disponível em http://www.planalto.gov.br/ccivil_03/_Ato2007-2010/2010/Decreto/D7219.htm Acesso em 08/03/2017.BRASIL. Lei nº 11.502, de 11 de julho de 2007. Modifica as competências e a estrutura organizacional da fundação Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES, de que trata a Lei no 8.405, de 9 de janeiro de 1992; e altera as Leis nos 8.405, de 9 de janeiro de 1992, e 11.273, de 6 de fevereiro de 2006, que autoriza a concessão de bolsas de estudo e de pesquisa a participantes de programas de formação inicial e continuada de professores para a educação básica. Disponível em https://www.planalto.gov.br/ccivil_03/_Ato2007-2010/2007/Lei/L11502.htm Acesso em 08/03/2017.BRASIL. Portaria Normativa nº 38, de 12 de dezembro de 2007. Ministério da Educação. Dispõe sobre o Programa Institucional de Bolsa de Iniciação à Docência. Disponível em https://www.capes.gov.br/images/stories/download/legislacao/Portaria_Normativa_38_PIBID.pdf Acesso em 08/03/2017.CRUSOÉ, Nilma Margarida de Castro. Subprojeto de Pedagogia: A organização da prática pedagógica dos professores dos três (03) anos iniciais do Ensino Fundamental de nove (09) anos: articulação e continuidade da trajetória escolar. In: BAHIA, Projeto Institucional Microrrede de ensino-aprendizagem-formação. PIBID/UESB, Vitória da Conquista, Bahia, 2012.CRUSOÉ, Nilma Margarida de Castro. Prática Pedagógica interdisciplinar na escola fundamental: sentidos atribuídos pelas professoras. Curitiba, PR:CRV, 2014.FELÍCIO, H. M. dos S. O PIBID com “terceiro espaço” de formação inicial de professores. Rev. Diálogo Educ., Curitiba, V. 14. n. 42, p. 415-434, maio/ago. 2014. Disponível em http://www2.pucpr.br/reol/index.php/dialogo?dd99=pdf&dd1=12752 Acesso em 03/07/2017.FREIRE, P. Professora sim, tia não: cartas a quem ousa ensinar. São Paulo: Olho Dágua, 1997.FREIRE, P. Pedagogia da autonomia: saberes necessários à prática educativa. 36 ed. São Paulo: Paz e Terra, 1996.GATTI, B.; BARRETTO, E. S. de S.; ANDRÉ, M. E. D. A. Políticas docentes no Brasil: um estado da arte. Brasília: UNESCO, 2011. Disponível em http://unesdoc.unesco.org/images/0021/002121/212183POR.pdf Acesso em 10/03/2017.HUSSERL, Edmund. Investigações lógicas: segundo volume, parte I: investigações para a fenomenologia e a Teoria do conhecimento. Rio de Janeiro: Forense, 2015.HUSSERL, Edmund. Ideias para uma fenomenologia pura e para uma filosofia fenomenológica: introdução geral à fenomenologia pura. Aparecida, SP: Ideias & Letras, 2006. MEC/UFRGS. Projeto de cooperação técnica MEC e UFRGS para construção de orientações curriculares para a Educação Infantil. Brasília, 2009. Disponível em http://portal.mec.gov.br/dmdocuments/relat_seb_praticas_cotidianas.pdf Acesso em 24/01/2019.MINAYO, M. C. de S. O desafio do conhecimento: pesquisa qualitativa em saúde. 12 ed. São Paulo: Hucitec, 2010.PROJETO INSTITUCIONAL DE BOLSA DE INICIAÇÃO À DOCÊNCIA – PIBID. Universidade Estadual do Sudoeste da Bahia – UESB. Microrrede de ensino-aprendizagem-formação. 2012. Disponível em http://www.uesb.br/links/2013/05/fapesb/projeto_institucional_2012.pdf Acesso em 04/03/2017.SAVIANI, D. Pedagogia histórico-crítica: primeiras aproximações. 11 ed. rev. Campinas, SP: Autores Associados, 2011. (Coleção Educação contemporânea).SAVIANI, D. Escola e democracia. 32 ed. Campinas, SP: Autores Associados, 1999. (Coleção Polêmicas do nosso tempo).SCHUTZ, A. Sobre fenomenologia e relações sociais. Edição e organização: Helmut T. R. Wagner. Tradução de Raquel Weiss. Petrópolis, RJ: Vozes, 2012.ZEICHNER, K. Repensando as conexões entre a formação na universidade e as experiências de campo na formação de professores em faculdades e universidades. Educação, Santa Maria, v. 35, n. 3, p. 479-504, set./dez. 2010. Disponível em https://periodicos.ufsm.br/reveducacao/article/view/2357/1424 Acesso em 20/05/2017.e3446062

O presente texto propõe-se a analisar a produção literária da escritora negra baiana Fátima Trinchão, como uma prática de (r)existência, com base nos estudos sobre feminismo negro a partir de uma leitura decolonial. Para compor tal reflexão, foram selecionados poemas da escritora que rememoram a escravidão, período no qual o corpo das mulheres negras foi destituído de mente (HOOKS, 1995), sendo sistematicamente violentado pelos senhores brancos. A partir dessa análise, pretende-se pensar como essa escrita (re)significa as memórias da escravidão, entendendo que esse ato de rememoração reveste-se, conforme aponta Márcia dos Santos (2007), de uma intencionalidade que, para além da perspectiva de “conhecer o passado”, delimita também ações e reações necessárias ao exercício político, marcando identidades e lutas.REFERÊNCIAS:ALBUQUERQUE, Wlamyra R. de; FRAGA FILHO, Walter. Uma história do negro no Brasil. Salvador: Centro de Estudos Afro-Orientais; Brasília: Fundação Cultural Palmares, 2006. Disponível em: https://www.geledes.org.br/wp-content/uploads/2014/04/uma-historia-do-negro-no-brasil.pdf. Acesso: 13 ago. 2018.BENJAMIN, Walter. Sobre o conceito da história. In: ______ Magia e técnica, arte e política: ensaios sobre literatura e história da cultura – Obras Escolhidas, Volume I. Trad. Paulo Sérgio Rouanet – 8. ed. – São Paulo: Brasiliense, 2012, p. 241-252.CARNEIRO, Sueli. Enegrecer o feminismo: a situação da mulher negra na América Latina a partir de uma perspectiva de gênero. In Ashoka Empreendimentos Sociais Takano Cidadania (Orgs.). Racismos contemporâneos. Rio de Janeiro: Takano Editora, 2003, p. 49-58. Disponível em: https://pt.scribd.com/document/322208263/Sueli-Carneiro-Enegrecer-o-Feminismo. Acesso em: 28 maio 2018.DAVIS, Ângela. O legado da escravatura: bases para uma nova natureza feminina. In: ________ Mulher, Raça e Classe. Tradução Livre. Plataforma Gueto, 2013. Disponível em: https://we.riseup.net/assets/165852/mulheres-rac3a7a-e-classe.pdf. Acesso em: 23 maio 2018.DELEUZE, Gilles. A literatura e a vida. In:______. Crítica e clínica. São Paulo: Editora 34, 2004. p. 11-16.EVARISTO, Conceição. Conceição Evaristo: minha escrita é contaminada pela condição de mulher negra. Nexo Jornal, São Paulo, 26 maio 2017. Entrevista concedida a Juliana Domingos de Lima. Disponível em: https://www.nexojornal.com.br/entrevista/2017/05/26/Concei%C3%A7%C3%A3o-Evaristo-%E2%80%98minha-escrita-%C3%A9-contaminada-pela-condi%C3%A7%C3%A3o-de-mulher-negra%E2%80%99. Acesso: 13 ago. 2018.EVARISTO, Conceição. Da grafia-desenho de minha mãe, um dos lugares de nascimento de minha escrita. In: ALEXANDRE, Marcos Antônio (org). Representações performáticas brasileiras: teorias, práticas e suas interfaces. Belo Horizonte: Mazza Edições, 2007, p 16-21. Disponível em: http://nossaescrevivencia.blogspot.com/2012/08/da-grafia-desenho-de-minha-mae-um-dos.html. Acesso: 13 ago. 2018.FIGUEIREDO, Eurídice. Mulheres ao espelho: autobiografia, ficção, autoficção. Rio de Janeiro: EdUERJ, 2013.FOUCAULT, Michel. Microfísica do poder. Trad. de Roberto Machado. 