This is a Second Edition of a book first co authored for 2003. The book offers students conceptual frameworks for thinking through a range of key issues which have arisen over two decades of speculation on the cultural implications of new media .

/pdf/new-media-a-critical-introduction-4b1kzudd14.pdf

New Media: A Critical Introduction

(1975). Topophilia: A Study of Environmental Perception, Attitudes and Values. Journal of Architectural Education: Vol. 29, Humanist Issues in Architecture, pp. 32-32.

Topophilia: A Study of Environmental Perception, Attitudes and Values

The demand for minority representation in video games often focuses on proving that members of marginalized groups are gamers. In turn, it is asserted that the gaming industry should focus on appealing to these players via targeted content. Being targeted as a gamer, however, does not a gamer make. Identity as a gamer intersects with other identities like gender, race, and sexuality. Negative connotations about gaming lead people to not identify as gamers, and even to not play video games. This article concludes, based on interview data, that those invested in diversity in video games must focus their attention on the construction of the medium, and not the construction of the audience as such. This shift in academic attention is necessary to develop arguments for representation in games that do not rely on marking groups as specific kinds of gaming markets via identifiers like gender, race, and sexuality.

Do you identify as a gamer? Gender, race, sexuality, and gamer identity

Through an Internet survey of 536 parent–child dyads, the authors researched which mediation strategies parents used to regulate videogaming by their children (8–18 years). Factor analyses revealed...

Parental mediation of children’s videogame playing: a comparison of the reports by parents and children

In this article I analyse the Eritrean diaspora and its use of cyberspace to theorize the ways transnationalism and new media are associated with the rise of new forms of community, public spheres and sites of cultural production. The struggle for national independence coincided with the rise of the Internet and the Eritrean diaspora has been actively involved in the new state. Eritreans abroad use the Internet as a transnational public sphere where they produce and debate narratives of history, culture, democracy and identity. Through the web the diaspora has mobilized demonstrators, amassed funds for war, debated the formulation of the constitution, and influenced the government of Eritrea. Through their web postings, 'Internet intellectuals' interpret national crises, rearticulate values and construct community. Thus, the Internet is not simply about information but is also an emotion-laden and creative space. More than simply refugees or struggling workers, diasporas online may invent new forms of citizenship, community and political practices. Identity is not a constant and is something that is renegotiated on (a) regular basis, be it at the individual or at the national level. This is especially prob- lematic for those of us living in the diaspora, we deal with so many identities and our existence is literally schizophrenic. We want to remain actively interested in the affairs of the homeland, at the same time we live in countries that (are) careless about our internal struggles and hence our miserable dependence on mediums like Dehai for a sense of belonging and for the illusion of home that it creates. I would even venture to say that the various cyber shoutings and negative exchanges we are accustomed to in Dehai are a necessary and unavoidable aspects of being a part of such a community.

/pdf/diaspora-cyberspace-and-political-imagination-the-eritrean-5azvpbomkk.pdf

Diaspora, cyberspace and political imagination: the Eritrean diaspora online

This paper examines the practices and activities of videogame fans online. In scrutinising a variety of player-produced texts including walkthroughs, fan art, fiction, 'theorising', Frequently Asked Questions lists (FAQs), and even fan-games, the article seeks not only to highlight the creativity and vibrancy of the participatory culture of videogame fandom but also to examine the ways in which production of such texts and the ensuing discussion and debate are used by players to generate and communicate their identity within the community of 'hardcore' game fans (often known as otaku) and modify the terms of engagement with the game. In this way, the paper interrogates player-produced texts as examples of the involvement and activity of players in the construction of videogames' meaning and as a means of problematising discussions of the pleasures of gameplay.

Playing with videogames

Despite record sales and an ever-growing global industry, the simple fact is that videogames are disappearing. Most obviously, the physical deterioration of discs, cartridges, consoles and controllers means that the data and devices will crumble to dust and eventually will be lost forever. However, there is more to the disappearance of videogames than plastic corrosion and bit rot. Best Before examines how the videogames industry's retail, publishing, technology design, advertising and marketing practices actively produce obsolescence, wearing out and retiring old games to make way for the always new, just out of reach, 'coming soon' title and 'next generation' platform. Set against the context of material deterioration and the discursive production of obsolescence, Best Before examines the conceptual and practical challenges faced within the nascent field of game preservation. Understanding videogames as rich, complex and mutable texts and experiences that are supported and sustained by cultures of gameplay and fandom, Best Before considers how - and even whether - we might preserve and present games for future generations.

Best Before: Videogames, Supersession and Obsolescence

The subject of digital game preservation is one that has moved up the research agenda in recent years with a number of international projects, such as KEEP and Preserving Virtual Worlds, highlighting and seeking to address the impact of media decay, hardware and software obsolescence through different strategies including code emulation, for instance. Similarly, and reflecting a popular interest in the histories of digital games, exhibitions such as Game On (Barbican, UK) and GameCity (Nottingham, UK) experiment with ways of presenting games to a general audience. This article focuses on the UK’s National Videogame Archive (NVA) which, since its foundation in 2008, has developed approaches that both dovetail with and critique existing strategies to game preservation, exhibition and display.

The article begins by noting the NVA’s interest in preserving not only the code or text of the game, but also the experience of using it – that is, the preservation of gameplay as well as games. This approach is born of a conceptualisation of digital games as what Moulthrop (2004) has called “configurative performances” that are made through the interaction of code, systems, rules and, essentially, the actions of players at play. The analysis develops by problematising technical solutions to game preservation by exploring the way seemingly minute differences in code execution greatly impact on this user experience.

Given these issues, the article demonstrates how the NVA returns to first principles and questions the taken-for-granted assumption that the playable game is the most effective tool for interpretation. It also encourages a consideration of the uses of non-interactive audiovisual and (para)textual materials in game preservation activity. In particular, the focus falls upon player-produced walkthrough texts, which are presented as archetypical archival documents of gameplay. The article concludes by provocatively positing that these non-playable, non-interactive texts might be more useful to future game scholars than the playable game itself.

/pdf/not-playing-games-player-produced-walkthroughs-as-archival-16g1jsp3hw.pdf

(Not) Playing Games: Player-Produced Walkthroughs as Archival Documents of Digital Gameplay

Difficult Questions About Video Games

Save the Videogame! The National Videogame Archive: Preservation, Supersession and Obsolescence

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