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Journal articles on the topic 'Video game art'
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Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.
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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds” in which telematic travellers may shoot photographs in constructed fantasy worlds as if travelling in real life. While life-like graphics manufactured by the computers raise questions about authenticity and truthfulness of the image, the possible future of the photography as socially efficient visual knowledge is in constant flux. This article aims to reflect on today’s trends in in-game photography and tries to foresee how this emerging genre and its constructed realities will transpose the old with the new photographic data in the post-truth condition fostering for re-evaluation of photography truth-value. Keywords: digital image, lens-based, photography, screenshot, video games
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Wood, Kelli, and David S. Carter. "Art and technology: archiving video games for humanities research in university libraries." Art Libraries Journal 43, no. 4 (October 2018): 185–95. http://dx.doi.org/10.1017/alj.2018.29.
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AbstractOver the past half-century video games have become a significant part of our cultural environment, in part, by leading advances in both technology and artistic innovation. In recent years librarians and researchers have recognized these games as cultural objects that require collection and curation. Developing and maintaining collections of this fast moving and somewhat ephemeral media, however, poses challenges due to constantly advancing technology and a corresponding lack of consistent terminology. This article addresses the literature and critical issues surrounding collections of video games within libraries and presents a case study of the University of Michigan’s Computer and Video Game Archive (CVGA), one of the largest academic archives of its kind. Moreover, video games are situated in a humanistic approach to the field of game studies as the article draws on the relevance of methods from art history and film studies.
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Rizali, Muhammad, Zainal Warhat, and Edwar Zebua. "PENGARUH ELEMEN-ELEMEN DESAIN KOMUNIKASI VISUAL (DKV) BOX ART GAME TERHADAP STORY LINE BERDASARKAN PERSEPSI GAMERS PADA VIDEO GAME POPULER DI INDONESIA." Gorga : Jurnal Seni Rupa 8, no. 2 (September 27, 2019): 295. http://dx.doi.org/10.24114/gr.v8i2.14700.
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AbstrakTujuan penelitian ini adalah untuk mengetahui pengaruh parsial dan simultan elemen gambar, elemen huruf, dan elemen warna DKV desain Box Art Game pada story line video game. Jenis penelitian ini adalah survey eksplanasi. Instrumen dalam penelitian ini menggunakan kuesioner dengan jumlah sampel sebanyak 151 responden gamer yang diperoleh secara on line melalui media sosial face book. Teknik pengambilan sampel menggunakan acak sederhana dengan cara mengupload kuesioner ke jaringan grup media sosial gamer face book. Teknik analisis data yang digunakan dalam penelitian ini adalah analisis regresi berganda. Instrumen penelitian yang digunakan telah diuji terlebih dahulu validitas dan reliabilitasnya. Persamaan regresi linear dengan menggunaan SPSS diperoleh: Y = -1,029 + 0,305 X1 + 0,05 X2 + 0,250 X3 + e. Melalui pengujian hipotesis diperoleh bahwa ada pengaruh parsial elemen gambar (X1) dan elemen warna (X3) terhadap story line (Y) diterima, sedangkan pengaruh elemen huruf (X2) terhadap story line (Y) ditolak. Pengaruh simultan elemen gambar (X1), eleman huruf (X2) dan elemen warna (X3) terhadap story line (Y) diterima. Berdasarkan pengujian hipotesis maka dapat disimpulkan variabel elemen gambar dan elemen warna berpengaruh dalam menjelaskan story line video game. Elemen huruf tidak berpengaruh dalam menjelaskan story line video game. Dalam penelitian ini elemen gambar memberi pengaruh paling besar terhadap story line dengan koefisien regresi 0,305. Secara simultan elemen gambar, eleman huruf dan elemen warna berpengaruh menjelaskan story line video game sebesar 44%.Kata Kunci: desain, box art game, elemen.AbstractThe purpose of this study was to determine the effect of partial and simultaneous image elements, letter elements, and color elements DKV design Box Art Game on the video game story line. This type of research is an explanatory survey. The instrument in this study used a questionnaire with a total sample of 151 gamers who were obtained online through face book social media. The sampling technique uses simple random method by uploading questionnaires to the network network of face book gamers. The data analysis technique used in this study is multiple regression analysis. The research instrument used was tested for its validity and reliability. The linear regression equation using SPSS is obtained: Y = -1,029 + 0,305 X1 + 0,05 X2 + 0,250 X3 + e. Through testing the hypothesis, it was found that there was a partial effect of the image element (X1) and color element (X3) on the story line (Y) received, while the influence of the letter element (X2) on story line (Y) was rejected. The effect of simultaneous image elements (X1), letters (X2) and color elements (X3) on story line (Y) is accepted. Based on hypothesis testing, it can be concluded that the variable image elements and color elements are influential in explaining the story line of video games. The letter element has no effect in explaining the story line of video games. In this study the image element gives the most influence on the story line with a regression coefficient of 0.305. Simultaneously drawing elements, elements of letters and influential color elements explain the video game story line by 44%.. Keywords: desain, box art game, elemen.
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Aditya, Christian. "The Development Of Visual Aspects In Video Games Over The Years." ULTIMART Jurnal Komunikasi Visual 7, no. 2 (November 12, 2016): 18–22. http://dx.doi.org/10.31937/ultimart.v7i2.385.
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This report investigates the importance of creating a realistic environment in order to create an immersive world in digital games. The discussion will start from the history of Digital game development until now, discussing on the limitations of gaming consoles from time to time, and how game designers nowadays keep pushing the boundaries of the visual aspects of their game. Then focusing the discussion on the technical and art aspect of digital game design. By doing the analysis in this report, we can conclude that there are several reason that affects the visual quality of video games, such as the technology of the game console, the limitation of game engine, and also the skill of the game artist itself.
Key words : Video Games, Digital Games, Game Console, Environment, Game Engine.
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Gee, James Paul. "Why Game Studies Now? Video Games: A New Art Form." Games and Culture 1, no. 1 (January 2006): 58–61. http://dx.doi.org/10.1177/1555412005281788.
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Dannenberg, Ross, and Josh Davenport. "Top 10 video game cases (US): how video game litigation in the US has evolved since the advent of Pong." Interactive Entertainment Law Review 1, no. 2 (December 2018): 89–102. http://dx.doi.org/10.4337/ielr.2018.02.02.
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Video game litigation in the United States is neither new nor infrequent, and video game developers can learn valuable lessons from cases won, and lost, by others before them. This article examines the evolution of United States intellectual property law from historically narrow roots to classifying video games as an art form deserving broad free speech protection. This article examines seminal cases in a variety of IP areas, including not only copyrights, but also reverse engineering, derivative works, patents, trademarks, rights of publicity, the Digital Millennium Copyright Act, contracts, and freedom of speech. These cases explore the factual and legal limits of American jurisprudence in video game law, including how one's own expression can be limited by the rights of others, permissible and fair use and of others' IP, and the impact these cases have had in the industry. As video games have leveled up into a multi-billion dollar industry, the law has leveled up, too, and this article is the primer you need to level up with it.
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Davis, Jessica Hoffmann. "Unsung heroes: Reconceptualizing a video game as a work of art." Visual Inquiry 10, no. 1 (June 1, 2021): 141–47. http://dx.doi.org/10.1386/vi_00030_1.
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A veteran arts educator’s entrance into the heretofore unknown world of video games, from encountering the community of players to daring a first-hand experience playing Red Dead Redemption 2. Buoyed by her desire to see her actor son’s performance in the game, the author plays to the end and emerges with an understanding of the game as a work of art.
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Jurgens, David, and Roberto Navigli. "It’s All Fun and Games until Someone Annotates: Video Games with a Purpose for Linguistic Annotation." Transactions of the Association for Computational Linguistics 2 (December 2014): 449–64. http://dx.doi.org/10.1162/tacl_a_00195.
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Annotated data is prerequisite for many NLP applications. Acquiring large-scale annotated corpora is a major bottleneck, requiring significant time and resources. Recent work has proposed turning annotation into a game to increase its appeal and lower its cost; however, current games are largely text-based and closely resemble traditional annotation tasks. We propose a new linguistic annotation paradigm that produces annotations from playing graphical video games. The effectiveness of this design is demonstrated using two video games: one to create a mapping from WordNet senses to images, and a second game that performs Word Sense Disambiguation. Both games produce accurate results. The first game yields annotation quality equal to that of experts and a cost reduction of 73% over equivalent crowdsourcing; the second game provides a 16.3% improvement in accuracy over current state-of-the-art sense disambiguation games with WordNet.