2a ed. Rio de Janeiro: Paz e Terra, 2015.GAGNEBIN, Jeanne Marie. Memória, história, testemunho. In: ______. Lembrar escrever esquecer. São Paulo: Ed. 34, 2006, p. 49-57. Disponível em: https://joaocamillopenna.files.wordpress.com/2015/03/gagnebin-jeanne-marie-lembrar-escrever-esquecer.pdf. Acesso: 25 maio. 2014.GOMES, Nilma Lino. Intelectuais Negros e Produção do Conhecimento: algumas reflexões sobre a realidade brasileira. In: SANTOS, Boaventura de Sousa; MENESES, Maria Paula. (Orgs.) Epistemologias do Sul. Coimbra: Edições Almedina. AS, 2009, p. 419-441. Disponível em: http://cvc.instituto-camoes.pt/conhecer/biblioteca-digital-camoes/pensamento-e-ciencia/2106-2106/file.html. Acesso em: 27 maio 2018.GONZALEZ, Lélia. Racismo e sexismo na cultura brasileira. In: Revista Ciências Sociais Hoje, Anpocs, 1984, p. 223-244. Disponível em: https://edisciplinas.usp.br/pluginfile.php/4130749/mod_resource/content/1/Gonzalez.Lelia%281983-original%29.Racismo%20e%20sexismo%20na%20cultura%20brasileira_1983.pdf. Acesso em: 28 maio 2018.HOOKS, bell. Mulheres negras: moldando a teoria feminista. In: Revista Brasileira de Ciência Política, nº16. Tradução de Roberto Cataldo Costa. Brasília, janeiro - abril de 2015, pp. 193-210. Disponível em: http://www.scielo.br/pdf/rbcpol/n16/0103-3352-rbcpol-16-00193.pdf. Acesso em: 23 maio 2018.HOUAISS, Antônio. Dicionário Houaiss da Língua Portuguesa. Rio de Janeiro, Ed. Objetiva, 2001.KILOMBA, Grada. Descolonizando o conhecimento: uma palestra-performance de Grada Kilomba. 2016. Tradução: Jessica Oliveira. Disponível em: http://www.goethe.de/mmo/priv/15259710-STANDARD.pdf. Acesso em: 6 de jun de 2018.LE GOFF, Jacques. Memória. In: ______ História e memória. Tradução Bernardo Leitão et al. Campinas: EDUNICAMP, 1990, p. 423-483. (Coleção Repertórios) Disponível em: http://memorial.trt11.jus.br/wp-content/uploads/Hist%C3%B3ria-e-Mem%C3%B3ria.pdf. Acesso em: 20 maio 2014.LUZ, Marco Aurélio. Cultura negra e ideologia do recalque. 3a ed. Salvador: EDUFBA; Rio de Janeiro: PALLAS, 2011.SANTIAGO, Ana Rita. Vozes literárias de escritoras negras. Cruz das Almas/BA: UFRB, 2012. Disponível em: https://www1.ufrb.edu.br/editora/component/phocadownload/category/2-e-books?download=19:vozes-literarias-de-escritoras-negras. Acesso em: 27 maio 2018.SANTOS, Márcia Pereira dos. História e memória: desafios de uma relação teórica. In: OPSIS – Revista do Núcleo Interdisciplinar de Pesquisa e Estudos culturais, v.7, n.9, 2007, p. 81-97. Disponível em: http://www.revistas.ufg.br/index.php/Opsis/article/viewFile/9331/6423. Acesso em: 25 maio. 2014.SILVA, Ana Rita Santiago da. Literatura de autoria feminina negra: (des)silenciamentos e ressignificações. Vertentes Interfaces I: Estudos Literários e Comparados. Fólio – Revista de Letras, Vitória da Conquista, v. 2, n. 1 p. 20-37, jan./jun. 2010. Disponível em: http://periodicos.uesb.br/index.php/folio/article/viewFile/38/276. Acesso em: 28 abr. 2018.SILVA, Ana Rita Santiago da. O tear de memórias na poética de escritoras negras baianas. In: LEÃO, Allison; CAVALHEIRO, Juciane RIOS, Otávio. Colóquio Nacional Poéticas do Imaginário da Cátedra Amazonense de Estudos Literários: literatura, história, memória. Manaus, AM: UEA Edições, 2009, p. 22-36. Disponível em: http://www.pos.uea.edu.br/data/area/download/download/51-1.pdf. Acesso em: 23 maio 2018.SILVA, Tomaz Tadeu da. A produção social da identidade e da diferença. In: ______ (org.); HALL, Stuart; WOODWARD, Kathryn. Identidade e diferença: a perspectiva dos estudos culturais. 13. ed. Petrópolis, RJ: Vozes, 2013, p. 73-102.TRINCHÃO, Fátima. Ecos do passado. Disponível em: http://www.fatimatrinchao.net/. Acesso em: 23 maio 2018.TRINCHÃO, Fátima. Mulheres negras mulheres. Disponível em: http://www.fatimatrinchao.net/. Acesso em: 23 maio 2018.TRINCHÃO, Fátima. O canto da chibata. Disponível em: http://www.fatimatrinchao.net/. Acesso em: 23 maio 2018.TRINCHÃO, Fátima. Saudades da terra. Disponível em: http://www.fatimatrinchao.net/. Acesso em: 23 maio 2018.ENVIADO EM 09-06-19 | ACEITO EM 26-06-19

The focus of this study is the problematization of the supervised internship as praxis and its relationship with Pedagogy and Didactics, as well as its secondation in the Pedagogical Residence Program in the contemporary Brazilian social-political context. This study theoretically assumes that the internship as praxis, reflection and experimentation of planning, teaching and evaluation practices in the basic education network is a subsidy for the professional development and pedagogical training of undergraduate students. In particular, we emphasize that internships are praxis because this is a pedagogical process, a teaching instrument and a seizure of the teaching profession, comprising the principle of knowledge production from a critical reading of reality, and subsidized, above all, by Pedagogy and Didactics.ResumoO foco deste estudo é a problematização do estágio supervisionado como práxis, sua relação com a Pedagogia e a Didática, e sua secundarização no Programa de Residência Pedagógica no contexto social-político brasileiro contemporâneo. Neste trabalho, teoricamente, parte-se do pressuposto que o estágio como práxis, reflexão e experimentação de práticas de planejamento, de ensino e avaliação nas redes de ensino básico, é subsídio para o desenvolvimento profissional e a formação pedagógica dos estudantes dos cursos de licenciatura. Enfatizamos, em particular, que o estágio é práxis porque é um processo pedagógico; instrumento de ensino e de apreensão da profissão docente tendo como princípio a produção do conhecimento a partir da leitura crítica da realidade, e subsidiado, sobretudo, pela Pedagogia e a Didática.ResumenEl enfoque de este estudio es la problematización de las prácticas docentes supervisadas como praxis, su relación con la Pedagogía y la Didáctica y su secundarización en el Programa de Residencia Pedagógica en el contexto social-político brasilero contemporáneo. En este trabajo, teóricamente, se parte de la presuposición de que las prácticas docentes actúan como praxis, reflexión y experimentación de prácticas de planeamiento, de enseñanza y de evaluación en las redes de enseñanza básica, son fundamentales para el desarrollo profesional y la formación pedagógica de los estudiantes de las carreras de licenciatura. Enfatizamos, en particular, que las prácticas son praxis porque son un proceso pedagógico; instrumento de enseñanza y de aprehensión de la profesión docente teniendo como principio la producción del conocimiento a partir de la lectura crítica de la realidad, y subsidiadas, especialmente, por la Pedagogía y la Didáctica.Palavras-chave: Estágio, Práxis, Pedagogia e didática, Formação docente. Keywords: Internship, Práxis, Pedagogy and Didactics, Teacher training.Palabras-clave: Prácticas docentes, Praxis, Pedagogía y didáctica, Formación docente.ReferencesANDRÉ, Eliza Dalmazo Afonso de; ALMEIDA, Patrícia Cristina Albieri de. A profissionalidade do professor formador das licenciaturas. Rev. educ. PUC-Camp., Campinas, 22(2):203-219, maio/ago., 2017. Disponível em: https://doi.org/10.24220/2318-0870v22n2a3640. Acesso em: 21 set. 2018.ANDRÉ, Marli; CALIL, Ana Maria Gimenes Corrêa; MARTINS, Francine de Paulo; PEREIRA, Marli Amélia Lucas. O papel do outro na constituição da profissionalidade de professoras iniciantes. Revista Eletrônica de Educação, v.11, n.2, p. 505-520, jun./ago. 2017. Disponível em: http://dx.doi.org/10.14244/198271992231. Acesso em: 21 ago. 2018.ANFOPE, Associação Nacional pela Formação dos Profissionais da Educação. Manifesto contra a medida provisória N. 746/2016. Disponível em: http://www.anfope.org.br/wp-content/uploads/2018/05/Manifesto-Anfope-MP-746-12.10.2016R.pdf. Acesso em: 01 Out. 2018.ANPED - Associação Nacional de Pós-Graduação e Pesquisa em Educação. A política de formação de professores no Brasil de 2018: uma análise dos Editais CAPES de Residência Pedagógica e PIBID e a reafirmação da resolução CNE/CP 02/2015. Rio de Janeiro – RJ, ANPED, 2018. Disponível em: http://www.anped.org.br/news/em-audiencia-no-cne-anped-e-entidades-de-pesquisa-repudiam-submissao-de-formacao-de-professores. Acesso em: 04 ago. 2018.ARAÚJO, Osmar Hélio Alves; RIBEIRO, Luís Távora Furtado. Tecendo relações entre a disciplina de Didática, a Universidade e o Contexto Escolar. Educação & Linguagem • v. 21 • n. 2 • jul.