Æliens

...

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Fig 1. (a) context	(b) self-reflection

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PANORAMA

• self-reflection(s) -- e.g. picture/postcard(s)
• casual encounter(s) -- at coffee machine or printer
• occasional battle(s) -- optional direct interaction

semiotic rules

• self reflections: plain $==>$ ideal/new
• casual encounters: plain $==>$ ideal/given
• contextual stories: ideal/given $==>$ plain/new
• personell faces: ideal/new $==>$ plain/given
• occurring events: ideal $==>$ plain

frames of reference

It is one of the most important formal qualities of film that every object that is reproduced appears simultaneously in two entirely different frames of reference, namely the two-dimensional and the three-dimensional, and that as one identical object it fulfills two different functions in the two contexts.

rules vs fiction

Game fiction is ambiguous, optional and imagined by the player in uncontrollable and unpredictable ways, but the emphasis on fictional worlds may be the strongest innovation of the video game.

phases of awareness

• initiation -- appeal to curiosity
• promotion -- raising interest
• progression -- prolonged involvement

dimensions of aesthetic experience

• spatial -- topological relations, layout of image
• temporal -- order, rhythm, structure
• dynamic -- interaction, reflection, involvement

game as social system

actors	rule(s)	resource(s)
players	events	game space
roles	evaluation	situation
goals	facilitator(s)	context

[Perspective] Alberti L.B. (1435),

On painting and on sculpture, Phaidon, edited by C. Grayson, 1972

[Film] Arnheim R. (1957),

Film as Art, University of California Press

[Reproduction] Benjamin W. (1936),

The Work of Art in the Age of Mechanical Reproduction, Online Archive -- http://www.marxists.org

[Remediation] Bolter J.D and Grusin R. (2000),

Remediation -- Understanding New Media, MIT Press

[Avantgarde] Burger P. (1981),

Theorie der Avantgarde, Edition Suhrkamp

[Creativity] Eliens A. (1979),

Creativity: reflection and involvement, Ninth Int Conf of Aesthetics, Dubrovnic, August 1979

[Computational] Eliens A. (1988),

Computational Art, First Int Symposium on Electronic Art, Leonardo Supplementary Issue, Pergamon Press 1988, pp. 21-26

[Odyssee] Eliens A. (2006),

Odyssee -- explorations in mixed reality theatre, In Proc. GAME'ON-NA 2006, P. McDowell ed., Eurosis-ETI, pp. 62-64, Sept 19-21, Monterey, USA

[Serious] Eliens A. and Chang T. (2007),

Let's be serious -- ICT is not a (simple) game, In Proc. FUBUTEC 2007, April 2007, Delft

[VirtualArt] Grau O. (2003),

Virtual Art -- From Illusion to Immersion, MIT Press

[Interaction] Graves-Petersen M., Iversen O.S., Gall Krogh P.,

Ludvigsen M. (2004), Aesthetic Interaction -- A Pragmatist's Aesthetics of Interactive Systems, Proc. DIS2004, Cambridge Mass. USA, pp. 269-276

[Presence] Hallnäss L. and Redström J. (2002),

From Use to Presence: On the Expressions and Aesthetics of Everyday Computational Things, ACM Trans. on Computer-Human Interactions, Vol. 9, No 2, pp. 106-124

[HalfReal] Juul J. (2005),

Half Real -- Video Games between Real Rules and Fictional Worlds, MIT Press

[Kritik] Kant E. (1781),

Kritik der reinen Vernunft, Felix Meiner Verlag, ed. 1976

[Semiotics] Kress G. and van Leeuwen T. (1996),

Reading Images: The Grammar of Visual Design, Routledge

[Imagination] Sartre J.P. (1936),

L'imagination, Presse Universitaire de France, ed. 8, 1971

[PanoramaWeb] Si Yin and Eliens A. (2007),

PANORAMA -- A Rich VRML Application Platform For Online Gaming, Workshop Web 3D Games, Web3D Symposium 07, Perugia Italy, April 15-18

[Panorama] Vyas D., van de Watering M., Eliens A.,

van der Veer G. (2007), Engineering Social Awareness in Work Environments, Proc. HCI International 2007, 22-27 July, Beijing, China

[Social] Vyas D. van de Watering M., Eliens A.,

van der Veer G. (2007b), Being Social @ Work: Designing for Playfully Mediated Social Awareness in Work, Proc. HOIT 2007, Chennai, India in August 2007