GAMES AND CULTURE: NOTES ON DESIGN, ART AND EDUCATION

(Published at Videojogos 2010) As claimed by Chris Crawford in 1984, games must evolve to a potential form of art. Over 30 years later, the discussion demands a more mature state of the art, since games are still seen mostly as entertainment products. Considering them as a direct heir of cinema, in terms of language and dispositive parameters, games may be seen as a new form of media, and thus a vehicle both to entertainment activity than to artistic expression. To explore such possibilities, it is necessary to re-think the means of production and to purpose a new model of collaborative work that involves technicians, scholars, and artists.

Handbook of computer game studies, 2005

2009

Each year, the Games, Learning and Society (GLS) program at the University of Wisconsin-Madison hosts a conference to facilitate conversation about digital literacy learning in the spaces of popular culture, fandom, and interactive media-like games. Each year, we bring academics, designers, educators, and media fans together to share thoughts and findings on how digital media, commercial and otherwise, can enhance learning, culture, and education. The event has been a surprising success in many ways, and we now boast an acceptance rate (13-30%) more stringent than some peer-reviewed academic journals and a waiting list for entry each year. In response, we have not only expanded our capacity for participants each year but also increased our audience through special issues in journals central to our community such as E-Learning. This special issue represents one of our attempts to connect important research themes represented at GLS to broader conversations about the nature and quality of learning through digital media more broadly. Although the title GLS specifies 'games', our interests are better conceptualized as 'learning through interaction' in more comprehensive terms. The community and field has expanded over the past five years to include research and design in areas well beyond video games alone to include popular culture and fandom communities, digital/visual cultures, and interactive design more generally.

How did games rise to become the central audiovisual form of expression and storytelling in digital culture? How did the practices of their artistic production come into being? How did the academic analysis of the new medium's social effects and cultural meaning develop? Addressing these fundamental questions and aspects of digital game culture in a holistic way for the first time, Gundolf S. Freyermuth's introduction outlines the media-historical development phases of analog and digital games, the history and artistic practices of game design, as well as the history, academic approaches, and most important research topics of game studies.

Digital Games Research Association Conference Proceedings, 2005

This paper explores how media education principles can be extended to digital games, and whether the notion of ‘game literacy’ is an appropriate metaphor for thinking about the study of digital games in schools. Rationales for studying the media are presented, focusing on the importance of setting up social situations that encourage more systematic and critical understanding of games. The value of practical production, or game making, is emphasized, as a way of developing both conceptual understanding and creative abilities. Definitions of games are reviewed to explore whether the study of games is best described as a form of literacy. I conclude that games raise difficulties for existing literacy frameworks, but that it remains important to study the multiple aspects of games in an integrated way. A model for conceptualizing the study of games is presented which focuses on the relationship between design, play and culture. http://www.digra.org/digital-library/publications/studying-games-in-school-a-framework-for-media-education/

Gamepaddle. Video Games. Education. Empowerment, 2016

The educational and training potentials of video games - which have been debated in the teaching context over the last years - have seen a slow but progressive shift of the attitude of the institutions and people in training agencies of every order and degree towards the acknowledgement of the many training and educational potentials of the medium, although it has not yet been possible to define the dimensions through which video game should be observed from a teaching point of view

therefore always considered as low art. The other reason is its comparision with other tradition media like films and literature. The more general denigration of 'mere entertainment' is also responsible for ignoring the seriousness of videogame.

Ac tA Ac A de m i A e A rt i u m V i l n e nsis / 67 2 012 A RT A N D PL AY Art and play are two fundamental characteristics of humans. Being comparably important, the two notions are strongly interconnected -something that is not only longstanding but has also been carefully observed. Hayden Ramsay notes: "As thinkers from Aristotle onwards have noted, part of the benefit of artistic performances is the opportunity to express and explore powerful emotions and beliefs in safer and more con-This paper examines creative uses of video games. The starting point of the article is an observation of the inherent interconnection between play and art. The demise of the play element, as observed by

This dissertation studies video games as a medium of artistic expression by engaging three key elements of Marcel Duchamp's 1957 essay The Creative Act: Institution, Intention and Artefact. By first studying how Academia and the Artworld in general have engaged historically with video games. Afterwards, the formal and structural qualities of video games are engaged with, bridging the gap between this new medium and art history through aesthetic theories. Finally, medium specific qualities that complicate their study have been addressed by comparing video games with film and Marcel Duchamp’s ideas on the creative process. It is then concluded that while the field of video games-as-art is still in its infancy and that a majority of video games are not art, it is possible for specific video games to be accepted as artworks.