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"The gold standard of our culture is 'fun.' Companies want their offices to feel more playful, schools want learning to be entertaining, programmers want their products to feel as intuitive and addictive as playing Tetris or AngryBirds. Trying to make life like playing a game sounds like a good idea--who doesn't want to have fun while working or commuting, parenting or cleaning?--but what's often overlooked in the rush to make everything 'fun' is that games are hard. Playing a sport requires concentration, repetition, and physical pain; playing a musical instrument demands shockingly boring practice and patience; even playing video games requires hours and hours of study, determination, and drive. Making our ideas about 'play' sound a whole lot like 'work.' Where's the fun in that? In Play Anything, Ian Bogost--the Ivan Allen College Distinguished Chair in Media Studies and Professor of Interactive Computing at the Georgia Institute of Technology--shows that our common understanding of games--that they are always fun, and always juvenile--is dead wrong. And that that's a good thing, both for how we play and how we conduct our days"--

Journalism has embraced digital media in its struggle to survive. But most online journalism just translates existing practices to the Web: stories are written and edited as they are for print; video and audio features are produced as they would be for television and radio. The authors of Newsgames propose a new way of doing good journalism: videogames. Videogames are native to computers rather than a digitized form of prior media. Games simulate how things work by constructing interactive models; journalism as game involves more than just revisiting old forms of news production. The book describes newsgames that can persuade, inform, and titillate; make information interactive; re-create a historical event; put news content into a puzzle; teach journalism; and build a community. Wired magazine's game Cutthroat Capitalism, for example, explains the economics of Somali piracy by putting the player in command of a pirate ship, offering choices for hostage negotiation strategies. And Powerful Robot's game September 12th offers a model for a short, quickly produced, and widely distributed editorial newsgame. Videogames do not offer a panacea for the ills of contemporary news organizations. But if the industry embraces them as a viable method of doing journalism--not just an occasional treat for online readers--newsgames can make a valuable contribution

Literaturverz. S. [401] - 436

Intro -- Contents -- Acknowledgments -- Introduction -- I From Systems to Units -- 1 Unit Operations -- 2 Structuralism and Computation -- 3 Humanism and Object Technology -- II Procedural Criticism -- 4 Comparative Videogame Criticism -- 5 Videogames and Expression -- 6 Encounters across Platforms -- III Procedural Subjectivity -- 7 Cellular Automata and Simulation -- 8 An Alternative to Fun -- 9 The Simulation Gap -- IV From Design to Configuration -- 10 Complex Networks -- 11 Complex Worlds -- 12 Critical Networks -- Notes -- Bibliography -- Index.

In recent years, computer games have moved from the margins of popular culture to its center. In 'How to do things with videogames', Ian Bogost explores the many ways computer games are used today: documenting important historical and cultural events; educating both children and adults; promoting commercial products; and serving as platforms for art, pornography, exercise, relaxation, pranks and politics. Bogost concludes that as videogames become ever more enmeshed with contemporary life, the idea of gamers as social identities will become obsolete, giving rise to gaming by the masses. But until games are understood to have valid applications across the cultural spectrum, their true potential will remain unrealized.Ian Bogost is professor of digital media at Georgia Institute of Technology.

Intro -- Title Page -- Copyright Page -- Contents -- Chapter 1 Welcome to the ­National Lighter ­Museum -- Chapter 2 Personalized -- Chapter 3 The Disposability of the Permanent -- the Permanence of the Disposable -- Chapter 4 Masters of Fire -- Chapter 5 Smoke 'Em If You've Got 'Em -- Chapter 6 What Have We Learned So Far? -- Chapter 7 Strike Anywhere -- Chapter 8 In Cars -- Chapter 9 Strange Intimacy -- Chapter 10 About These Little Things -- Acknowledgments -- Bibliography -- Filmography -- Index

Intro -- Title Page -- Copyright Page -- Contents -- Introduction. What's in a name? -- A room without books -- The lives of bookshelves -- Cicero ' s shelves -- Chapter 1 From medieval to modern: Bookshelves in chains -- The oldest still-chained shelves in the world -- So what are chained libraries? -- A thousand years of chains: Hereford Cathedral -- Digital books & digital chains: The medieval legacy -- What are chains about? -- Chapter 2 The things that go on a bookshelf -- The small library: Putting books on children ' s bookshelves -- Putting books on a bookshelf -- Display & storage: Books & not-books -- How to read a bookshelf -- Chapter 3 Bookshelves that move -- The thousands of books shelved in ships -- What does it mean for a shelf to move? Movable vs. fixed shelves -- Moving the bookshelves -- Making more bookshelves move: Other kinds of mobility -- Still, they move -- Chapter 4 Bookshelves as signs and symbols -- The bookshelf as a scene & a symbol -- Secret shelves in secret rooms -- From power and privilege to Marvel and Marengi -- The unwritten future of bookshelves -- Chapter 5 The life cycle of a bookshelf -- In which, bookshelves are installed at the New York Public Library -- Bookshelves brim with biological metaphor -- Meet the megafauna: Twentieth-century libraries -- Bookshelves with a bauplan -- The death and resurrection of bookshelves -- Conclusion. The plural futures of bookshelves -- Books without shelves & bookless libraries -- The many lives of bookshelves -- Acknowledgments -- Notes -- Bibliography -- Index