- dez. 2017. Disponível em: http://dx.doi.org/10.15603/2176-1043/el.v20n2p5-14. Acesso em: 09 maio 2018.ARAÚJO, Osmar Hélio Alves; RODRIGUES, Janine Marta Coelho. Escola básica no contexto social-político contemporâneo: considerações críticas. Interfaces Científicas - Educação • Aracaju • V.7 • N.1 • p. 71 - 82 • Outubro - 2018. Disponível em: http://dx.doi.org/10.15603/2176-1043/el.v20n2p5-14. Acesso em: 12 out. 2018.ARAÚJO, Osmar Hélio Alves. Qual educação é necessária para a superação da violência e de injustiças?. Revista Teias, v. 19, n. 53, 2018. Disponível em: https://doi.org/10.12957/teias.2018.32120. Acesso em: 04 jul. 2018.BRASIL. Ministério da Educação. Conselho Nacional de Educação. Conselho Pleno. Resolução CNE/CP nº 2/2015. Define as diretrizes curriculares nacionais para a formação inicial em nível superior (cursos de licenciatura, cursos de formação pedagógica para graduados e cursos de segunda licenciatura) e para a formação continuada. Brasília, DF: MEC, 2015. Disponível em: http:// portal.mec.gov.br/cne/arquivos/pdf/. Acesso em: 05 ago. 2018.CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior. Edital CAPES nº 06/2018 - Chamada Pública para apresentação de propostas no âmbito do Programa de Residência Pedagógica. Disponível em: http://www.capes.gov.br/images/stories/download/editais/01032018-Edital-6-2018-Residencia-pedagogica.pdf. Acesso em: 04 ago. 2018.CRUZ, Giseli Barreto da; ANDRÉ, Marli Eliza Dalmazo de. Ensino de didática: um estudo sobre concepções e práticas de professores formadores. Educação em Revista, Belo Horizonte, v.30, n.04, p.181-203, Outubro-Dezembro, 2014. Disponível em: http://dx.doi.org/10.1590/S0102-46982014000400009. Acesso em: 01 mar. 2019.FARIA, Juliana Batista; PEREIRA, Júlio Emílio Diniz. Residência pedagógica: afinal, o que é isso? R. Educ. Públ. Cuiabá, v. 28, n. 68, p. 333-356, maio/ago. 2019. Disponível em: http://dx.doi.org/10.29286/rep.v28i68.8393. Acesso em: 29 set. 2019.FRANCO, Maria Amélia Santoro. Didática: uma esperança para as dificuldades pedagógicas do Ensino superior? Práxis Educacional, Vol. 9, n. 15, 2013. Disponível em: http://periodicos.uesb.br/index.php/praxis/article/view/1947. Acesso em: 04 set. 2018.FRANCO, Maria Amélia Santoro. Prática pedagógica e docência: um olhar a partir da epistemologia do conceito. Rev. Bras. Estud. Pedagog. [online]. 2016, vol. 97, n.247, pp.534-551. Disponível em: http://dx.doi.org/10.1590/s2176-6681/288236353. Acesso em: 21 ago. 2018.FRANCO, Maria Amélia do Rosário Santoro. Pedagogia: por entre resistências e insistências. Rev. Espaço do Currículo (online), João Pessoa, v.10, n.2, p. 161-173, mai./ago. 2017. 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O dualismo perverso da escola pública brasileira: escola do conhecimento para os ricos, escola do acolhimento social para os pobres. Educação e Pesquisa, São Paulo, v. 38, n. 1, p. 13-28, 2012. Disponível em: http://www.scielo.br/pdf/ep/v38n1/aop323.pdf. Acesso: 14 out. 2018.LIBÂNEO, José Carlos. O campo teórico e profissional da Didática hoje: entre Ítaca e o canto das sereias. In: FRANCO, Maria Amélia Santoro; PIMENTA, Selma Garrido (Orgs.). Didática: embates contemporâneos. 3ª ed. São Paulo: Edições Loyola, 2014. p.43-73.MARAFELLI, Cecilia Maria; RODRIGUES, Priscila Andrade Magalhães; BRANDÃO, Zaia. A formação profissional dos professores: um velho problema sob outro ângulo. Cadernos de Pesquisa, v.47 n.165 p.982-997 jul./set. 2017. Disponível em: http://publicacoes.fcc.org.br/ojs/index.php/cp/article/view/4293. Acesso em: 21 nov. 2018.MEDEIROS, Emerson Augusto de; AGUIAR, Ana Lúcia Oliveira. 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Carta Capital, 28 de março de 2017. Disponível em: http://www.cartaeducacao.com.br/reportagens/se-fosse-brasileiro-estaria-indignado-com-a-situacao-da-educacao/. Acesso em: 21 set. 2018.PANIAGO, Rosenilde Nogueira; SARMENTO, Teresa Jacinto. O processo de estágio supervisionado na formação de professores portugueses e brasileiros. Revista Educação em Questão, Natal, v. 53, n. 39, p. 76-103, maio/ago. 2015. Disponível em: https://periodicos.ufrn.br/educacaoemquestao/article/view/8521. Acesso em: 04 set. 2018.PIMENTA, Selma Garrido; LIMA, Maria Socorro Lucena. Estágio e docência: diferentes concepções. Revista Poíesis -Volume 3, Números 3 e 4, pp.5-24, 2005/2006. Disponível em: https://doi.org/10.5216/rpp.v3i3e4.10542. Acesso em: 09 out. 2019.ROLDÃO, Maria do Céu; LEITE, Teresa. O processo de desenvolvimento profissional visto pelos professores mentores. Ensaio: aval. pol. públ. Educ., Rio de Janeiro, v. 20, n. 76, p. 481-502, jul./set. 2012. Disponível em: http://www.scielo.br/pdf/ensaio/v20n76/04.pdf. Acesso em: 04 out. 2018.RIOS, Terezinha Azerêdo. É possível formar professores sem a Didática? In: LIMA, Maria Socorro Lucena et al. (Org.). Didática e prática de ensino: diálogos sobre Escola, formação de professores e sociedade. 1ed. Fortaleza: Universidade Estadual do Ceará, 2015, v. 4, p. 643-653.SILVA, Katia Augusta Curado Pinheiro da; CRUZ, Shirleide Pereira. A Residência Pedagógica na formação de professores: história, hegemonia e resistências. Momento: diálogos em educação, v. 27, n. 2, p. 227-247, mai./ago., 2018. Disponível em: file:///C:/Users/USER/Downloads/8062-23532-1-PB.pdf. Acesso em: 29 set. 2019.SIMÕES, Willian. O lugar das ciências humanas na "reforma" do ensino médio. Revista Retratos da escola, Brasília, v. 11, n. 20, p. 33-44, jan./jun. 2017. Disponível em: http://dx.doi.org/10.22420/rde.v11i20.752. Acesso em: 04 out. 2018.ZABALZA, Miguel. O ensino universitário: seu cenário e seus protagonistas. 