Wii are Out of Control: Bodies, Game Screens and the Production of Gestural Excess

Simon, Bart

doi:10.2139/ssrn.1354043

Cited by 54 publications

(33 citation statements)

References 4 publications

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“…Movement interfaces, such as Wiimote or Kinect, created a lot of excitement, but it has been notoriously difficult to design games and other applications for these platforms [5][6][7]. Likewise, we have seen an increased interest in virtual and augmented reality [8,9], but again, only few applications last past the initial excitement.…”

Section: Introductionmentioning

confidence: 99%

Embracing First-Person Perspectives in Soma-Based Design

et al. 2018

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A set of prominent designers embarked on a research journey to explore aesthetics in movement-based design. Here we unpack one of the design sensitivities unique to our practice: a strong first person perspective-where the movements, somatics and aesthetic sensibilities of the designer, design researcher and user are at the forefront. We present an annotated portfolio of design exemplars and a brief introduction to some of the design methods and theory we use, together substantiating and explaining the first-person perspective. At the same time, we show how this felt dimension, despite its subjective nature, is what provides rigor and structure to our design research. Our aim is to assist researchers in soma-based design and designers wanting to consider the multiple facets when designing for the aesthetics of movement. The applications span a large field of designs, including slow introspective, contemplative interactions, arts, dance, health applications, games, work applications and many others.

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Section: Introductionmentioning

confidence: 99%

Embracing First-Person Perspectives in Soma-Based Design

et al. 2018

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“…As others have observed (Simon, 2009, van Best, 2011, indie game design follows a participatory-culture-like bricolage approach. Indies also make use of a bottom-up crafting approach to design and development, working from materials and skills that are ready-to-hand rather than beginning from user/player needs and use cases (Westecott, 2012).…”

Section: New Guiding Design Value: Technology-supported Play In a Socmentioning

confidence: 92%

“…There is extensive research and design literature to draw upon concerning the shaping of rich physical and social experiences in collocated games (e.g., Bianchi-Berthouze, 2013;Isbister, Karlesky, & Frye, 2012;Isbister, 2011;Isbister et al, 2011;Johansson et al, 2011;Lindley, Le Couteur, & Berthouze, 2008;Mueller et al, 2011;Mueller, Gibbs, & Vetere, 2010;Mueller & Isbister, 2014Simon, 2009. New technologies introduced within the last 10 years, such as movement sensors, have facilitated social and physical play, opening new markets and inspiring much research (Márquez Segura & Isbister, 2015).…”

Section: Introductionmentioning

confidence: 99%

Untitled

2016

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Human Technology is an interdisciplinary, scholarly journal publishing innovative, peer-reviewed articles exploring the issues and challenges within human-technology interaction and the human role in all areas of our ICT-infused societies.Human Technology, published by the Agora Center, University of Jyväskylä, is distributed online without a charge. HUMAN-TECHNOLOGY CHOREOGRAPHIES: BODY, MOVEMENT, AND SPACE CHOREOGRAPHIES: AN EMERGING PERSPECTIVE FOR INTERACTION DESIGNIn interaction design and related disciplines, the focus of research tends toward technological objects rather than the movements relating to interacting with the objects. Even when movements are considered, the emphasis is placed on their instrumental value, that is, how movements have direct effect on the functions of technology. However, the emphasis of this thematic issue of Human Technology rests upon the design and use of technological objects. In other words, we, as editors of this special issue, were looking for submissions that emphasized intentional human movement in the physical and social lifeworld in which humans encounter technological and virtual artifacts. The term choreography here refers to meaningful continuums of movement that humans, as individuals or as groups, experience during interaction with technology (see also, e.g., Loke & Reinhardt, 2012;Parviainen, Tuuri, & Pirhonen, 2013; Parviainen, Tuuri, Pirhonen, Turunen, & Keskinen, 2013 Pirhonen, Tuuri, & Erkut 2 enable, limit, or control human movements and other behavior. Human-technology choreographies can involve anything from subtle finger movements to the movement of crowds in public spaces. A choreographic orientation, therefore, brings forth and makes explicit the opportunities and options that interaction designers have available for defining movements, movement qualities, and choreographies required when interfacing with the various devices so prevalent in contemporary living. Human movement is never a mere structure that could be handled without also affecting the inherent meanings it embodies.When we initiated this thematic issue, we sought contributions that challenge current thinking on and critically acknowledge the role of bodily movement as a basic element in a profound understanding of relationships between humans and technology. In the call for papers, we proposed choreography as a key concept through which the movement-centered phenomena present in interaction with technology could be better acknowledged, reflected on, and understood. We hoped the submissions would represent varying orientations on the subject, for example, interaction design, product design, architecture, phenomenology, or embodied cognition, as well as more broad cultural, societal, artistic, educational, or philosophical accounts. Reports on empirical studies as well as movement-centered reinterpretations of prior research and theories were explicitly welcomed.By the time the deadline for submissions passed, more than 20 interesting research reports were submitted for publication consi...

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“…Ash 2010;Crogan 2010;Giddings and Kennedy 2010;Giddings 2014;Simon 2009), and on videogame play as 'assemblages' of human and non-human actors (Taylor 2009;Banks 2014), demands that we do not limit our understanding of sensing, and kinaesthesia to the human players. Building on, but critiquing, the influence of the phenomenology of perception on-screen studies and game studies, I will explore the nature of human and non-human proprioception in everyday gameplay and ask how the sensing of gravity is distributed and achieved across the virtual and actual, software, hardware, nerves and perception, across human and non-human players.…”

Section: Introductionmentioning

confidence: 99%

The phenomenology of Angry Birds: Virtual gravity and distributed proprioception in video game worlds

Giddings

2017

Journal of Gaming &Amp; Virtual Worlds

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This article explores the nature of sensation, perception and proprioception in contemporary digital and mobile culture, as exemplified in digital games. It argues that the application of theories of the phenomenology of perception to digital media and games needs to be extended and adapted to acknowledge and describe the sensing and proprioceptive abilities of technological bodies (both hardware and software) as well as human bodies. The article explores the idea that the embodied 'feeling' (proprioception) of virtual physics, particularly gravity, in gameplay experience must be understood as distributed across and through human and non-human sensing bodies. It will take the popular mobile game Angry Birds as a starting point, but will then explore the achievement of distributed proprioception in other games and games hardware more broadly.

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Wii are Out of Control: Bodies, Game Screens and the Production of Gestural Excess

Cited by 54 publications

References 4 publications

Embracing First-Person Perspectives in Soma-Based Design

Embracing First-Person Perspectives in Soma-Based Design

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The phenomenology of Angry Birds: Virtual gravity and distributed proprioception in video game worlds

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