Week 9 : Presentation Week
Parable of Polygons translated into hindi reads : The story of majority.
Diversity/Fitting in
Girls who code
Contrast to: Convay's Game of Life: https://en.wikipedia.org/wiki/Conway's_Game_of_Life
The Game of Life, also known simply as Life, is a cellular automaton devised by the British mathematician John Horton Conway in 1970. The "game" is a zero-player game, meaning that its evolution is determined by its initial state, requiring no further input. One interacts with the Game of Life by creating an initial configuration and observing how it evolves, or, for advanced "players", by creating patterns with particular properties. The Game has been reprogrammed multiple times in various coding languages.
Forum Theatre: Participatory approach to problem solving and "empathy". PLAY. Theatre is like language.
SPECT-ACTORS who believe that they can offer alternatives to the actions of the Protagonist are encouraged to shout “Stop”, halt the action, and take over the role and try out another solution. Anyone who wants to can have a go.
Vs Daniel's Public Secrets
Readings:
Games are a cultural medium, and like other cultural media, carry embedded beliefs within their representation systems.
Many scholars, makers, and consumers observe that games can embody antagonistic, and antisocial themes—violence and gore, genocide, crime, cruelty, problematic representations of bodies in terms of gender and race, and even viciously competitive game interaction and game goals [4,5,21,29,30]. While of course this is not the case for all games, these issues arise in a notable number of popular games. Our goal is not to denigrate existing games, but offer alternatives for future game development. In this, we are inspired by Brenda Laurel’s pioneering work on games for girls.
How can a game designer intentionally “break the mold,” especially when designing for social themes. Eg: Rapunzel
https://www.ted.com/talks/brenda_laurel_on_making_games_for_girls/discussion
Artists have long used games as both research methods and as outcomes of research processes. Dada, Surrealist, and Fluxus artists used games to investigate war, the unconscious, ideas about networks, and the meaning of artwork itself. Artists have long been critical users and consumers of play systems. Activist theater director Augusto Boal’s public games methods [6] were derived from his work while creating The Theatre of the Oppressed, developed during the 1950’s and 1960’s in Brazil. Boal incorporated games that could serve to “act out” problematic social situations that directly affected participants’ rights.Games have also held a significant place in social activist movements. Founded by innovators in the 1970s, The New Games Movement, for example, was a manifestation of the myriad social questions that arose from the 1960s California counterculture.
Ridiculous to use VR: These “empathy machines” are books, of course—as in novels and journalism and autobiography.
Who is VR for? Maybe Me and my Mom https://immerse.news/who-is-vr-for-20b3f077a912
“There’s an exclusivity to VR. What happened to the democratic principles of interactive?” It’s no wonder then that some people feel excluded in VR. How do we move forward?
“Firstly, everyone needs to calm down and get off the hype machine,” says Sonnen, “We need to understand things by looking at other things rather than trying to predict the future. By pretending and persisting we actually learn.” Newton echoes this call for a more chill approach, “Rapid protoyping is fine, but in this moment we need to slow down and be able to say, ‘I don’t know,’ not over-promise.”
http://faculty.humanities.uci.edu/poster/syllabi/readings/ryan.html