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Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 54–63. http://dx.doi.org/10.17816/vgik10154-63.
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Abstract: According to recent research, video games are recognized as a new kind of art in the 21st century. Is it possible to distinguish the concepts of "entertainment" and "art" when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of "personal management" of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling, and virtual aesthetics modernized the classical thesis of "life as a game" into a new philosophical concept. There are more and more attempts in succession to create a full-fledged virtual reality where a person could feel oneself be an individualized god, commanding over all the processes taking place with the one and ones life. The ultimate goal is the creation of such a global "game world" in which every person would be able to try oneself in any social role or avatar, building relationships with anyone, playing and enjoying it. So this desire for an interactive fusion of game forms with the objective reality that we are accustomed to is forming a rich and multilayered cultural platform nourishing diverse areas of contemporary art. The game industry has gone a long way of its development as a form of art. Nowadays video games and movies imitate each other and combine mixed aesthetic trends - the boundary between the Game and the Film is being increasingly blurred. On the one hand, games tend to the cinema, using professional directing, scriptwriting and cast. On the other hand, mainstream fiction of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for the contemporary mass audience.
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Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 50–60. http://dx.doi.org/10.17816/vgik10250-60.
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According to recent research, video games are recognized as a new kind of art of the 21st century. Is it possible to distinguish the concepts of entertainment and art when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of personal management of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling and virtual aesthetics modernized the classical thesis of the life as a game into a new philosophical concept. There are more and more attempts in succession to create a full-fledged virtual reality where a person could feel oneself to be an individualized god, commanding over all the processes taking place with the one and ones life. The ultimate goal is the creation of such a global game world in which every person would be able to try oneself in any social role or avatar, building relationships with anyone, playing and enjoying it. So this desire for an interactive fusion of game forms with the objective reality that we are accustomed to is forming a rich and multilayered cultural platform nourishing diverse areas of contemporary art. The game industry has gone a long way of its development as a form of art. Nowadays video games and movies imitate each other and combine mixed aesthetic trends - the boundary between the Game and the Film is being increasingly blurred. On the one hand, games tend to cinema, using professional directing, scriptwriting and cast. On the other hand, mainstreamification of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for contemporary mass audience.
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Andreu-Perez, Ana R., Mehrin Kiani, Javier Andreu-Perez, Pratusha Reddy, Jaime Andreu-Abela, Maria Pinto, and Kurtulus Izzetoglu. "Single-Trial Recognition of Video Gamer’s Expertise from Brain Haemodynamic and Facial Emotion Responses." Brain Sciences 11, no. 1 (January 14, 2021): 106. http://dx.doi.org/10.3390/brainsci11010106.
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With an increase in consumer demand of video gaming entertainment, the game industry is exploring novel ways of game interaction such as providing direct interfaces between the game and the gamers’ cognitive or affective responses. In this work, gamer’s brain activity has been imaged using functional near infrared spectroscopy (fNIRS) whilst they watch video of a video game (League of Legends) they play. A video of the face of the participants is also recorded for each of a total of 15 trials where a trial is defined as watching a gameplay video. From the data collected, i.e., gamer’s fNIRS data in combination with emotional state estimation from gamer’s facial expressions, the expertise level of the gamers has been decoded per trial in a multi-modal framework comprising of unsupervised deep feature learning and classification by state-of-the-art models. The best tri-class classification accuracy is obtained using a cascade of random convolutional kernel transform (ROCKET) feature extraction method and deep classifier at 91.44%. This is the first work that aims at decoding expertise level of gamers using non-restrictive and portable technologies for brain imaging, and emotional state recognition derived from gamers’ facial expressions. This work has profound implications for novel designs of future human interactions with video games and brain-controlled games.
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Manolache, Gabriel. "The art of dominating in soccer play." Annals of "Dunarea de Jos" University of Galati Fascicle XV Physical Education and Sport Management 1 (July 15, 2019): 33–37. http://dx.doi.org/10.35219/efms.2019.1.07.
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During the game the cognitive processes underlying decision making, both in attack and in defense, tactical skills, positioning players, occupying various positions, anticipating the opponent phases and movement are essential to victory. In soccer and not only, results are often the best indicator of a team’s performance but insufficient to a coach to assess his team performance.Video analysis, interpretation play on this method but a means of training comes and creates capacity for adaptation and response team and players from different areas and different football game The more information the player gets during training, in the meeting room and thisrepeats each day, the more he becomes aware of what he has to do in the field. If video images are perceived in the beginning (9-10 years) as motivating images for a particular execution and its correctness, then the same video and video analysis (if we speak about individual and individualization) can be used to better perceive the tactical position which he has to adopt on a certain stage of the game.
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Guttenbrunner, Mark, Christoph Becker, and Andreas Rauber. "Keeping the Game Alive: Evaluating Strategies for the Preservation of Console Video Games." International Journal of Digital Curation 5, no. 1 (June 22, 2010): 64–90. http://dx.doi.org/10.2218/ijdc.v5i1.144.
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Interactive fiction and video games are part of our cultural heritage. As original systems cease to work because of hardware and media failures, methods to preserve obsolete video games for future generations have to be developed. The public interest in early video games is high, as exhibitions, regular magazines on the topic and newspaper articles demonstrate. Moreover, games considered to be classic are rereleased for new generations of gaming hardware. However, with the rapid development of new computer systems, the way games look and are played changes constantly. When trying to preserve console video games one faces problems of classified development documentation, legal aspects and extracting the contents from original media like cartridges with special hardware. Furthermore, special controllers and non-digital items are used to extend the gaming experience making it difficult to preserve the look and feel of console video games.This paper discusses strategies for the digital preservation of console video games. After a short overview of console video game systems, there follows an introduction to digital preservation and related work in common strategies for digital preservation and preserving interactive art. Then different preservation strategies are described with a specific focus on emulation. Finally a case study on console video game preservation is shown which uses the Planets preservation planning approach for evaluating preservation strategies in a documented decision-making process. Experiments are carried out to compare different emulators as well as other approaches, first for a single console video game system, then for different console systems of the same era and finally for systems of all eras. Comparison and discussion of results show that, while emulation works very well in principle for early console video games, various problems exist for the general use as a digital preservation alternative. We show what future work has to be done to tackle these problems.
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Eklund, Lina, Björn Sjöblom, and Patrick Prax. "Lost in Translation: Video Games Becoming Cultural Heritage?" Cultural Sociology 13, no. 4 (June 27, 2019): 444–60. http://dx.doi.org/10.1177/1749975519852501.
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Recent attention to the question of preservation and exhibition of video games in cultural institutions such as museums indicates that this media form is moving from being seen as contentious consumer object to cultural heritage. This empirical study examines two recent museum exhibitions of digital games: GameOn 2.0 at the National Museum of Science and Technology in Stockholm (TM), and Women in Game Development at the Museum of Art and Digital Entertainment, Oakland (MADE). The aim is to explore how games are appropriated within such institutions, and thereby how they are configured as cultural heritage and exhibitable culture. The study uses actor-network theory in order to analyse heterogeneous actors working in conjunction in such processes, specifically focusing on translation of games and game culture as they are repositioned within museums. The study explores how games are selectively recruited at both institutions and thereby translated in order to fit exhibition networks, in both cases leading to a glossing over of contentious issues in games and game culture. In turn, this has led to a more palatable but less nuanced transformation of video games into cultural heritage. While translating video games into cultural heritage, the process of making games exhibitable lost track of games as culture by focusing on physical artefacts and interactive, playable fun. It also lost track of them as situated in our culture by skimming over or ignoring the current contentious nature of digital games, and finally, it lost track of games as being produced and experienced in a particular context, or games of culture.
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Gintere, Ieva. "Signal and Video Processing: Developing the Noise Music Trend in Digital Edugaming." International Journal of Circuits, Systems and Signal Processing 14 (January 18, 2021): 1176–80. http://dx.doi.org/10.46300/9106.2020.14.145.