Intro -- Title Page -- Copyright Page -- Contents -- Introduction: The Form as Form -- Chapter 1 Private Publicity -- Chapter 2 Testing, Testing -- Chapter 3 Your Opinion of You -- Chapter 4 The Art of Asking -- Chapter 5 Pandora's Checklist -- Chapter 6 Dating and Data -- Chapter 7 Quiz Mania -- Acknowledgments -- Notes -- Introduction -- Chapter 1 -- Chapter 2 -- Chapter 3 -- Chapter 4 -- Chapter 5 -- Chapter 6 -- Chapter 7 -- Index

Intro -- Title Page -- Copyright Page -- Contents -- Acknowledgments -- Part 1 OUT: THING -- 1 How I Cut a Golf Ball in Half, and Found a Lot of Things Inside -- 2 How the Golf Ball Keeps Holy the Lord's Day -- 3 How an Empire Made the Golf Ball, and The Golf Ball Made an Empire -- 4 How The Golf Ball Blew Up America and Made Golf More Fun -- 5 How the Golf Ball Went Ballistic -- 6 How the Golf Ball Reached Détente -- 7 How the Court Decided Custody49 of the Golf Ball -- 8 How the Golf Ball Became the #1 Ball in Golf -- 9 How the Golf Ball Got So Cool -- Part 2 IN: PHENOMENON -- 10 How the Golf Ball Vanishes Before Your Eyes -- 11 How the Golf Ball Makes Us Feel Fulfilled, for a Millisecond -- 12 How to Control the Unruly Golf Ball -- 13 How to Hit the Golf Ball by Not Hitting It -- 14 How the Golf Ball Looks into the Abyss, and the Abyss Looks Back -- 15 How the Golf Ball Won the Golden Fleece -- 16 How the Golf Ball Went to the Moon -- 17 How the Golf Ball Makes Friends with Animals -- 18 How the Golf Ball Prepares for Doomsday -- Notes -- Index

Intro -- Title Page -- Copyright Page -- Contents -- Part 1 -- Chapter 1 What Is Silence? -- Part 2 -- Chapter 2 Selling Silence -- Chapter 3 Seeking Silence -- Chapter 4 Silence Versus Solitude -- Chapter 5 Voluntary Silences -- Part 3 -- Chapter 6 The Representation of Silence -- Chapter 7 Silent Reading -- Chapter 8 Silence on Stage -- Chapter 9 The Unspeakable -- Part 4 -- Chapter 10 The Silenced Moment -- Chapter 11 The Silence of Dolls -- Chapter 12 Silencing -- Chapter 13 Silence and Secrets -- Part 5 -- Chapter 14 The Future of Silence -- Notes -- Bibliography -- Index

Intro -- Title Page -- Copyright Page -- Contents -- Preface -- "A Day Made of Glass" -- Macbeth -- Minority Report -- Microscopic vision -- Telescopic vision -- Earrings and landscapes -- Photography -- Shakespeare's sonnets -- "Heart of Glass" -- Sea glass -- Google Glass -- Trademark -- Microsoft HoloLens -- Strange Days -- A glass, darkly -- Surfaces -- "A World of Glass" -- Postscript: What's in my pocket? -- Further reading -- Acknowledgments -- Notes -- Index

Intro -- Title Page -- Copyright Page -- Contents -- Part 1 Hotel Haunting -- 1 Hotel haunting -- Part 2 Fragments from a Hysterical Suitcase -- 2 Hotel Freud -- I -- II -- III -- IV -- 3 Marriage postcards -- Postcard #1—Postcards -- Postcard #2—Writing -- Postcard #3—Silence -- Postcard #4—Dora time -- Postcard #5—Clock time -- Postcard #6—Anxiety time -- Postcard #7—Married time -- Postcard #8—Home times -- Postcard #9—Me-time -- Postcard #10—Bedtime -- Postcard #11—Home work -- Postcard #12—Part-time -- Postcard #–11—Away -- Postcard #–10—Pockets -- Postcard #–9—Drunk time -- Postcard #–8—Evening -- Postcard #–7—Married time II -- Postcard #–6—Angry time -- Postcard #–5—Leaving time -- Postcard #–4—Nameless -- Postcard #–3—Nameless II -- Postcard #–2—Ending -- Postcard #–1—Returning -- 4 Hometel -- I -- II -- III -- IV -- V -- VI -- VII -- VIII -- 5 Hotel diary -- The lobby -- The library (which is also the lobby) -- The switchboard -- The stairs (The elevator) -- The corridor -- The door (key) -- The bedroom -- Dreamwork -- The en-suite -- The restaurant -- I do not go into -- 6 In a German Pension -- I -- II -- III -- IV -- V -- VI -- VII -- VIII -- IX -- 7 Hotel Marx (Bros.) -- I -- II -- 8 The talking cure -- I -- II -- 9 Hotel Marx -- I -- II -- III -- IV -- 10 Postcards from 26 hotels -- Hotel A -- Hotel B -- Hotel C -- Hotel D -- Hotel E -- Hotel F -- Hotel G -- Hotel H -- Hotel I -- Hotel J -- Hotel K -- Hotel L -- Hotel M -- Hotel N -- Hotel O -- Hotel P -- Hotel Q -- Hotel R -- Hotel S -- Hotel T -- Hotel U -- Hotel V -- Hotel W -- Hotel X -- Hotel Y -- Hotel Z -- Notes -- Chapter 1 -- Chapter 2 -- Chapter 3 -- Chapter 4 -- Chapter 5 -- Chapter 6 -- Chapter 7 -- Chapter 9 -- Acknowledgments -- Index -- 2  Hotel Freud -- I -- II -- III -- IV