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Introduction Generative algorithms have been used for many years by computer musicians like Iannis Xenakis (Xenakis) and David Cope (Cope) to make complex electronic music composition. Advances in computer technology have made it possible to design music algorithms based upon specific pitch, timbre and rhythmic qualities that can be manipulated in real time with a simple interface that a child can control.jam2jam (Brown, Sorensen, & Dillon) is a shareware program developed in java that uses these ideas and involves what we have called Networked Improvisation, which ‘can be broadly described as collaborative music making over a computer network’ (Dillon & Brown). Fig. 1: jam2jam interface (download a shareware version at http://www.explodingart.com/.) Jamming Online With this software users manipulate sliders and dials to influence changes in music in real time. This enables the opportunity for participants to interact with the sound possibilities of a chosen musical style as a focused musical environment. Essentially by moving a slider or dial the user can change the intensity of the musical activity across musical elements such as rhythm, harmony, timbre and volume and the changes they make will respond within the framework of the musical style parameters, updating and recomposing within the timeframe of a quaver/eighth note. This enables the users to play within the style and to hear and influence the shape and structure of the sound. Whilst real time performance using a computer is not new, what is different about this software is that through a network users can create virtual ensembles, which are simultaneously collaborative and interactive. jam2jam was developed using philosophical design principals based on an understanding of ‘meaning’ gained by musicians drawn from both software, live music experiences (Dillon, Student as Maker) and research about how professional composers engage with technology in creative production (Brown, Music Composition). New music technologies have for centuries provided expressive possibilities and an environment where humans can be playful. With jam2jam users can play with complex or simple musical ideas, interact with the musical elements, and hear the changes immediately. When networked they can have these musical experiences collaboratively in a virtual ensemble. Background The initial development of jam2jam began with a survey of the musical tastes of a group of children between the ages of 8-14 in a multi racial community in Delaware, Ohio in the USA as part of the Delaware Children’s Music Festival in 2002. These surveys of ‘the music they liked’ resulted in the researchers purchasing Compact Discs and completing a rule based analysis of the styles. This analysis was then converted into numerical values and algorithms were constructed and used as a structure for the software. The algorithms propose the intensity of range of each style. For example, in the Grunge style the snare drum at low intensity plays a cross stick rim timbre on the second and fourth beat and at high intensity the sound becomes a gated snare sound and plays rhythmic quaver/eighth note triplets. In between these are characteristic rhythmic materials that are less complex than the extreme (triplets). This procedure is replicated across five instruments; drums, percussion, bass, guitar and keyboard. The melodic instruments have algorithms for pitch organisation within the possibilities of the style. These algorithms are the recipes or lesson plans for interactive music making where the student’s gestures control the intensity of the music as it composes in real time. A simple interface was designed (see fig. 1) with a page for each instrument and the mixer. The interface primarily uses dials and sliders for interaction, with radio buttons for timbrel/instrument selection. Once the software was built and installed students were observed using it by videotaping their interaction and interviewing both children and teachers. Observations, which fed into the developmental design, were drawn on a daily basis with the interface and sound engine being regularly updated to accommodate students and teacher requirements. The principals of observation and analysis were based upon a theory of meaningful engagement (Brown, “Modes”, Music Composition; Dillon, “Modelling”, Student as Maker). These adjustments were applied to the software, the curriculum design and to the facilitators’ organisational processes and interactions with the students. The concept of meaningful engagement, which has been applied to this software development process, has provided an effective tool for identifying the location of meaning and describing modes of creative engagement experienced through networked jamming. It also provided a framework for dynamic evaluation and feedback which influences the design with each successive iteration. Defining a Contemporary Musicianship Networked improvisational experiences develop a contemporary musicianship, in which the computer is embraced as an instrument that can be used skillfully in live performance with both acoustic/electric instruments and other network users. The network itself becomes a site for a virtual ensemble where users can experience interaction between ‘players’ in real time. With networked improvisation, cyberspace becomes a venue. Observations have also included performances between two distant locations and ones where computers on the network simultaneously ‘jammed’ with ‘live’ acoustic performers. The Future The future of networked jamming is exciting. There is potential for these environments to replicate complex musical systems and engage participants in musical understandings, linking gesture and sound with concepts of musical knowledge that are constructed within the algorithm and the interface. The dynamic development of Networked Jamming applications involve designs which apply philosophical and pedagogical principles that encourage and sustain meaningful engagement with music making. These are sufficiently complex to allow the revisiting of musical experiences and knowledge at increasingly deeper levels. Conclusion jam2jam is a proof of concept model for networked jamming environments, where people and machines play music in collaborative ensembles. Network jamming requires a contemporary musicianship, which embraces the computer as an instrument, the network as an ensemble and cyberspace as venue for performance. These concepts facilitate access to the ensemble performance of complex musical structures through simple interfaces. It provides the opportunity for users to be creatively immersed in the simultaneous act of listening and performance. jam2jam represents an opportunity for music-makers to have interactive experiences with musical knowledge in a way not otherwise previously available. It enables children, adults and the disabled to enter into a collaborative community where technology mediates a live ensemble performance. The experience could be an ostinato pumping out hip-hop or techno grooves, a Xenakis chaos algorithm, or a minimal ambient soundscape. With the development of new algorithms, a sample engine and creative interface design we believe this concept has amazing possibilities. The real potential of this concept lies in the access that the users have to meaningful engagement with ensemble performance in the production of music, in real time, even with limited previous experience or dexterity. References Brown, A. “Modes of Compositional Engagement.” Paper presented at the Australasian Computer Music Conference-Interfaces, Brisbane, Australia. 