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In digital educational gaming, there are presently no games devoted to the trends of contemporary music. Also, there are no studies of noise-related sound in contemporary gaming discourse, yet noise is presently one of the most current trends in the arthouse world. The author of this study is carrying out a post-doctoral research into contemporary audio-visual art and digital game theory. Next to the other trends of modern gaming, the study incorporates analysis of noise-related artefacts that are of particular interest to the author taking into account her musicological education. The author intends to transfer knowledge gathered in the research process to the general public with an aim to facilitate the comprehension of noise music. Noise-related sound does not belong to the traditional system of musical expression thereof it requires an explanation and justification in order to be well apprehended. It has been explained in the literature of musicology, but serious gaming would help to disseminate these results and thus support intellectual education. The new experimental game Art Space explores the noise effect in order to deepen the understanding of this fuzzy area of contemporary culture. The game incorporates the historical background of noise music and its contemporary examples in the academic and alternative genres. The methods used in this study are literature analysis (theory of gaming and musicology), analyses of game sound scores and music examples. The mission of the research project and the innovative game Art Space is to pave the way to a new type of edugame that supports the documentation and analysis of aesthetical trends today.
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JEDWILLAT, LUISA, and NATALIA NOWACK. "A GAME WITH MUSIC OR MUSIC WITH A GAME? ABOUT THE VIDEO GAME KARMAFLOW." Art and Science of Television 16, no. 4 (2020): 85–108. http://dx.doi.org/10.30628/1994-9529-2020-16.4-85-108.
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Over 70 years ago, Theodor W. Adorno and Hanns Eisler philosophized about functional music in their programmatic script Composing for the Films. In spite of all the social criticism that the authors practiced with relish, it was already about the essential—the determination of a meaningful coexistence of synergetically connected art events. With the spread of video games, the question arises again and again: how to combine action and sound without falling prey to Mickey Mousing effect? As one of the youngest branches of music studies, ludomusicology describes a number of musical application scenarios, systematized according to effects and techniques. Their principles are comprehensible—under normal circumstances. With the Karmaflow—The Rock Opera Videogame, however, a project was started that leads to a new configuration between the media: in this game you play, in a manner of speaking, with or against the music itself. Because of its design, Karmaflow deserves to be considered on its own. Additionally, outside the subgroup of “music-based games”, heavy metal music is an exception among video games. The present essay illustrates the specific concept of the game which indeed can be placed in a range between video games and rock operas. The insights gained through (self-) observation are compared with the results of an exploratory survey. The survey was aimed at revealing the influence of sound on the gaming experience. The majority of respondents confirmed the connection between music and gameplay and the effect of musical characterization on some specific decisions. Test subjects, who, due to their preferences, belonged to the target group of game developers, judged differently than the other experiment participants.
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Styhre, Alexander, and Björn Remneland-Wikhamn. "The ambiguities of money-making." Qualitative Research in Organizations and Management: An International Journal 15, no. 3 (October 18, 2019): 215–34. http://dx.doi.org/10.1108/qrom-02-2019-1733.
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Purpose Indie developers are part of the creative fringe of the video game industry, fashioning an identity for themselves as a community committed to the development of video games as a cultural expression and art form. In playing this role, money-making is ambiguous inasmuch as economic return is honorable if such interests remain unarticulated and execute minimal influence on the development work process, while the possibility of producing a successful commercial video game is simultaneously one of the primary motivations for new industry entrants. The paper aims to discuss this issue. Design/methodology/approach The paper reports on the empirical material drawn from a study of indie video game developers in Sweden, a leading country for video game development. Findings To reconcile tensions between video game development in terms of being both cultural/and artistic production and business activity, easily compromising the perceived authenticity of the subject in the eyes of audiences (e.g. hardcore gamers), indie developers distinguish between monetary motives ex ante and compensation ex post the release of the game. Indie developers thus emphasize the metonymic function of money as this not only indicates economic value and currency but also denotes a number of business practices that indie developers have otherwise avoided in their career planning as they believe these practices would restrain their creativity and skills. Originality/value The study contributes to the scholarship on video game development, the literature on creative industries, and the economic sociology literature examining the social meaning of money and how social norms and values are manifested in professional ideologies and practices.
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Di Paola, F., L. Inzerillo, and Y. Alognaa. "A GAMING APPROACH FOR CULTURAL HERITAGE KNOWLEDGE AND DISSEMINATION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 22, 2019): 421–28. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-421-2019.
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<p><strong>Abstract.</strong> In these last years, video games have become one of the most popular entertainment for children/teenagers/adults thanks to their appealing and seductive features and, in this context, the Serious Games (SG) have become an important research field. The most popular SGs in Cultural Heritage (CH) used the historical building like scenario where the game is playing. In this paper we show the procedure to achieve a CH video game where the Cultural Heritage is the main actor and not the scenario of the game. Furthermore, the game is not a SG but an Action-Adventure Game (AAG) or Survival Game (SuG), in a largest heading it can be classified as Entertainment Games (EGs). The novelty of this study is not only in the original application of the CH within the AAG sector but also consists of the experimentation of the Virtual Reality (VR) algorithm and of the application of Augmented Reality (AR) within the VR scenario used in the form of an avatar. Furthermore, in this paper we overcome the technical problems due to the different size of the environment and the work art.</p>
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Wajid, Abdul, Nasir Kamal, Muhammad Sharjeel, Raaez Muhammad Sheikh, Huzaifah Bin Wasim, Muhammad Hashir Ali, Wajahat Hussain, Syed Taha Ali, and Latif Anjum. "A First Look at Private Communications in Video Games using Visual Features." Proceedings on Privacy Enhancing Technologies 2021, no. 3 (April 27, 2021): 433–52. http://dx.doi.org/10.2478/popets-2021-0055.
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Abstract Internet privacy is threatened by expanding use of automated mass surveillance and censorship techniques. In this paper, we investigate the feasibility of using video games and virtual environments to evade automated detection, namely by manipulating elements in the game environment to compose and share text with other users. This technique exploits the fact that text spotting in the wild is a challenging problem in computer vision. To test our hypothesis, we compile a novel dataset of text generated in popular video games and analyze it using state-of-the-art text spotting tools. Detection rates are negligible in most cases. Retraining these classifiers specifically for game environments leads to dramatic improvements in some cases (ranging from 6% to 65% in most instances) but overall effectiveness is limited: the costs and benefits of retraining vary significantly for different games, this strategy does not generalize, and, interestingly, users can still evade detection using novel configurations and arbitrary-shaped text. Communicating in this way yields very low bitrates (0.3-1.1 bits/s) which is suited for very short messages, and applications such as microblogging and bootstrapping off-game communications (dialing). This technique does not require technical sophistication and runs easily on existing games infrastructure without modification. We also discuss potential strategies to address efficiency, bandwidth, and security constraints of video game environments. To the best of our knowledge, this is the first such exploration of video games and virtual environments from a computer vision perspective.
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Vitytė, Birutė. "Possibilities of the Application of Digital Games in the Implementation of the Curriculum of Arts Subject." Pedagogika 123, no. 3 (September 2, 2016): 120–38. http://dx.doi.org/10.15823/p.2016.37.
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Digital games that involve entertainment, relaxation and technology are very attractive to modern students, while the traditional learning/teaching methods are inefficient and unattractive to them due to the change in learning habits. Surveys testify the successful incorporation of digital games into the curricula of Nature, Mathematics, Foreign Languages and other subjects and allow assuming that they might also be incorporated into the curriculum of the subject of Arts; therefore, this article investigates and reveals the possibilities of the application of digital games in the implementation of the curriculum of Arts subject.
Many different interpretations of the concept of a digital game show that it is a manifold and multifaceted phenomenon. In addition to the concept of a “digital game” which can be understood in its broadest sense as the integration of technology and entertainment, the concepts of serious games, game-based learning / digital game-based learning, edutainment, and lecture games can also be encountered in the education contexts.
Digital games can be incorporated into the subject of Arts first of all as a phenomenon of modern art. In certain aspects, digital games can be attributed to pop art and they have certain connections with installation art and, no doubt, with video and optic art and other art branches. The idea of digital games as a form of art is still questioned but some researchers suggest that their artistic value should be grounded on the analogy with art cinema. Cinema is undoubtedly considered a form of art although it is understood that not all films are works of art but, instead, an expression of the popular culture.
