Video Games and Virtual Space Discussion Blog

1.How can interface differences affect the sense of presence within a simulated world and the enjoyment from a video game?

When it comes to the interface of video games, gaming companies take various approaches in order to capture a presence in a simulated world. Motion gaming was popular for a few years. It was first introduced with the Nintendo Wii, and later adopted by Sony and Microsoft with their own renditions of motion gaming. Motion gaming did not last very long however, it seemed only a novelty. While it seemed immersive at first, the motion controllers and motion capturing were quite inaccurate. They also limited the amount of freedom and agency that the player had. With limited agency, many games felt extremely repetitive. There was almost no variety in the game play due to limited controls, the motion capturing was inaccurate, and overall the games were quite dull and boring. They were immersive to some degree, but being immersed does not necessarily entail fun, not with motion gaming at least.

In the current market of gaming, it seems as though companies have abandoned motion gaming. They have returned to their baseline premise of using the classic controller model. While the controller itself is not as immersive as motion gaming, it’s immersive in its own aspect as it gives the player much more control over their character/avatar. In that sense the presence in the simulated world increases as the player has more agency. Also, it has become the standard in current gaming that controllers have a vibrating function. Depending on what game is being played, the controller will vibrate based on various factors. One of the most common elements that cause a controller to vibrate is when the player is attacked or harmed. This vibration increases the presence in the simulated world as it provides a small physical simulated stimulation of what the avatar experiences in game. It provides physical immersion for the player as they are able to actually feel some stimulation depending on the actions taken by the player.

Controller gif

Furthermore, many games now have the option to be played in first person mode. The game gives the player to opportunity to experience the simulated world from the perspective of the protagonist, and in this sense the game is made to immerse the player in the simulated world. While the player is not immersed physically, they are definitely immersed visually as they put themselves in the position of the game character when they play the game in first person. First person games are created to make the player feel as if they themselves are the protagonists of the game. They’re made to give the player the immersion of having the presence within the simulated world.

Gta 5 gif 2

 

2.How can one experience both agency and ownership within a game world? Give at least one example.

Online gaming, especially in first person shooters like Call of Duty, is one of the ways players can experience both agency and ownership within the in game world. In the game, players have the liberty to customize their character however they want. They can change their clothing, their facial features, and even the emblem that they wear. More importantly, players can choose which type of weapons they want their character to wield. This weapon choice gives the player ownership, but furthermore it gives the player agency over his character/avatar. They choose who to attack and who to spare, but more importantly they influence the scoring of the game. The player can influence their environment by setting up various weapon traps that can drastically alter the approaches and tactics implored by opposing players. Players can gain various perks/bonus weapons which create a diverse and spontaneous match. Every game has a standard set of rules, but every player has ownership of their own character and with that ownership they also have the agency to drastically alter the outcome of the match.

 

Video Games and Virtual Space Discussion Questions

These questions are based off of the “Embodiment and Interface” reading.

1. How can interface differences affect the sense of presence within a simulated world and the enjoyment from a video game?

2. How can one experience both agency and ownership within a game world? Give at least one example.

3. How have virtual reality devices like the Oculus Rift expanded on the writer’s analysis of the way devices like the Nintendo Wii work? How do they differ?

4. Do different game genres require different considerations for where their sense of agency lies between the two poles of schema and image? (Ex: RPG vs Sports game)

5. How can virtual experiences extend your body image onto an outside object?

The Austin graffiti conversation: resources

Here’s a list of fun stuff I’ve come across in my own research.

spratx seal

SprATX recently completed this unusual commission. Source.

SprATX, an Austin art collective

Susan Floyd, “West Campus” (with an attached, years-long archive of Austin street art)

Morgan Ireland, “Keeping Austin Weird: Graffiti and Urban Branding

Andrew Takano‘s amazing time lapse project “Start Fresh: Never Give Up” featuring the HOPE Outdoor Gallery

An interview with Takano about his project

 

timelapse

 

Sofles is an internationally-famous graffiti writer from Brisbane. He’s garnered much of his fame from his high-production digital content, such as what you see above.  Read about his 2009 conviction here.

Timelapse cinematography is a very popular genre of digital graffiti content.

In that vein, check out this strange 21st century production: a local waste management company sponsors a burn and then pays a production crew to time-lapse it.

Wikipedia glossary of graffiti (includes regional terms)

A very brief guide to graffiti styles.  Graffiti is a type of calligraphy (among other things) and as such there are thousands of variations in style, many with their own regional names/designations; try to just master the basics for this project

Another online exhibit on graffiti (commissioned by the Russian Federation for UNESCO)

P.S. The digital really impacted the graffiti scene in the late 90s.  Check out these long-running graffiti websites to see how they’ve grown.

