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The similarities between traditional games in different regions of the world, from past to present, arouse both awe and curiosity. The playful - yet educational - discovery of these practices offers the opportunity to observe the experience of play as a space for similarities between cultures. When research on play conducted with children is enriched by the recollections of play from parents and grandparents, especially in the context of a multicultural classroom, a choral narrative emerges, laying down the basis for intercultural education. Children discover the 'shared space of play', where they can meet and relish, together with teachers, the richness of cultural diversity, and also learn more about prejudice and Othering processes.
Beginning to Play explores the young child’s right to a high quality, multi-sensory play environment where play really can begin. It builds on Goldschmied’s concept of Treasure Basket play, which involves a wide variety of everyday objects gathered together to stimulate all five senses of babies and young children. The book features detailed observations of babies beginning to play at and beyond the treasure basket. These observations support readers in offering rich play materials and experiences.
Is "space" a thing, a container, an abstraction, a metaphor, or a social construct? This much is certain: space is part and parcel of the theater, of what it is and how it works. In The Play of Space, noted classicist-director Rush Rehm offers a strikingly original approach to the spatial parameters of Greek tragedy as performed in the open-air theater of Dionysus. Emphasizing the interplay between natural place and fictional setting, between the world visible to the audience and that evoked by individual tragedies, Rehm argues for an ecology of the ancient theater, one that "nests" fifth-century theatrical space within other significant social, political, and religious spaces of Athens. Drawing on the work of James J. Gibson, Kurt Lewin, and Michel Foucault, Rehm crosses a range of disciplines--classics, theater studies, cognitive psychology, archaeology and architectural history, cultural studies, and performance theory--to analyze the phenomenology of space and its transformations in the plays of Aeschylus, Sophocles, and Euripides. His discussion of Athenian theatrical and spatial practice challenges the contemporary view that space represents a "text" to be read, or constitutes a site of structural dualities (e.g., outside-inside, public-private, nature-culture). Chapters on specific tragedies explore the spatial dynamics of homecoming ("space for returns"); the opposed constraints of exile ("eremetic space" devoid of normal community); the power of bodies in extremis to transform their theatrical environment ("space and the body"); the portrayal of characters on the margin ("space and the other"); and the tragic interactions of space and temporality ("space, time, and memory"). An appendix surveys pre-Socratic thought on space and motion, related ideas of Plato and Aristotle, and, as pertinent, later views on space developed by Newton, Leibniz, Descartes, Kant, and Einstein. Eloquently written and with Greek texts deftly translated, this book yields rich new insights into our oldest surviving drama.
For organizations that care about innovation, individual creativity isn't enough anymore -- people need to be in creative, collaborative relationships. But without the knowledge and tools for building these relationships, innovation expert Michael Schrage argues, one will not be successful in the offices of today and even less so in the "virtual" offices of tomorrow. No More Teams gives readers the tools and techniques to go beyond the lazy cliches of "teamwork" to the practical benefits of collaboration. When Schrage studied the world's greatest collaborations -- including Wozniak and Jobs, Picasso and Braque, Watson and Crick -- he found that instead of relying on charisma, they all created "shared spaces" where they could play with their ideas. By effectively using technological tools available in most workplaces -- anything from a felt tip pen and a napkin to specialized computer software - -you can literally map your discussion as it is happening, making it possible to keep all the good ideas, cope with every objection, handle conflicts as they arise, and, ultimately, master the unknown.
From Workplace to Playspace is about visionary, courageous, innovative, and persistent organizations that challenge long-held preconceptions about the incompatibility of workplace and playspace. Each day organizations across industries and with wide-ranging missions are discovering that playspace is the space they can and must create every day at work if they are to think creatively, question old assumptions, respond effectively to the unexpected, and engage all to work at the top of their talent. Filled with case examples from such organizations as Learning Curve International, Google, Chicago Public Schools, Umpqua Bank, and Threadless, the author provides both the conceptual framework and the principles to guide practitioners to create playspace for innovating, learning and changing in their organizations.
Representations of consensual sadomasochism range from the dark, seedy undergrounds of crime thrillers to the fetishized pornographic images of sitcoms and erotica. In this pathbreaking book, ethnographer Staci Newmahr delves into the social space of a public, pansexual SM community to understand sadomasochism from the inside out. Based on four years of in-depth and immersive participant observation, she juxtaposes her experiences in the field with the life stories of community members, providing a richly detailed portrait of SM as a social space in which experiences of "violence" intersect with experiences of the erotic. She shows that SM is a recreational and deeply gendered risk-taking endeavor, through which participants negotiate boundaries between chaos and order. Playing on the Edge challenges our assumptions about sadomasochism, sexuality, eroticism, and emotional experience, exploring what we mean by intimacy, and how, exactly, we achieve it.
A game designer considers the experience of play, why games have rules, and the relationship of play and narrative. The impulse toward play is very ancient, not only pre-cultural but pre-human; zoologists have identified play behaviors in turtles and in chimpanzees. Games have existed since antiquity; 5,000-year-old board games have been recovered from Egyptian tombs. And yet we still lack a critical language for thinking about play. Game designers are better at answering small questions ("Why is this battle boring?") than big ones ("What does this game mean?"). In this book, the game designer Brian Upton analyzes the experience of play--how playful activities unfold from moment to moment and how the rules we adopt constrain that unfolding. Drawing on games that range from Monopoly to Dungeons & Dragons to Guitar Hero, Upton develops a framework for understanding play, introducing a set of critical tools that can help us analyze games and game designs and identify ways in which they succeed or fail.
Every day we share encounters with others as we inhabit the space around us. In offering insights and knowledge on this increasingly important topic, this book introduces a range of empirical and theoretical approaches to the study of shared encounters. It highlights the multifaceted nature of collective experience and provides a deeper understanding of the nature and value of shared encounters in everyday life. Divided into four sections, each section comprises a set of chapters on a different topic and is introduced by a key author in the field who provides an overview of the content. The book itself is introduced by Paul Dourish, who sets the theme of shared encounters in the context of technological and social change over the last fifteen years. The four sections that follow consider the characteristics of shared encounters and describe how they can be supported in different settings: the first section, introduced by Barry Brown, looks at shared experiences. George Roussos, in the second section, presents playful encounters. Malcolm McCulloch introduces the section on spatial settings and – last but not least – Elizabeth Churchill previews the topic of social glue. The individual chapters that accompany each part offer particular perspectives on the main topic and provide detailed insights from the author’s own research background. A valuable reference for anyone designing ubiquitous media, mobile social software and LBS applications, this volume will also be useful to researchers, students and practitioners in fields ranging from computer science to urban studies.
The similarities between traditional games in different regions of the world, from past to present, arouse both awe and curiosity. The playful - yet educational - discovery of these practices offers the opportunity to observe the experience of play as a space for similarities between cultures. When research on play conducted with children is enriched by the recollections of play from parents and grandparents, especially in the context of a multicultural classroom, a choral narrative emerges, laying down the basis for intercultural education. Children discover the 'shared space of play', where they can meet and relish, together with teachers, the richness of cultural diversity, and also learn more about prejudice and Othering processes.
The third in the readers series Resources for the Knowledge-Based Economy, Knowledge Management Tools analyzes the use of knowledge management tools in the past, present and future. It helps managers and companies utilize what they know. The selections in this volume were carefully chosen to represent the strengths and weaknesses, and pros and cons of using technology to support knowledge-based activities. They acknowledge that, although tools alone are not the answer to the difficult questions surrounding knowledge management, if utilized effectively tools can open up new realms of innovation and efficiency for today's knowledge-driven businesses.