Digital games can be incorporated into art classes as a means of artistic expression in several different ways. The first method is the creation of a digital game as an art object during art classes. The second method involves playing already created digital games as the tool/means of development of certain artistic expression abilities. Surveys show that children under 10 years of age are already capable of designing games: their script, graphics and other elements. Teenagers and older students are often capable of controlling programs intended for professionals. The process of creation of a digital game is analogous to the process of creation of any other art work but, according to the researchers, the nature of such creative work offers more education possibilities in certain aspects in comparison to traditional creative activities. The playing of digital games during art classes could be applied instead of traditional methods aiming to train the composing, designing and modelling abilities of the students or to deepen their knowledge on art history. Learning through digital gaming is an attractive and engaging experience to modern students who cannot learn and read consistently but are rather inclined to act and learn through experimenting; therefore, digital games can also be incorporated into art classes as a motivating element.
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Eilon, Shoshana. "That Dragon, Cancer: Video Game as Art Form [Leading Edge]." IEEE Technology and Society Magazine 37, no. 2 (June 2018): 16–17. http://dx.doi.org/10.1109/mts.2018.2839221.
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Wahab, Abdul, Nafi Ahmad, Maria G. Martini, and John Schormans. "Subjective Quality Assessment for Cloud Gaming." J 4, no. 3 (August 5, 2021): 404–19. http://dx.doi.org/10.3390/j4030031.
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Using subjective testing, we study the effect of the network parameters, delay and packet loss ratio, on the QoE of cloud gaming. We studied three different games, selected based on genre, popularity, content complexity and pace, and tested them in a controlled network environment, using a novel emulator to create realistic lognormal delay distributions instead of relying on a static mean delay, as used previously; we also used Parsec as a good representative of the state of the art. We captured user ratings on an ordinal Absolute Category Rating scale for three quality dimensions: Video QoE, Game-Playability QoE, and Overall QoE. We show that Mean Opinion Scores (MOS) for the game with the highest levels of content complexity and pace are most severely affected by network impairments. We also show that the QoE of interactive cloud applications rely more on the game playability than the video quality of the game. Unlike earlier studies, the differences in MOS are validated using the distributions of the underlying dimensions. A Wilcoxon Signed-Rank test showed that the distributions of Video QoE and Game Playability QoE are not significantly different.
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Márquez, Israel. "Street Art y videojuegos: el caso de Invader." Revista de Humanidades, no. 39 (May 29, 2020): 135. http://dx.doi.org/10.5944/rdh.39.2020.21655.
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Resumen: El presente artículo analiza las relaciones entre street art y videojuegos como un ejemplo concreto de nueva práctica artística en el espacio urbano. Para ilustrar esta relación analizamos el proyecto artístico del artista urbano francés Invader, quien ha construido su identidad artística a partir de la apropiación material de los famosos personajes del videojuego Space Invaders y su traslado del espacio digital de la pantalla al espacio público de la calle.Abstract: The article analyzes the relationship between street art and video games as a new type of art practice in urban space. To illustrate this relationship, we analyze the work of the French street artist known as Invade. This artist has appropriated the characters from Space Invaders classic video game to build his artistic identity, transferring them from the digital space of the screen to the public space of the street.
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Hewett, Katherine J. E., Bethanie C. Pletcher, and Guang Zeng. "The 21st-Century Classroom Gamer." Games and Culture 15, no. 2 (April 11, 2018): 198–223. http://dx.doi.org/10.1177/1555412018762168.
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The 21st century has given rise to gaming industry technologies that drive a new type of learner in the classroom. This article draws data from four case studies that were conducted as part of a sequential mixed-model study. The study explored the 21st-century skills students reported learning through their video game consumption and creation of intellectual property. The qualitative data analysis led to the development of five major findings: (1) the strategist: accomplishing the mission, (2) the creator: the art of gameplay, (3) the communicator: building relationships and communities, (4) the hero: to be the hero of a great adventure, and (5) I am an “elite”: a digital native. These findings attempt to create a profile of the 21st-century classroom gamer based on the data. They represent and support research trends that explore the gaming phenomenon, gamer traits, and 21st-century skills learned through playing video games.
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Nae, Andrei. "Shakespeare and the Accumulation of Cultural Prestige in Video Games." Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (October 1, 2019): 115–28. http://dx.doi.org/10.2478/ausfm-2019-0018.
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Abstract The present article analyses the manner in which AAA action-adventure games adapt, quote, and reference Shakespeare’s plays in order to borrow the bard’s cultural capital and assert themselves as forms of art. My analysis focuses on three major releases: Metal Gear Solid 4: Guns of the Patriots, BioShock: Infinite, and God of War. The article shows that these games employ narrative content from Shakespeare’s plays in order to adopt traits traditionally associated with the established arts, such as narrative depth and complex characters. In addition to this, explicit intertextual links between the games’ respective storyworlds and the plays are offered as ludic rewards for the more involved players who thoroughly explore game space.1
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Garon, Jon M. "Commercializing the Digital Canvas." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (March 2014): 837–72. http://dx.doi.org/10.37419/lr.v1.i4.2.
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Over the past two decades, a series of trends in constitutional and intellectual property have significantly reshaped the impact of traditional intellectual property laws for the art community. Attribution of a work to the artist and protection of the integrity of a work from alternation are historical bedrocks of artistic protections, but those protections have been diminished for digital artists. The Visual Artists Rights Act excludes digital works from the definition of works of visual art, thus excluding these works from rights of attribution and integrity. At the time, rights of attribution and integrity were seen as quasi-trademark rights, and artists were protected under the Lanham Act. Since then, however, the Supreme Court has extended copyright’s preemption over trademark, undermining an artist’s ability to have non-contractual protections for the artist’s identity and integrity in a work. In addition, a second trend within the digital environment has created additional tensions for artists whose works include celebrities, athletes, or other members of the public. The Supreme Court has made the clear determination that video games are entitled to complete First Amendment protection, placing those works in the same category as film, publishing, and works of art. Despite this free speech protection to the medium, a series of inconsistent decisions among state and federal courts have made unclear when the use of a person’s likeness in a video game—or video art instillation—would constitute a violation of the person’s rights of publicity.
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Bulut, Ergin. "One-Dimensional Creativity: A Marcusean Critique of Work and Play in the Video Game Industry." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 16, no. 2 (June 4, 2018): 757–71. http://dx.doi.org/10.31269/triplec.v16i2.930.
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Creativity is at the heart of the video game industry. Industry professionals, especially those producing blockbuster games for the triple-A market, speak fondly of their creative labour practices, flexible work schedules, and playful workplaces. However, a cursory glance at major triple-A franchises reveals the persistence of sequel game production and a homogeneity in genres and narratives. Herbert Marcuse’s critique of one-dimensionality may help to account for this discrepancy between the workers’ creative aspirations and the dominant homogeneity in game aesthetics. What I call ‘one-dimensional creativity’ defines the essence of triple-A game production. In the name of extolling the pleasure principle at work, one-dimensional creativity eliminates the reality principle, but only superficially. One-dimensional creativity gives game developers the opportunity to express themselves, but it is still framed by a particular technological rationality that prioritises profits over experimental art. One-dimensional creativity negates potential forms of creativity that might emerge outside the industry’s hit-driven logics. Conceptually, ‘one-dimensional creativity’ renders visible the instrumentalisation of play and the conservative design principles of triple-A game production – a production that is heavily structured with technological performance, better graphics, interactivity, and speed. Multi-dimensional video game production and aesthetics, the opposite of one-dimensional creativity, is emerging from the DIY game production scene, which is more invested in game narratives and aesthetics outside the dominant logics of one-dimensionality in triple-A game production.
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Hoffman, Kelly M. "Social and Cognitive Affordances of Two Depression-Themed Games." Games and Culture 14, no. 7-8 (November 21, 2017): 875–95. http://dx.doi.org/10.1177/1555412017742307.