2000. ———. Music Composition and the Computer: An Examination of the Work Practices of Five Experienced Composers. Unpublished PhD, University of Queensland, Brisbane, 2003. ———, A. Sorensen, and S. Dillon. jam2jam (Version 1) Interactive generative music making software. Brisbane: Exploding Art Music Productions, 2002. Cope, D. “Computer Modelling of Musical Intelligence in EMI.” Computer Music Journal 16.2 (1992): 69-83. Dillon, S. “Modelling: Meaning through Software Design.” Paper presented at the 26th Annual Conference of the Australian Association for Research in Music Education, Southern Cross University Tweed Heads, 2004. ———, and A. Brown. “Networked Improvisational Musical Environments: Learning through Online Collaborative Music Making.” In Embedding Music Technology in the Secondary School. Eds. J. Finney & P. Burnard. Cambridge: Continuum Press, In Press. Dillon, S. C. The Student as Maker: An Examination of the Meaning of Music to Students in a School and the Ways in Which We Give Access to Meaningful Music Education. Unpublished PhD, La Trobe, Melbourne, 2001. Xenakis, I. Formalized Music. New York: Pendragon Press, 1991. Citation reference for this article MLA Style Dillon, Steve. "Jam2jam: Networked Jamming." M/C Journal 9.6 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0612/04-dillon.php>. APA Style Dillon, S. (Dec. 2006) "Jam2jam: Networked Jamming," M/C Journal, 9(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0612/04-dillon.php>.

Introduction In October 2008, the UK’s National Videogame Archive became a reality and after years of negotiation, preparation and planning, this partnership between Nottingham Trent University’s Centre for Contemporary Play research group and The National Media Museum, accepted its first public donations to the collection. These first donations came from Sony’s Computer Entertainment Europe’s London Studios who presented the original, pre-production PlayStation 2 EyeToy camera (complete with its hand-written #1 sticker) and Harmonix who crossed the Atlantic to deliver prototypes of the Rock Band drum kit and guitar controllers along with a slew of games. Since then, we have been inundated with donations, enquiries and volunteers offering their services and it is clear that we have exciting and challenging times ahead of us at the NVA as we seek to continue our collecting programme and preserve, conserve, display and interpret these vital parts of popular culture. This essay, however, is not so much a document of these possible futures for our research or the challenges we face in moving forward as it is a discussion of some of the issues that make game preservation a vital and timely undertaking. In briefly telling the story of the genesis of the NVA, I hope to draw attention to some of the peculiarities (in both senses) of the situation in which videogames currently exist. While considerable attention has been paid to the preservation and curation of new media arts (e.g. Cook et al.), comparatively little work has been undertaken in relation to games. Surprisingly, the games industry has been similarly neglectful of the histories of gameplay and gamemaking. Throughout our research, it has became abundantly clear that even those individuals and companies most intimately associated with the development of this form, do not hold their corporate and personal histories in the high esteem we expected (see also Lowood et al.). And so, despite the well-worn bluster of an industry that proclaims itself as culturally significant as Hollywood, it is surprisingly difficult to find a definitive copy of the boxart of the final release of a Triple-A title let alone any of the pre-production materials. Through our journeys in the past couple of years, we have encountered shoeboxes under CEOs’ desks and proud parents’ collections of tapes and press cuttings. These are the closest things to a formalised archive that we currently have for many of the biggest British game development and publishing companies. Not only is this problematic in and of itself as we run the risk of losing titles and documents forever as well as the stories locked up in the memories of key individuals who grow ever older, but also it is symptomatic of an industry that, despite its public proclamations, neither places a high value on its products as popular culture nor truly recognises their impact on that culture. While a few valorised, still-ongoing, franchises like the Super Mario and Legend of Zelda series are repackaged and (digitally) re-released so as to provide continuity with current releases, a huge number of games simply disappear from view once their short period of retail limelight passes. Indeed, my argument in this essay rests to some extent on the admittedly polemical, and maybe even antagonistic, assertion that the past business and marketing practices of the videogames industry are partly to blame for the comparatively underdeveloped state of game preservation and the seemingly low cultural value placed on old games within the mainstream marketplace. Small wonder, then, that archives and formalised collections are not widespread. However antagonistic this point may seem, this essay does not set out merely to criticise the games industry. Indeed, it is important to recognise that the success and viability of projects such as the NVA is derived partly from close collaboration with industry partners. As such, it is my hope that in addition to contributing to the conversation about the importance and need for formalised strategies of game preservation, this essay goes some way to demonstrating the necessity of universities, museums, developers, publishers, advertisers and retailers tackling these issues in partnership. The Best Game Is the Next Game As will be clear from these opening paragraphs, this essay is primarily concerned with ‘old’ games. Perhaps surprisingly, however, we shall see that ‘old’ games are frequently not that old at all as even the shiniest, and newest of interactive experiences soon slip from view under the pressure of a relentless industrial and institutional push towards the forthcoming release and the ‘next generation’. More surprising still is that ‘old’ games are often difficult to come by as they occupy, at best, a marginalised position in the contemporary marketplace, assuming they are even visible at all. This is an odd situation. Videogames are, as any introductory primer on game studies will surely reveal, big business (see Kerr, for instance, as well as trade bodies such as ELSPA and The ESA for up-to-date sales figures). Given the videogame industry seems dedicated to growing its business and broadening its audiences (see Radd on Sony’s ‘Game 3.0’ strategy, for instance), it seems strange, from a commercial perspective if no other, that publishers’ and developers’ back catalogues are not being mercilessly plundered to wring the last pennies of profit from their IPs. Despite being cherished by players and fans, some of whom are actively engaged in their own private collecting and curation regimes (sometimes to apparently obsessive excess as Jones, among others, has noted), videogames have, nonetheless, been undervalued as part of our national popular cultural