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    MAHISHGame culture, art and studies & ludology... a tak
    ALERT
    ALERT --- ---
    MAHISH: jj Will je fakt super ;)
    MAHISH
    MAHISH --- ---
    ALERT: hmm, to vypadá dost dobře, zejtra si to dám mezi hodinama, teď už na tu anglinu nemám sílu:P
    HOMOLKA
    HOMOLKA --- ---
    ahoj, doufam ze nejsem uplne OT - prazska game-developerska firma hleda 3d vytvarniky a texturare. info posta
    MAHISH
    MAHISH --- ---

    Feng Mengbo v rudolfinu (mimo jiné:)

    Od malířských počátků v duchu politického popu přesunul Feng Mengbo (* 1966) už v polovině 90. let hlavní těžiště své tvorby k počítačově generovaným videosekvencím. Řada těchto prací, často kritizujících cynismus počítačových her a záměrně využívajících jejich formálních postupů, vyústila v nedávné době v návrat k obrazům. Jejich základem je počítačově konstruovaná obrazová struktura dotvářená v reálu klasickou malbou. Nejnovější série krajin je neobyčejně bohatě vrstvená zpráva o historii klasické čínské malířské disciplíny.
    KHALAVERA
    KHALAVERA --- ---
    Gamer Theory
    Author: McKenzie Wark
    Publisher: Cambridge, MA: Harvard University Press, 2007

    REVIEW 1: Denisa Kera http://rccs.usfca.edu/bookinfo.asp?ReviewID=563&BookID=406
    REVIEW 2: Shawn Miklaucic http://rccs.usfca.edu/bookinfo.asp?ReviewID=564&BookID=406
    ALERT
    ALERT --- ---
    KHALAVERA
    KHALAVERA --- ---
    KHALAVERA
    KHALAVERA --- ---
    More evidence that satire doesn't transmit over the interwebs
    A game in which your "task" is to "wipe the Muslim race from the face of the Earth" has, predictably, got people wound up
    http://www.guardian.co.uk/global/gamesblog/2008/sep/11/blogpost1
    QUITE
    QUITE --- ---
    MAHISH: dodej .))
    KHALAVERA
    KHALAVERA --- ---
    MAHISH: jj, ta se hodí do života zvídavého člověka .)
    MAHISH
    MAHISH --- ---
    KHALAVERA: po třech měsících mám před sebou už jen pár stránek, super kniha:)
    MAHISH
    MAHISH --- ---
    Buying Spore, or just renting?

    I admit I haven't yet picked up a copy of Spore (beginning of the school year and all) but I figured it was being released to universal acclaim, sales, yada yada. And of course all of the pre-release information hyped the game to no end, and fans seemed, well, fanatic, about getting their hands on the game. What a difference a day or two makes. Check out the review scores for Spore on Amazon's site. As of my writing this, there are 1840 1-star reviews of the game. Why?

    Not the gameplay, it seems, but the DRM protection. A common complaint from reviewers-- 'you don't buy this game, you rent it!' You need to go online to authenticate the game (nothing new there) and the game allows you to authenticate three times before having to call and ask permission for more authentications from EA (disclaimer: I'm taking this from the reviews, so if the information is incorrect, please post and let me know). Seems very close to Apple's iTunes model of managing music, thus causing the user to carefully ponder just how/where/when to 'spend' those few copies.

    While Spore isn't technically a virtual world (or is it?), this also brings back parallels for me of players' rights in virtual worlds. If we are encouraged to see these worlds as our new Commons, our coffeehouses, etc, do we have any say in how we use them? Will this outrage amount to anything for Wright's creation? For future games? And as we probably don't own that epic gear in MMOGs, so too, maybe we are only renting our single player games now as well?


    http://terranova.blogs.com/
    MAHISH
    MAHISH --- ---
    AVATAR the new you
    MYFANWY ASHMORE (CANADA), ARAM BARTHOLL (GERMANY), TOBIAS BERNSTRUP (SWEDEN), ZENG HAN & YANG CHANGHONG (CHINA), DANIEL HANDAL (USA), CLAUDIA HART (USA), CEES-JAN KIEWIET / WYRIHAXIMUS (NETHERLANDS), DAVID MELÉNDEZ (MEXICO), STEVE MILLAR / ARAHAN CLAVEAU (UK), MELISSA RAMOS & RHYS TURNER (AUSTRALIA), JUSTIN SHOULDER (AUSTRALIA) TALE OF TALES GAME DESIGN FORUM (BELGIUM)

    Curated by Malcolm Smith
    The original Avatars came from Indian mythology; they were the bodies the Gods used when they chose to walk upon the earth. Today the term Avatar is more commonly associated with the graphical action figures we use when we play games in online worlds. Like virtual alter-egos, our avatars can be whoever we want them to be; musclebound commandos, lithe blood elves, penguins or Pokemon.
    If you are on Facebook, Myspace, a dating site or if you can Google yourself, you have a virtual identity. As more and more of our time is spent online; socialising, conducting business, broadcasting our opinions or looking for love; the way we are perceived there is becoming as important as in real life. Avatars are more than a puppet or a plaything; they are the new you.
    The artists in this exhibition are inspired by Popular Culture rather than High Art, through games such as World of Warcraft or Half Life, virtual environments such as Second Life or the Sims, or content sharing sites such as Flickr, and Youtube. They question conventional attitudes towards gender, spirituality, violence, technology, sexuality and identity, examining how these issues have been transformed by online technologies.

    http://tmp.acp.org.au/current/index.php#gallery1
    KHALAVERA
    KHALAVERA --- ---
    Who plays, how much, and why? Debunking the stereotypical gamer profile
    Dmitri Williams, Nick Yee, Scott E. Caplan
    http://www3.interscience.wiley.com/cgi-bin/abstract/121394419/ABSTRACT
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