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Video games can have a variety of intended and unintended effects on players, making the impacts of games and the role that individual design elements play in causing those impacts a valuable area of research. This study explored the social and cognitive effects on players of two “art games” ( Depression Quest and Actual Sunlight) by analyzing player-generated discussion board posts, focusing on (1) what real-life social and cognitive effects the games had on players and (2) what elements of the games made the players consider them “good” or “bad” games. Players reported or demonstrated that the games led to understanding and empathy, self-evaluation, lessons learned, clinical discussion of depression, encouragement to others, a sense of community, and opening dialogue with friends and family. Discussions of game quality centered on realism, game endings and message, and player agency.
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Atmaja, Pratama Wirya, Daniel Oranova Siahaan, and Imam Kuswardayan. "Game Design Document Format For Video Games With Passive Dynamic Difficulty Adjustment." Register: Jurnal Ilmiah Teknologi Sistem Informasi 2, no. 2 (July 1, 2016): 86. http://dx.doi.org/10.26594/r.v2i2.551.
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AbstrakPermainan video adalah perangkat lunak hiburan, sehingga kepuasan pemainnya adalah tolok ukur utama kualitasnya. Satu elemen penting dari kepuasan pemain adalah tingkat kesulitan yang tepat, yang tidak terlalu mudah maupun sukar. Dewasa ini, cara termutakhir untuk menerapkan tingkat kesulitan yang tepat adalah Pengaturan Kesulitan Dinamis (PKD), yang dapat memodifikasi tingkat kesulitan permainan pada saat run-time. Tipe PKD yang paling populer pada saat ini adalah PKD pasif. Di sisi lain, Dokumen Desain Permainan (DDP) adalah artefak penting dalam pengembangan perangkat lunak permainan video, dan belum ditemukan format DDP yang mendukung perancangan mekanisme PKD pasif. Tujuan penelitian ini adalah menemukan format DDP baru yang mendukung perancangan tersebut. Kami memodifikasi sebuah format DDP yang bersifat umum dengan menambahkan bagian-bagian baru untuk perancangan mekanisme PKD pasif. Format hasil modifikasi tersebut diuji dalam proses pengujian yang melibatkan sejumlah pengembang dan sejumlah pemain. Para pengembang mengembangkan sejumlah permainan video menggunakan format DDP yang dimodifikasi dan format yang umum. Proses pengembangan yang mereka jalani diamati dan dinilai kelancarannya. Permainan-permainan video yang dihasilkan dengan kedua format DDP dimainkan oleh para pemain untuk menguji kualitas mekanisme PKD pasifnya. Hasil pengujian oleh para pengembang menyatakan bahwa format DDP yang dimodifikasi lebih baik dari format yang umum. Hasil pengujian oleh para pemain menunjukkan keunggulan permainan-permainan video yang dihasilkan dengan format DDP yang dimodifikasi, walau keunggulan itu tidak signifikan. Berdasarkan hasil tersebut, kami menyatakan bahwa format DDP yang dimodifikasi berhasil mencapai tujuannya.Kata kunci: permainan video, rekayasa kebutuhan, Pengaturan Kesulitan Dinamis, dokumen desain permainan, pengembangan perangkat lunak. AbstractVideo game is a type of entertainment software, and therefore the satisfaction of its players is the primary mean to measure its quality. One important element of player’s satisfaction is a proper difficulty level, which is neither too easy nor too hard. The current state-of-the-art way to implement it is with Dynamic Difficulty Adjustment (DDA), which allows the difficulty level of a video game to be adjusted at run-time. Currently, the most popular type of DDA is the passive one. Meanwhile, Game Design Document (GDD) is an important artefact in the development process of a video game software, and there is still no GDD format that supports the design of passive DDA mechanism. The aim of this research was to find a new GDD format that supports the mechanism. We modified a general purpose GDD format by adding new parts for designing passive DDA mechanism. We tested the usefulness of the modified format in a testing process involving developers and players. The developers developed video games using the modified GDD format and the general purpose one. Their development processes were observed and evaluated to know if there were any difficulties. The resulting video games were played by the players to find which are better in terms of passive DDA mechanism. The result of developer testing showed that the modified format is better than the general purpose one. The result of player testing showed that the video games made with the modified format are better than their counterparts, albeit by an insignificant margin. Based on the results, we declare that the modified GDD format is successful.Keywords: Video game, requirement engineering, game design document, dynamic difficulty adjustment, software development.
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Cho, Hyerim, Andy Donovan, and Jin Ha Lee. "Art in an algorithm: A taxonomy for describing video game visual styles." Journal of the Association for Information Science and Technology 69, no. 5 (February 8, 2018): 633–46. http://dx.doi.org/10.1002/asi.23988.
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Mullen, Mark. "Playing it safe." Journal of Gaming & Virtual Worlds 12, no. 3 (October 1, 2020): 303–19. http://dx.doi.org/10.1386/jgvw_00021_3.
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For the past 30 years museums and art galleries on both sides of the Atlantic have been resistant to exhibiting digital games as art and have instead embedded them in exhibitions and displays that have portrayed them as exemplars of design. This conservative approach has largely failed to achieve the stated purpose of many of these exhibitions: to foster a wider public appreciation for games and encourage more sophisticated conversations about gaming. This article argues that curators for video game exhibitions have been co-opted by the ideological norms of the tech sector which has produced a reluctance to engage critically with their subject matter and a willingness to overlook ethical problems within the videogame industry.
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Barr, Matthew. "The Force Is Strong with This One (but Not That One): What Makes a Successful Star Wars Video Game Adaptation?" Arts 9, no. 4 (December 16, 2020): 131. http://dx.doi.org/10.3390/arts9040131.
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The Star Wars films have probably spawned more video game adaptations than any other franchise. From the 1982 release of The Empire Strikes Back on the Atari 2600 to 2019’s Jedi: Fallen Order, around one hundred officially licensed Star Wars games have been published to date. Inevitably, the quality of these adaptations has varied, ranging from timeless classics such as Star Wars: Knights of the Old Republic, to such lamentable cash grabs as the Attack of the Clones movie tie-in. But what makes certain ludic adaptations of George Lucas’ space opera more successful than others? To answer this question, the critical response to some of the best-reviewed Star Wars games is analysed here, revealing a number of potential factors to consider, including the audio-visual quality of the games, the attendant story, and aspects of the gameplay. The tension between what constitutes a good game and what makes for a good Star Wars adaptation is also discussed. It is concluded that, while many well-received adaptations share certain characteristics—such as John Williams’ iconic score, a high degree of visual fidelity, and certain mythic story elements—the very best Star Wars games are those which advance the state of the art in video games, while simultaneously evoking something of Lucas’ cinematic saga.
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Zemel, Carol. "Memory in the Present Tense: Vera Frenkel’s Diaspora Art." IMAGES 11, no. 1 (December 5, 2018): 109–16. http://dx.doi.org/10.1163/18718000-12340101.
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AbstractVera Frenkel’s video and installation work focuses on the complexities of intercultural relations and identities, always raising issues of uncertainty, fantasy, and cultural expectations. Born in Bratislava in 1938, carried by her mother out of Europe on the eve of war, Frenkel came to Canada as a teenager, studied sociology at McGill University, and turned to art to explore the passages and perplexities of Canadian diasporic life. While there is little that is insistently Jewish in her art, the work draws unmistakeably on modern Jewish experience, and extends its impact to a wider, multi-cultural world.My paper focuses on four works. With a ground-breaking use of internet technology, String Games (1974) plays on the game of Cat’s Cradle to link disparate and distant communities. …from the Transit Bar (1992–) constructs a train station bar as a site of social and political flight, with Yiddish prominent among a babble of languages. Body Missing (1993), an interactive internet site, continues the journey—as viewers follow clues in pursuit of the Shoah’s ‘missing bodies.’ The recent video installation Blue Train (2014) again invokes flight and promise, melding danger and opportunity. With Jewish history and experience a recurrent theme, Frenkel’s art explores the pressures of and pleasures in Canada’s cultural mosaic.
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Galanina, Ekaterina V., and Elena O. Samoylova. "“GAME-RELATED PHENOMENA” AS MODERN MYTHMAKING." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 5–19. http://dx.doi.org/10.17223/22220836/40/1.