heritage by institutions of memory such as museums and archives which, I would suggest, have largely ignored and sometimes misunderstood or misrepresented them. Most of all, however, I wish to draw attention to the harm caused by the videogames industry itself. Consumers’ attentions are focused on ‘products’, on audiovisual (but mainly visual) technicalities and high-definition video specs rather than on the experiences of play and performance, or on games as artworks or artefact. Most damagingly, however, by constructing and contributing to an advertising, marketing and popular critical discourse that trades almost exclusively in the language of instant obsolescence, videogames have been robbed of their historical value and old platforms and titles are reduced to redundant, legacy systems and easily-marginalised ‘retro’ curiosities. The vision of inevitable technological progress that the videogames industry trades in reminds us of Paul Duguid’s concept of ‘supersession’ (see also Giddings and Kennedy, on the ‘technological imaginary’). Duguid identifies supersession as one of the key tropes in discussions of new media. The reductive idea that each new form subsumes and replaces its predecessor means that videogames are, to some extent, bound up in the same set of tensions that undermine the longevity of all new media. Chun rightly notes that, in contrast with more open terms like multimedia, ‘new media’ has always been somewhat problematic. Unaccommodating, ‘it portrayed other media as old or dead; it converged rather than multiplied; it did not efface itself in favor of a happy if redundant plurality’ (1). The very newness of new media and of videogames as the apotheosis of the interactivity and multimodality they promise (Newman, "In Search"), their gleam and shine, is quickly tarnished as they are replaced by ever-newer, ever more exciting, capable and ‘revolutionary’ technologies whose promise and moment in the limelight is, in turn, equally fleeting. As Franzen has noted, obsolescence and the trail of abandoned, superseded systems is a natural, even planned-for, product of an infatuation with the newness of new media. For Kline et al., the obsession with obsolescence leads to the characterisation of the videogames industry as a ‘perpetual innovation economy’ whose institutions ‘devote a growing share of their resources to the continual alteration and upgrading of their products. However, it is my contention here that the supersessionary tendency exerts a more serious impact on videogames than some other media partly because the apparently natural logic of obsolescence and technological progress goes largely unchecked and partly because there remain few institutions dedicated to considering and acting upon game preservation. The simple fact, as Lowood et al. have noted, is that material damage is being done as a result of this manufactured sense of continual progress and immediate, irrefutable obsolescence. By focusing on the upcoming new release and the preview of what is yet to come; by exciting gamers about what is in development and demonstrating the manifest ways in which the sheen of the new inevitably tarnishes the old. That which is replaced is fit only for the bargain bin or the budget-priced collection download, and as such, it is my position that we are systematically undermining and perhaps even eradicating the possibility of a thorough and well-documented history for videogames. This is a situation that we at the National Videogame Archive, along with colleagues in the emerging field of game preservation (e.g. the International Game Developers Association Game Preservation Special Interest Group, and the Keeping Emulation Environments Portable project) are, naturally, keen to address. Chief amongst our concerns is better understanding how it has come to be that, in 2009, game studies scholars and colleagues from across the memory and heritage sectors are still only at the beginning of the process of considering game preservation. The IGDA Game Preservation SIG was founded only five years ago and its ‘White Paper’ (Lowood et al.) is just published. Surprisingly, despite the importance of videogames within popular culture and the emergence and consolidation of the industry as a potent creative force, there remains comparatively little academic commentary or investigation into the specific situation and life-cycles of games or the demands that they place upon archivists and scholars of digital histories and cultural heritage. As I hope to demonstrate in this essay, one of the key tasks of the project of game preservation is to draw attention to the consequences of the concentration, even fetishisation, of the next generation, the new and the forthcoming. The focus on what I have termed ‘the lure of the imminent’ (e.g. Newman, Playing), the fixation on not only the present but also the as-yet-unreleased next generation, has contributed to the normalisation of the discourses of technological advancement and the inevitability and finality of obsolescence. The conflation of gameplay pleasure and cultural import with technological – and indeed, usually visual – sophistication gives rise to a context of endless newness, within which there appears to be little space for the ‘outdated’, the ‘superseded’ or the ‘old’. In a commercial and cultural space in which so little value is placed upon anything but the next game, we risk losing touch with the continuities of development and the practices of play while simultaneously robbing players and scholars of the critical tools and resources necessary for contextualised appreciation and analysis of game form and aesthetics, for instance (see Monnens, "Why", for more on the value of preserving ‘old’ games for analysis and scholarship). Moreover, we risk losing specific games, platforms, artefacts and products as they disappear into the bargain bucket or crumble to dust as media decay, deterioration and ‘bit rot’ (Monnens, "Losing") set in. Space does not here permit a discussion of the scope and extent of the preservation work required (for instance, the NVA sets its sights on preserving, documenting, interpreting and exhibiting ‘videogame culture’ in its broadest sense and recognises the importance of videogames as more than just code and as enmeshed within complex networks of productive, consumptive and performative practices). Neither is it my intention to discuss here the specific challenges and numerous issues associated with archival and exhibition tools such as emulation which seek to rebirth code on up-to-date, manageable, well-supported hardware platforms but which are frequently insensitive to the specificities and nuances of the played experience (see Newman, "On Emulation", for some further notes on videogame emulation, archiving and exhibition and Takeshita’s comments in Nutt on the technologies and aesthetics of glitches, for instance). Each of these issues is vitally important and will, doubtless become a part of the forthcoming research agenda for game preservation scholars. My focus here, however, is rather more straightforward and foundational and though it is deliberately