FatCap

Art Crimes

Pure Graffiti

 

Capitol vs. Capital and its relationship with the Capitol Complex

  1. What is the difference between capitol and capital, and how do they interact with each other in the capitol complex?

Capitol versus capital. They sound the same, and they almost look the same. Only one letter differentiate these seemingly interchangeable nouns. It is common and easy to mismatch these words. Most of the time, I use capitol and capital as I please thinking they mean virtually the same thing. While they are very similar in root word and meaning, capitol and capital are very different words.

Both capitol and capital come from the Latin word “caput” meaning “the head.” However, capitol comes from the root word “capitolina.” Capitolina dates back to ancient Rome and its founding. It is believed that Rome was founded on the hill of Capitolina. Capital evolved from the root word “capitale” meaning “wealth.” As you can see, these both have very similar roots, but they are also very different.

Capitol can be defined as the specific house of government for a nation, state or city. It is a very specific form of the word where capital can be broader and loosely defined. Capitol typically indicates one building. For instance, the Capitol of Austin would be the capitol building on Congress Avenue. It is one specific place where most of the legislation takes place.

Further, capital is very broad and loosely defined. In Vale’s excerpt, capital means the area surrounding the capitol building where legislation occurs. However, capital has various other meanings. In our example above, Capitol was the capitol building in Austin. Capital would include all of Austin, Texas. Therefore, Austin is the capital of Texas because the capitol building is in the city.

Finally, the capitol complex deals with the Capitol and the capital working together as one. Both the legislative building and the city surrounding the building can be classified as the capitol complex.

Resources for your exhibit

I’ve found some brief framing resources that I think will be helpful for your project, and I’ll be adding them to the blog and cataloguing them on Omeka.  To open up this conversation,  I want to share Style Wars (1983) with you.   This film is one of the most important and well-known documentaries on graffiti, so if you prefer to do your research in video form, check it out:

Discussion Questions for Vale’s “Capital and Capitol”

The following questions are for Vale, “Capital and Capitol: An Introduction,” excerpted from Architecture, Power, and National Identity:

  1. Typically historical buildings and monuments are the items most looked at when studying the ideas of power and representation. Are we still implementing these rhetorical architectural designs in the buildings of power in the present?
  2. Does the United States seem progressive or regressive when comparing our capital city to those of countries such as Germany, England, and Italy?
  3. Have famous buildings of power in the past tried to convey their idea of power with the use of architectural designs of beauty or intimidation?
  4. How has history and large-scale urban design intervention affected the symbolism of modern capital cities? Is there a difference between evolved capitals and designed capital cities?
  5. What is the difference between capitol and capital, and how do they interact with each other in the capitol complex?

Walkthrough: posting to class Google map

First, accept the invitation to edit our Google map from your authorized gmail account.

google map invitation

This will navigate you to the map.  You should probably bookmark it for future reference.

Once in the map, copy and paste your GPS coordinates formatted as ##, -## from your Omeka item entry into the maps navigation bar.  Click search.

gps coords in searchbar

A new marker will appear in green.  Click on the marker and add it to the map.

click on new marker

add marker to map

You will now be able to edit your entry.  Click on the “edit” pen icon and begin copying and pasting the following fields from your Omeka item entry, where #=the item number in our archive.

Title

OIN#. Description. http://utvisualrhetoric.omeka.net/items/show/#

Now toggle away and add your picture data. DO NOT use Omeka hotlinks; they expire after a few days.  Instead, upload another copy of your photos to our Google account (UTVisualRhetoric).  Log out of any gmail account, log into UTVisualRhetoric, and click here to upload your photos.

Once you have uploaded your photos, right click on the photo you want to attach to your Google Maps entry and click “Copy Image Address”.

copy image url

 

Toggle back to your Google Map entry and click on the camera icon to add your item picture.  Paste your URL into the box when prompted.

marker with info

Voila! You now have a map entry linked to your Omeka item.  Do this for each item.

Walkthrough: posting to Omeka

Setting up your Omeka account

You should have gotten an email inviting you to create an account at Omeka.com.  The email looks like this:

omeka invite

This will take you to a screen with a lot of pay options.  Ignore those and pick the free option.

free option

Go to our Omeka archive and log in with your credentials.

omeka login

After logging in, toggle to your dashboard and click “Manage site“.

Naming your collection

Observe that I have made a collection for your group.  Change the name to something your group would like to call their collection of artifact photos.  You can choose anything you like, and you can change your name at any time in the data collection process.  (I tentatively named my collection “Graffiti, Access, and Erasure.”)

After you’ve named your group’s collection, you can add items to.  This is how we will track your group’s contribution to the archive.  Make sure you “collect” your group’s contributions in your collection.  No item should be hanging out uncollected.