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The relevance of the subject “game-related phenomena” is associated with the increasing importance of new cultural phenomena in modern culture (cosplay, let’s play, video blogging, fan art, fan fiction), which nonetheless rarely become the subject of cultural and philosophical reflection. We suggest exploring “game-related phenomena” from the standpoint of modern mythmaking. The concept of “game-related phenomena” is proposed to denote a number of sociocultural phenomena related to video games, but which are not their immediate part (cosplay, let’s play, fan fiction, fan art, e-sports, etc.). The object of this research are cosplay and let’s play. The purpose of the article is to analyze these cultural practices as forms of modern mythmaking manifestation. It should be noted that there are very few works devoted to the study of “game-related phenomena” through the perspective of modern mythological consciousness. Cosplay is a specific practice of creating and wearing a costume that allows fans reconstruct the image of a fictional character in popular culture. In this work we highlighted the main approaches to the study of cosplay: cosplay as (1) a way of constructing an identity; (2) a form of escapism; (3) a mass culture phenomenon; (4) a subculture. We have also presented a critical reflection on a number of existing approaches. Let’s play is a video created by users in the process of walking through a particular video game, combining gameplay and commenting it. Main results of the research. Firstly, we have proven the imaginative nature of cosplay. A cosplayer is an active participant in the creative reality transformation and myth construction. A cosplayer appropriates cultural texts and images, creatively processes them, creating one’s own myth on their basis, which attracts the audience. Secondly, we have revealed mythological identification of a reality image and reality itself, as well as the work of the mystical participation. Mythological images created by a cosplayer are thought of as quite real, one can quite feasibly interact with them. The image depicted by a cosplayer is at the same time the original, which introduces him/her and the audience to something larger, for example, to the fictional world, to the fandom, etc. Mythological images and meanings constructed in the framework of cosplay have a sacred meaning. Thirdly, we have shown the interconnections of cosplay with archaic mysteries, carnival performances, medieval theatrical performances that transmitted the sacred into the real world. The cosplay phenomenon itself, in our opinion, is rooted in archaic ritualized practices within which the mythological narrative attained its being. However, unlike archaic mysteries, cosplay is more eclectic and kaleidoscopic in terms of constructing images with different semantic and symbolic content. Fourthly, we can interpret the let’s play as online storytelling. Like a myth narrator, a let’s player narrates on one’s own behalf, constructing one’s own story not based on the original source. Let’s play from the standpoint of studying forms of modern mythmaking appears before us as a space of imagination, creativity, and playing with the original source. A let’s player makes secondary marking of video game elements, building on new meanings and meanings based on them, which allows you give new meanings to original narratives. So, we have come to the conclusion that such “game-related phenomena” such as cosplay and let’s play can be considered as forms of modern mythmaking.
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Sier, André. "Non-human labyrinths: Roots and additional other than human formation methods." Technoetic Arts 17, no. 1 (June 1, 2019): 5–23. http://dx.doi.org/10.1386/tear_00002_1.
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Abstract Within the context of exploring new electronic arts' aesthetic regions and unexampled connections between generative art, games and mythology, my practical artistic research was led to focus on labyrinthine structures as exquisite legendary spatial gaming devices and as possible pathways to gain deeper humane insights, resulting into discoveries of original methods of labyrinth formation by means other than human. Labyrinths and mazes are inextricable paths, human made millennial structures that provide spatial challenges often connected with feedback, compression, entanglement and hyper complexification of goal oriented displacement. They are perhaps the most ancient example of structure for spatial and serious games. Novel methods for labyrinth creation ‐ non-human methods ‐ are introduced and exemplified through artistic constructs. These new methods utilize non-human bioelectronic techniques and are initially grouped into three distinct sub-categories: the 'open' method, the 'mathematical flower' method, the 'animal' method. Four case examples of artistic non-human labyrinths resorting to the introduced novel methods are explored: k. video games (2007, 2010), Wolfanddotcom video game (2017), 8-bit Maze Gardens vegetable paintings (2018‐present), Ant Ennae Labyrinths bio-electronic apparatus (2019‐present).
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Makai, Péter. "Video Games as Objects and Vehicles of Nostalgia." Humanities 7, no. 4 (November 25, 2018): 123. http://dx.doi.org/10.3390/h7040123.
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Barely 50 years old, video games are among the newest media today, and still a source of fascination and a site of anxiety for cultural critics and parents. Since the 1970s, a generation of video gamers have grown up and as they began to have children of their own, video games have become objects evoking fond memories of the past. Nostalgia for simpler times is evident in the aesthetic choices game designers make: pixelated graphics, 8-bit music, and frustratingly hard levels are all reminiscent of arcade-style and third-generation console games that have been etched into the memory of Generation X. At the same time, major AAA titles have become so photorealistic and full of cinematic ambition that video games can also serve as vehicles for nostalgia by “faithfully” recreating the past. From historical recreations of major cities in the Assassin’s Creed series and L. A. Noire, to the resurrection of old art styles in 80 Days, Firewatch or Cuphead all speak of the extent to which computer gaming is suffused with a longing for pasts that never were but might have been. This paper investigates the design of games to examine how nostalgia is used to manipulate affect and player experience, and how it contributes to the themes that these computer games explore. Far from ruining video games, nostalgia nonetheless exploits the associations the players have with certain historical eras, including earlier eras of video gaming. Even so, the juxtaposition of period media and dystopic rampages or difficult levels critically comment upon the futility of nostalgia.
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Sayogo, Shandhi, Hafif Aziz Ahmad, and Dianing Ratri. "Translating Crew Management Process Into a Simulation Video Game." IMOVICCON Conference Proceeding 1, no. 1 (July 3, 2019): 189–98. http://dx.doi.org/10.37312/imoviccon.v1i1.22.
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Management came from an old French word ménagement, which means “the art of implementation and regulation”. It is a process of planning, organizing, coordinating, and controlling resources to achieve goals effectively and efficiently, a process which could be found in everyday’s activities. But, every resource management revolves around one particular resource, which is human. The only reason is because humans are the one that can change and improve resources like energy, money, and time into something more valuable. The problem is sometimes humans forget that management is necessary in everyday’s life, even for the smallest thing. Therefore, a research is conducted to create a supporting media to help people learn the value and the importance of management. The media chosen is video game as it is considered as a media that can be used to simulate management process more effectively with its interactivities and fun aspect. The parable that being used is crew management as a representative of human resource to manage all the other resources. Crew allocation, timing management and anything else that could be considered as a good crew management process is to be translated into the simulation video game. Thus, it becomes a media with a more fun way to learn about management without the players being explicitly told that they are learning by playing.
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Bulitko, V., Y. Björnsson, and R. Lawrence. "Case-Based Subgoaling in Real-Time Heuristic Search for Video Game Pathfinding." Journal of Artificial Intelligence Research 39 (September 29, 2010): 269–300. http://dx.doi.org/10.1613/jair.3076.
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Real-time heuristic search algorithms satisfy a constant bound on the amount of planning per action, independent of problem size. As a result, they scale up well as problems become larger. This property would make them well suited for video games where Artificial Intelligence controlled agents must react quickly to user commands and to other agents' actions. On the downside, real-time search algorithms employ learning methods that frequently lead to poor solution quality and cause the agent to appear irrational by re-visiting the same problem states repeatedly. The situation changed recently with a new algorithm, D LRTA*, which attempted to eliminate learning by automatically selecting subgoals. D LRTA* is well poised for video games, except it has a complex and memory-demanding pre-computation phase during which it builds a database of subgoals. In this paper, we propose a simpler and more memory-efficient way of pre-computing subgoals thereby eliminating the main obstacle to applying state-of-the-art real-time search methods in video games. The new algorithm solves a number of randomly chosen problems off-line, compresses the solutions into a series of subgoals and stores them in a database. When presented with a novel problem on-line, it queries the database for the most similar previously solved case and uses its subgoals to solve the problem. In the domain of pathfinding on four large video game maps, the new algorithm delivers solutions eight times better while using 57 times less memory and requiring 14% less pre-computation time.
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Pape, Toni. "Moving in stealth: On the tracking shot as a technique for imperceptibility." Critical Studies in Television: The International Journal of Television Studies 14, no. 1 (March 2019): 40–54. http://dx.doi.org/10.1177/1749602018816876.