controversial, it is my hope that its casts some light over some ingrained assumptions about videogames and the magnitude and urgency of the game preservation project. Videogames Are Disappearing? At a time when retailers’ shelves struggle under the weight of newly-released titles and digital distribution systems such as Steam, the PlayStation Network, Xbox Live Marketplace, WiiWare, DSiWare et al bring new ways to purchase and consume playable content, it might seem strange to suggest that videogames are disappearing. In addition to what we have perhaps come to think of as the ‘usual suspects’ in the hardware and software publishing marketplace, over the past year or so Apple have, unexpectedly and perhaps even surprising themselves, carved out a new gaming platform with the iPhone/iPod Touch and have dramatically simplified the notoriously difficult process of distributing mobile content with the iTunes App Store. In the face of this apparent glut of games and the emergence and (re)discovery of new markets with the iPhone, Wii and Nintendo DS, videogames seem an ever more a vital and visible part of popular culture. Yet, for all their commercial success and seemingly penetration the simple fact is that they are disappearing. And at an alarming rate. Addressing the IGDA community of game developers and producers, Henry Lowood makes the point with admirable clarity (see also Ruggill and McAllister): If we fail to address the problems of game preservation, the games you are making will disappear, perhaps within a few decades. You will lose access to your own intellectual property, you will be unable to show new developers the games you designed or that inspired you, and you may even find it necessary to re-invent a bunch of wheels. (Lowood et al. 1) For me, this point hit home most persuasively a few years ago when, along with Iain Simons, I was invited by the British Film Institute to contribute a book to their ‘Screen Guides’ series. 100 Videogames (Newman and Simons) was an intriguing prospect that provided us with the challenge and opportunity to explore some of the key moments in videogaming’s forty year history. However, although the research and writing processes proved to be an immensely pleasurable and rewarding experience that we hope culminated in an accessible, informative volume offering insight into some well-known (and some less-well known) games, the project was ultimately tinged with a more than a little disappointment and frustration. Assuming our book had successfully piqued the interest of our readers into rediscovering games previously played or perhaps investigating games for the first time, what could they then do? Where could they go to find these games in order to experience their delights (or their flaws and problems) at first hand? Had our volume been concerned with television or film, as most of the Screen Guides are, then online and offline retailers, libraries, and even archives for less widely-available materials, would have been obvious ports of call. For the student of videogames, however, the choices are not so much limited as practically non-existant. It is only comparatively recently that videogame retailers have shifted away from an almost exclusive focus on new releases and the zeitgeist platforms towards a recognition of old games and systems through the creation of the ‘pre-owned’ marketplace. The ‘pre-owned’ transaction is one in which old titles may be traded in for cash or against the purchase of new releases of hardware or software. Surely, then, this represents the commercial viability of classic games and is a recognition on the part of retail that the new release is not the only game in town. Yet, if we consider more carefully the ‘pre-owned’ model, we find a few telling points. First, there is cold economic sense to the pre-owned business model. In their financial statements for FY08, ‘GAME revealed that the service isn’t just a key part of its offer to consumers, but its also represents an ‘attractive’ gross margin 39 per cent.’ (French). Second, and most important, the premise of the pre-owned business as it is communicated to consumers still offers nothing but primacy to the new release. That one would trade-in one’s old games in order to consume these putatively better new ones speaks eloquently in the language of obsolesce and what Dovey and Kennedy have called the ‘technological imaginary’. The wire mesh buckets of old, pre-owned games are not displayed or coded as treasure troves for the discerning or completist collector but rather are nothing more than bargain bins. These are not classic games. These are cheap games. Cheap because they are old. Cheap because they have had their day. This is a curious situation that affects videogames most unfairly. Of course, my caricature of the videogame retailer is still incomplete as a good deal of the instantly visible shopfloor space is dedicated neither to pre-owned nor new releases but rather to displays of empty boxes often sporting unfinalised, sometimes mocked-up, boxart flaunting titles available for pre-order. Titles you cannot even buy yet. In the videogames marketplace, even the present is not exciting enough. The best game is always the next game. Importantly, retail is not alone in manufacturing this sense of dissatisfaction with the past and even the present. The specialist videogames press plays at least as important a role in reinforcing and normalising the supersessionary discourse of instant obsolescence by fixing readers’ attentions and expectations on the just-visible horizon. Examining the pages of specialist gaming publications reveals them to be something akin to Futurist paeans dedicating anything from 70 to 90% of their non-advertising pages to previews, interviews with developers about still-in-development titles (see Newman, Playing, for more on the specialist gaming press’ love affair with the next generation and the NDA scoop). Though a small number of publications specifically address retro titles (e.g. Imagine Publishing’s Retro Gamer), most titles are essentially vehicles to promote current and future product lines with many magazines essentially operating as delivery devices for cover-mounted CDs/DVDs offering teaser videos or playable demos of forthcoming titles to further whet the appetite. Manufacturing a sense of excitement might seem wholly natural and perhaps even desirable in helping to maintain a keen interest in gaming culture but the effect of the imbalance of popular coverage has a potentially deleterious effect on the status of superseded titles. Xbox World 360’s magnificently-titled ‘Anticip–O–Meter’ ™ does more than simply build anticipation. Like regular features that run under headings such as ‘The Next Best Game in The World Ever is…’, it seeks to author not so much excitement about the imminent release but a dissatisfaction with the present with which unfavourable comparisons are inevitably drawn. The current or previous crop of (once new, let us not forget) titles are not simply superseded but rather are reinvented as yardsticks to judge the prowess of the even newer and unarguably ‘better’. As