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“Toward a Ludic Architecture†is a pioneering publication, architecturally framing play and games as human practices in and of space. Filling the gap in literature, Steffen P. Walz considers game design theory and practice alongside architectural theory and practice, asking: how are play and games architected? What kind of architecture do they produce and in what way does architecture program play and games? What kind of architecture could be produced by playing and gameplaying?
In Unit Operations, Ian Bogost argues that similar principles underlie both literary theory and computation, proposing a literary-technical theory that can be used to analyze particular videogames. Moreover, this approach can be applied beyond videogames: Bogost suggests that any medium—from videogames to poetry, literature, cinema, or art—can be read as a configurative system of discrete, interlocking units of meaning, and he illustrates this method of analysis with examples from all these fields. The marriage of literary theory and information technology, he argues, will help humanists take technology more seriously and hep technologists better understand software and videogames as cultural artifacts. This approach is especially useful for the comparative analysis of digital and nondigital artifacts and allows scholars from other fields who are interested in studying videogames to avoid the esoteric isolation of "game studies." The richness of Bogost's comparative approach can be seen in his discussions of works by such philosophers and theorists as Plato, Badiou, Zizek, and McLuhan, and in his analysis of numerous videogames including Pong, Half-Life, and Star Wars Galaxies. Bogost draws on object technology and complex adaptive systems theory for his method of unit analysis, underscoring the configurative aspects of a wide variety of human processes. His extended analysis of freedom in large virtual spaces examines Grand Theft Auto 3, The Legend of Zelda, Flaubert's Madame Bovary, and Joyce's Ulysses. In Unit Operations, Bogost not only offers a new methodology for videogame criticism but argues for the possibility of real collaboration between the humanities and information technology.
Computer and video games are leaving the PC and conquering the arena of everyday life in the form of mobile applications—the result is new types of cities and architecture. How do these games alter our perception of real and virtual space? What can the designers of physical and digital worlds learn from one another?
Creative Computer Graphics presents the dynamic visual power of images created with computer technology. From the pioneering efforts in the 1950s to the current achievements of modern exponents in the US, UK, France and Japan, the book explores computer graphic images through the techniques and technology used to create them. Scientific research laboratories, video games, NASA space simulations, feature films, television advertising and industrial design are some of the areas where computer graphics has made an impact. The book traces the history, assesses the current state of the art and looks ahead to the future where computer graphic images and techniques are to become progressively more important as a means of expression and communication.