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This article explores recent uses of the tracking shot in various media. Examples drawn from television, video games and video art reveal that recent audiovisual media have frequently used a particular kind of tracking shot that follows an individual through a complex environment. This article argues that this tracking shot contributes to an aesthetic of stealth, that is, a perceptual attunement to notions of imperceptibility and secrecy. The stealth tracking shot can thus be seen as one of the aesthetic principles that articulate discourses of securitisation. The argument proceeds in three steps. First, the article shows that this specific use of the tracking shot takes inspiration from third-person video games. An analysis of the stealth game Splinter Cell: Blacklist (2013) shows how the mobile ‘following camera’ allows the viewer to perceive the avatar in his or her environment. Then, in an analysis of the unbroken tracking shot in True Detective (2014), it is demonstrated how this kind of tracking shot contributes to a reformulation of the notions of law enforcement underlying crime fiction. Specifically, the tracking shot is related to the notion of stealth democracy. Finally, the article considers Hito Steyerl’s video ‘Guards’ to show that the aesthetic principles of stealth operate not only in individual media objects but more generally in public spaces and institutions such as museums and art galleries. To conclude, the article situates the stealth tracking shot in a more general consideration of the politicality of media aesthetics.
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Steinberg, Felipe. "Exposed by the Mask." Public 31, no. 61 (December 1, 2020): 6–35. http://dx.doi.org/10.1386/public_00026_7.
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Semantic segmentation is the process of assigning a label ‐ vehicle, person, sidewalk, pavement etc. -- to every pixel in an image. This artificial intelligence technology was initially created for military application, Gulf War, and it is the core technology behind autonomous driving, medical imaging technologies or satellite image processing, among others. Being from Brazil, the departure point of the project is to explore my own relation to Dakar, Senegal, through the inscriptions of colonialism and post-colonialism in the leisure industry. Before visiting Dakar in the fall of 2019 for an art residency, my relationship with it was basically mediated through a game, called “Paris-Dakar 1990”, for the video-game console Atari. This game was made as a merchandise product from the Paris Dakar race. Through juxtaposition between this ‘AI’ technology and those video game ‘vignettes’ the work is a reflection of how new technologies and engineering projects promise a revolutionary new future while replicating and reinforcing old forms of racialized, gendered and class ideas about the ‘good life’ through middle class ideology.
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Minhas, Rabia A., Ali Javed, Aun Irtaza, Muhammad Tariq Mahmood, and Young Bok Joo. "Shot Classification of Field Sports Videos Using AlexNet Convolutional Neural Network." Applied Sciences 9, no. 3 (January 30, 2019): 483. http://dx.doi.org/10.3390/app9030483.
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Broadcasters produce enormous numbers of sport videos in cyberspace due to massive viewership and commercial benefits. Manual processing of such content for selecting the important game segments is a laborious activity; therefore, automatic video content analysis techniques are required to effectively handle the huge sports video repositories. The sports video content analysis techniques consider the shot classification as a fundamental step to enhance the probability of achieving better accuracy for various important tasks, i.e., video summarization, key-events selection, and to suppress the misclassification rates. Therefore, in this research work, we propose an effective shot classification method based on AlexNet Convolutional Neural Networks (AlexNet CNN) for field sports videos. The proposed method has an eight-layered network that consists of five convolutional layers and three fully connected layers to classify the shots into long, medium, close-up, and out-of-the-field shots. Through the response normalization and the dropout layers on the feature maps we boosted the overall training and validation performance evaluated over a diverse dataset of cricket and soccer videos. In comparison to Support Vector Machine (SVM), Extreme Learning Machine (ELM), K-Nearest Neighbors (KNN), and standard Convolution Neural Network (CNN), our model achieves the maximum accuracy of 94.07%. Performance comparison against baseline state-of-the-art shot classification approaches are also conducted to prove the superiority of the proposed approach.
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Luhova, Tetiana. "NARRATIVE AND STORYTELLING IN THE KNOWLEDGE STRUCTURE OF THE EDUCATIONAL BUSINESS VIDEO GAMES AS FACTORS OF THE SYNERGY OF INFORMATION TECHNOLOGIES AND SPIRITUALLY-ORIENTED PEDAGOGY." OPEN EDUCATIONAL E-ENVIRONMENT OF MODERN UNIVERSITY, no. 8 (2020): 42–59. http://dx.doi.org/10.28925/2414-0325.2020.8.6.
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The article touches on the issues of humanization of modern technologically advanced education, analyzes the synergy factors of information technology and spiritually-oriented pedagogy to prepare a new generation of humanist managers. For this, the role of narrative and storytelling in the process of creating educational computer games that form the competence of making managerial decisions is determined. An analysis of the knowledge structure of educational games on the basis of the proposed methodology for developing their plot shows the need to balance the processes of formalization of educational processes in the game, preserving narrative by referring to works of folk art, classical fiction as sources of implicit knowledge. The threats of formalization and automation of modern education are described. It has been found that “relay” learning is superficial, it does not contribute to the formation of critical and systemic thinking. As a result, this leads to the emergence of a generation of techno-button-managers. It is indicated that the preservation and effective translation of deep narratives containing educational humanistic meanings is a priority for designers of educational video games. The components of the game by D. Gray, game history and pedagogical strategies in the MDA model are compared, which made it possible to clarify the meaning of the terms “narrative”, “plot”, “storytelling”, to determine the place of their greatest actualization in the process of creating educational computer games. Considering the general tendency of the techno-environment to reduce, optimize and formalize, the task of preserving tacit knowledge, correct translation of it into over-formalized knowledge (morals, formulas) through effective storytelling, embodied in "active learning" of computer games, is crucial. In this case, the narrative plays the role of a base of spiritual-oriented knowledge, and with the help of storytelling it balances the spiritual-ethical meanings and educational results of a business video game. The meaning of the terms "narratives" and "storytelling" is considered, the Ukrainian-language terms-analogues are proposed. The importance of adhering to the principle of non-linear game plot for increasing the effectiveness of business games is revealed. The close relationship of business games with case studies, project- and problem-based training was emphasized. The correlation of narratology and ludology of the game is shown in the matrix of transformation of professional competencies and procedures for making managerial decisions into the rules of the game, their metaphorization and translation into script phrases. It is shown that the gamification of training exercises and situations is a synergy of creative and information-analytical work with databases and game design project documents. The core of educational game design is the balance of narrative and storytelling, explicit and implicit knowledge. This balance is achieved through effective collaboration and communication between all participants in the educational and business processes. Creation of virtual learning environments in which a future leader has an opportunity to formulate and comprehensively develop the competencies of business communication and managerial decision-making in situations of uncertainty and ethical dilemmas is a promising area of digital education.
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McKee, Connor. "Differentiation Techniques and Their Effectiveness for Video Game Art and Design Lectures in Higher Education." Computer Games Journal 9, no. 1 (January 20, 2020): 75–90. http://dx.doi.org/10.1007/s40869-020-00096-3.
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Ginn, Sheryl R., and Stefanie J. Pickens. "Relationships between Spatial Activities and Scores on the Mental Rotation Test as a Function of Sex." Perceptual and Motor Skills 100, no. 3 (June 2005): 877–81. http://dx.doi.org/10.2466/pms.100.3.877-881.
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Previous results suggested that female college students' scores on the Mental Rotations Test might be related to their prior experience with spatial tasks. For example, women who played video games scored better on the test than their non-game-playing peers, whereas playing video games was not related to men's scores. The present study examined whether participation in different types of spatial activities would be related to women's performance on the Mental Rotations Test. 31 men and 59 women enrolled at a small, private church-affiliated university and majoring in art or music as well as students who participated in intercollegiate athletics completed the Mental Rotations Test. Women's scores on the Mental Rotations Test benefitted from experience with spatial activities; the more types of experience the women had, the better their scores. Thus women who were athletes, musicians, or artists scored better than those women who had no experience with these activities. The opposite results were found for the men. Efforts are currently underway to assess how length of experience and which types of experience are related to scores.
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Koyyalagunta, Divya, Anna Sun, Rachel Lea Draelos, and Cynthia Rudin. "Playing Codenames with Language Graphs and Word Embeddings." Journal of Artificial Intelligence Research 71 (June 23, 2021): 319–46. http://dx.doi.org/10.1613/jair.1.12665.