Ashton has noted, the continual promotion of the impressiveness of the next generation requires a delicate balancing act and a selective, institutionalised system of recall and forgetting that recovers the past as a suite of (often technical) benchmarks (twice as many polygons, higher resolution etc.) In the absence of formalised and systematic collecting, these obsoleted titles run the risk of being forgotten forever once they no longer serve the purpose of demonstrating the comparative advancement of the successors. The Future of Videogaming’s Past Even if we accept the myriad claims of game studies scholars that videogames are worthy of serious interrogation in and of themselves and as part of a multifaceted, transmedial supersystem, we might be tempted to think that the lack of formalised collections, archival resources and readily available ‘old/classic’ titles at retail is of no great significance. After all, as Jones has observed, the videogame player is almost primed to undertake this kind of activity as gaming can, at least partly, be understood as the act and art of collecting. Games such as Animal Crossing make this tendency most manifest by challenging their players to collect objects and artefacts – from natural history through to works of visual art – so as to fill the initially-empty in-game Museum’s cases. While almost all videogames from The Sims to Katamari Damacy can be considered to engage their players in collecting and collection management work to some extent, Animal Crossing is perhaps the most pertinent example of the indivisibility of the gamer/archivist. Moreover, the permeability of the boundary between the fan’s collection of toys, dolls, posters and the other treasured objects of merchandising and the manipulation of inventories, acquisitions and equipment lists that we see in the menus and gameplay imperatives of videogames ensures an extensiveness and scope of fan collecting and archival work. Similarly, the sociality of fan collecting and the value placed on private hoarding, public sharing and the processes of research ‘…bridges to new levels of the game’ (Jones 48). Perhaps we should be as unsurprised that their focus on collecting makes videogames similar to eBay as we are to the realisation that eBay with its competitiveness, its winning and losing states, and its inexorable countdown timer, is nothing if not a game? We should be mindful, however, of overstating the positive effects of fandom on the fate of old games. Alongside eBay’s veneration of the original object, p2p and bittorrent sites reduce the videogame to its barest. Quite apart from the (il)legality of emulation and videogame ripping and sharing (see Conley et al.), the existence of ‘ROMs’ and the technicalities of their distribution reveals much about the peculiar tension between the interest in old games and their putative cultural and economic value. (St)ripped down to the barest of code, ROMs deny the gamer the paratextuality of the instruction manual or boxart. In fact, divorced from its context and robbed of its materiality, ROMs perhaps serve to make the original game even more distant. More tellingly, ROMs are typically distributed by the thousand in zipped files. And so, in just a few minutes, entire console back-catalogues – every game released in every territory – are available for browsing and playing on a PC or Mac. The completism of the collections allows detailed scrutiny of differences in Japanese versus European releases, for instance, and can be seen as a vital investigative resource. However, that these ROMs are packaged into collections of many thousands speaks implicitly of these games’ perceived value. In a similar vein, the budget-priced retro re-release collection helps to diminish the value of each constituent game and serves to simultaneously manufacture and highlight the manifestly unfair comparison between these intriguingly retro curios and the legitimately full-priced games of now and next. Customer comments at Amazon.co.uk demonstrate the way in which historical and technological comparisons are now solidly embedded within the popular discourse (see also Newman 2009b). Leaving feedback on Sega’s PS3/Xbox 360 Sega MegaDrive Ultimate Collection customers berate the publisher for the apparently meagre selection of titles on offer. Interestingly, this charge seems based less around the quality, variety or range of the collection but rather centres on jarring technological schisms and a clear sense of these titles being of necessarily and inevitably diminished monetary value. Comments range from outraged consternation, ‘Wtf, only 40 games?’, ‘I wont be getting this as one disc could hold the entire arsenal of consoles and games from commodore to sega saturn(Maybe even Dreamcast’ through to more detailed analyses that draw attention to the number of bits and bytes but that notably neglect any consideration of gameplay, experientiality, cultural significance or, heaven forbid, fun. “Ultimate” Collection? 32Mb of games on a Blu-ray disc?…here are 40 Megadrive games at a total of 31 Megabytes of data. This was taking the Michael on a DVD release for the PS2 (or even on a UMD for the PSP), but for a format that can store 50 Gigabytes of data, it’s an insult. Sega’s entire back catalogue of Megadrive games only comes to around 800 Megabytes - they could fit that several times over on a DVD. The ultimate consequence of these different but complementary attitudes to games that fix attentions on the future and package up decontextualised ROMs by the thousand or even collections of 40 titles on a single disc (selling for less than half the price of one of the original cartridges) is a disregard – perhaps even a disrespect – for ‘old’ games. Indeed, it is this tendency, this dominant discourse of inevitable, natural and unimpeachable obsolescence and supersession, that provided one of the prime motivators for establishing the NVA. As Lowood et al. note in the title of the IGDA Game Preservation SIG’s White Paper, we need to act to preserve and conserve videogames ‘before it’s too late’.ReferencesAshton, D. ‘Digital Gaming Upgrade and Recovery: Enrolling Memories and Technologies as a Strategy for the Future.’ M/C Journal 11.6 (2008). 13 Jun 2009 ‹http://journal.media-culture.org.au/index.php/mcjournal/article/viewArticle/86›.Buffa, C. ‘How to Fix Videogame Journalism.’ GameDaily 20 July 2006. 13 Jun 2009 ‹http://www.gamedaily.com/articles/features/how-to-fix-videogame-journalism/69202/?biz=1›. ———. ‘Opinion: How to Become a Better Videogame Journalist.’ GameDaily 28 July 2006. 13 Jun 2009 ‹http://www.gamedaily.com/articles/features/opinion-how-to-become-a-better-videogame-journalist/69236/?biz=1. ———. ‘Opinion: The Videogame Review – Problems and Solutions.’ GameDaily 2 Aug. 2006. 13 Jun 2009 ‹http://www.gamedaily.com/articles/features/opinion-the-videogame-review-problems-and-solutions/69257/?biz=1›. ———. ‘Opinion: Why Videogame Journalism Sucks.’ GameDaily 14 July 2006. 13 Jun 2009 ‹http://www.gamedaily.com/articles/features/opinion-why-videogame-journalism-sucks/69180/?biz=1›. 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