Adding items to your collection

navigate to add item

From your dashboard, click “Add item.”  This will bring up the data entry screen for a new item.

add item

You can look at any of my items to see examples of field input at my collection here.  See that there are four categories of data field.  You need to fill out each one. Below is a list of the required fields of data for each item you add to our archive. Hypertext gives you a shortcut to best practices instructions for that field further down in this document.

Dublin Core

Item Type Metadata

Files

  • upload at least one image

Tags

  • assign at least one tag from class list

When you have finished entering your data, you should check the “public” box, select your group’s collection from the drop-down collection menu, and click “add item”.  You’ve just entered one item in our archive!  Now you’re ready to add it to the class Google map.

 

Best Practices for Cataloguing Data

Dublin Core.

Title.

  • If there are legible words, list words first. Preserve caps.
  • If there are no legible words, list a 1-2 word description first. Capitalize only proper nouns.
  • If there are no legible words or useful descriptors (e.g. illegible graffiti), list the location first.
  • List a descriptive type last. Types should be categorical and should match entry in “type” field below. Sample types: tag, mural, wheatpaste, stencil, etching
  • Sample titles: “STAY MELLOW wheatpaste” “NINJA STYLE KUNG FU GRIP tag” “3D glasses stencil” “Mopac pedestrian bridge rail etchings”

Subject (if applicable).

  • Only enter a subject if you collected a group of artifacts at a single location.  The location should be listed as the subject to help group the artifacts by site.  Example: Mopac pedestrian bridge, HOPE Outdoor Gallery.  If subject is applicable, refer to subject heading in description (below) as follows: “See related images under this subject heading.”

Description.

  • Give a simple, neutral, non-analytical description of the artifact, including potentially useful information about size, location, texture, proximity to other artifacts, etc..  Example: Etchings occur along Mopac pedestrian bridge in its entirety. Etchings occur near wheatpastes affixed to columns supporting Mopac automobile bridge (directly above pedestrian bridge). Pilings are difficult to access. See related images under this subject heading.

Creator.

  • List the creator of the photograph (likely, you).

Date. 

  • List the timestamp on the photograph in long format, e.g. April 17, 2016 10:42 AM.

Rights.

  • Choose the rights you want to reserve for yourself re: your photographic image.  Do you want to give permission to others to use it for purposes other than those specified under Fair Use?  Answer three simple questions to create a Creative Commons License for your photographic work and refer to it in this entry.  I generally use the same license for all of my work (Attribution-Non Commercial 4.0 International).

Languages. 

  • If there is text in your artifact, specify what language, if discernible.

Type.

  • The categorical type of graffiti.  Sample types: tag, wheatpaste, etching, stencil, mural

Item Type Metadata.

Item type.

  • Choose still image for standard entry.

Original format.

  • Type “photo” for standard entry.

Physical dimensions. This information is required for exhibited items only.  Recording the dimensions for all other entries is optional.

Geolocation.

  • List the photo-associated GPS data in X, Y format.  Use positive X values for N and negative X values for S; likewise, use positive Y values for E and negative Y values for W.  Unless you’re planning on leaving this quadrant of the globe, that generally means your GPS coordinates will be [#.#, -#.#].  Do not include brackets. Do not use any other format.  Do not round off; leave the long string of decimal points.

 

Files.

  • Upload at least one image.  Multiple images are acceptable, especially to give a sense of space, view, and/or access.
  • Resize images to 1024x968p max.  We have a 500 MB space limit on our archive and so we need to be economical with our file sizes.  It’s probably a good idea to keep the larger version available in your personal files in case your group or another group needs to request it.
  • Preserve highest image resolution possible. Save/export your images as .png or .jpg only.
  • Name the file something brief, descriptive, and related to the image title.

Tags.

  • assign at least one tag.  Sample tags: installation, deteriorating, tagging, wild style, throw up, etching, erasure

Fair Use Appeal Part 3

Question: How much of the work will be used?

Fair Use is a doctrine that justifies the use of a copyrighted work for predetermined purposes (like analysis, criticism, or news), under certain circumstances. There are four questions one must ask themself in order to determine whether or not the way they used copyrighted work qualifies as “fair use.” One of these deals with time length. According to Purdue OWL, “reproducing only a small part of a copyrighted work is more acceptable than using an entire work.” Fair use doesn’t specify a precise time length for how much copyrighted work can be present in a video, so I recognize that this is all subjective. To ensure that one does not run into such problems he or she should greatly limit the amount of material that they incorporate into their project. In [insert video title here] I only used [insert video length] of [title of copyrighted work] which should be covered under fair use, since the total length of the video was [insert time length here] and I only used [percentage] of it.