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Although board games and video games have been studied for decades in artificial intelligence research, challenging word games remain relatively unexplored. Word games are not as constrained as games like chess or poker. Instead, word game strategy is defined by the players’ understanding of the way words relate to each other. The word game Codenames provides a unique opportunity to investigate common sense understanding of relationships between words, an important open challenge. We propose an algorithm that can generate Codenames clues from the language graph BabelNet or from any of several embedding methods – word2vec, GloVe, fastText or BERT. We introduce a new scoring function that measures the quality of clues, and we propose a weighting term called DETECT that incorporates dictionary-based word representations and document frequency to improve clue selection. We develop BabelNet-Word Selection Framework (BabelNetWSF) to improve BabelNet clue quality and overcome the computational barriers that previously prevented leveraging language graphs for Codenames. Extensive experiments with human evaluators demonstrate that our proposed innovations yield state-of-the-art performance, with up to 102.8% improvement in precision@2 in some cases. Overall, this work advances the formal study of word games and approaches for common sense language understanding.
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Mulimani, neshwari, and Aziz Makandar. "Sports Video Annotation and Multi- Target Tracking using Extended Gaussian Mixture model." International Journal of Recent Technology and Engineering 10, no. 1 (May 30, 2021): 1–6. http://dx.doi.org/10.35940/ijrte.a5589.0510121.
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Video offers solutions to many of the traditional problems with coach, trainer, commenter, umpires and other security issues of modern team games. This paper presents a novel framework to perform player identification and tracking technique for the sports (Kabaddi) with extending the implementation towards the event handling process which expands the game analysis of the third umpire assessment. In the proposed methodology, video preprocessing has done with Kalman Filtering (KF) technique. Extended Gaussian Mixture Model (EGMM) implemented to detect the object occlusions and player labeling. Morphological operations have given the more genuine results on player detection on the spatial domain by applying the silhouette spot model. Team localization and player tracking has done with Robust Color Table (RCT) model generation to classify each team members. Hough Grid Transformation (HGT) and Region of Interest (RoI) method has applied for background annotation process. Through which each court line tracing and labeling in the half of the court with respect to their state-of-art for foremost event handling process is performed. Extensive experiments have been conducted on real time video samples to meet out the all the challenging aspects. Proposed algorithm tested on both Self Developed Video (SDV) data and Real Time Video (RTV) with dynamic background for the greater tracking accuracy and performance measures in the different state of video samples.
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Sharifi, Hamid. "Norms governing the localization of video games." Journal of Internationalization and Localization 3, no. 1 (August 11, 2016): 61–73. http://dx.doi.org/10.1075/jial.3.1.04sha.
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Garshasp: Temple of the Dragon (2012) is a 3D, 3rd person action-adventure hack ‘n’ slash indie game developed by Dead Mage for English gamers and Fanafzar Sharif for local use. It was one of the early Persian forerunners to be majorly localized and distributed throughout the English community. It takes a mythology that westerners are probably not familiar with and presents it in a third person action setting that most audiences can understand (MetaCritic 2012). This and more is what Garshasp offers from its home country demonstrated through its lovely art design, pompous music, and a great narrator (GameSpot 2012). The present research investigates the norms governing the ‘language’ of Garshasp: Temple of the Dragon; a prequel to its 2011 Garshasp: The Monster Slayer. Toury (1978/2000) proposed various categories of norms among which ‘initial norms’ is our concern. These norms represents the side translators subject themselves to; source (adequacy) or target (acceptability). In other words, the initial norm refers to “the translator’s (conscious or unconscious) choice as to the main objective of his translation, the objective which governs all decisions made during the translation process” (van Leuven- Zwart 1989, 154). Van Leuven-Zwart (1989) also contents that, as is the case with most other norms, the initial norm is not directly observable, but may be inferred by identifying the shifts contained in target text. Using Toury’s categorization (1978/2000) and a modified Vinay and Darbelnet’s model (1958/1995), we found that the language of the video game under study tends to be more acceptable than adequate.
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Phuyuthanon, I.-na. "ideo Art: Psychological Status of Orphans from the Unrest in the Three Southern Thai Province." International Journal of Creative and Arts Studies 2, no. 1 (February 12, 2017): 50. http://dx.doi.org/10.24821/ijcas.v2i1.1438.
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The greatest loss caused by the insurgency in Narathiwat province which is in the south of Thailand is the lives of the orphans whose parents or beloved ones have been deprived among conflicts and violence. Even though the affected people have received different aids, such cases are not as important as the situation faced by the orphans. After the losses, no one truly pays attention to the extent to which the southern crisis affects these unfortunate children. Even in time of peace, the children who will become adults in future have to face and suffers from severe social biases at home and elsewhere. They also have to face violence and the lack of safety in their lives. This is a result of the fire of vengeance between local people and the government’s suppression which is a game of those villains in power. The orphans will have to sustain their lives alone despite some aids from the government and private sectors. In order to create social awareness of the orphans’ daily lives in Narathiwat province, which affects their psychological status, education, and security of individual, social, and country’s levels, the awareness is raised through video art creation. Video art is a form of art which can reflects the way of lives of those who suffer from losses by presenting the stories of those who have lost, especially in terms of mental status after the loss. Video arts also present views and cultures of the locals with motion pictures, picture placement, and actions and contemporary artistic framework to convey the important message to the society so that people will understand the reality. Video arts are produced based on the researcher’s viewpoints and attitudes gained from the five senses – vision, hearing, smell, taste and touch. Video art is also a type of media that fully responds to human’s imaginations.
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CARREIRO, MARCELO. "Jogando o Passado: Videogames como Fontes Históricas * Playing the past: video games as historical sources." História e Cultura 2, no. 2 (December 30, 2013): 157. http://dx.doi.org/10.18223/hiscult.v2i2.878.
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<p><strong>Resumo:</strong> A historiografia contemporânea vem se utilizando, de forma cada vez mais segura, das novas mídias mistas como uma rica fonte histórica – é o caso do cinema e dos quadrinhos. Contudo, essa abertura metodológica a fontes não-textuais ganha nova dimensão com a consolidação da indústria de videogames como uma mídia audiovisual interativa, com elementos das mídias anteriores, mas resultando num caráter próprio. A recente maturidade da mídia, seu alcance demográfico e de mercado, assim como sua condição de arte de massa, colocam os videogames como fonte indispensável para a historiografia do tempo presente.</p><p><strong>Palavras-chave:</strong> Videogame – Fontes – Metodologia – História do tempo presente.</p><p> </p><p><strong>Abstract:</strong> Contemporary historiography has been using, in an increasingly confident way, new mixed media as a rich historical source – such is the case concerning movies and comics. However, this methodological opening to nontextual sources gains a new dimension with the setting of the video game industry as an interactive audiovisual medium, containing elements of previous media but resulting in a distinctive character. The recent maturity of this medium, its demographics and market reach – as well as its character of mass art – makes video games an indispensable source for the historiography of the present time.</p><p><strong>Keywords:</strong> Video game – Historical sources – Methodology – History of the Present Time.</p><strong></strong>
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Harrington, Maria C. R., Zack Bledsoe, Chris Jones, James Miller, and Thomas Pring. "Designing a Virtual Arboretum as an Immersive, Multimodal, Interactive, Data Visualization Virtual Field Trip." Multimodal Technologies and Interaction 5, no. 4 (April 9, 2021): 18. http://dx.doi.org/10.3390/mti5040018.
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This paper describes a virtual field trip application as a new type of immersive, multimodal, interactive, data visualization of a virtual arboretum. Deployed in a game engine, it is a large, open-world simulation, representing 100 hectares and ideal for use when free choice in navigation and high fidelity are required. Although the computer graphics are photorealistic, it is different and unique from other applications that use game art or 2D 360-degree video, because it reflects high information fidelity as a result of the domain expert review, and the integration of geographic information system (GIS) data with drone images. Combined in-game as a data visualization, it is ideal for generating past or future worlds, in addition to representations of the present. Fusing information from many data sources—terrain data, waterbody data, plant inventory, population density data, accurate plant models, bioacoustics, and drone images—its design process and methods could be repeated and used in a wide range of augmented reality (AR) and virtual reality (VR) applications and devices. Results on presence, embodiment, emotions, engagement, and learning are summarized from prior pilot studies for context on use, and are relevant to schools, museums, arboretums, and botanical gardens interested in developing immersive informal learning applications.