First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has."Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" —Peter Fuller, Arts Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" —Geoff Dyer in Ways of TellingWinner of the 1972 Booker Prize for his novel, G., John Peter Berger (born November 5th, 1926) is an art critic, painter and author of many novels including A Painter of Our Time, From A to X and Bento’s Sketchbook.

    The PlayStation Dreamworld is - to borrow a phrase from Slavoj Zizek - the pervert's guide to videogames. It argues that we can only understand the world of videogames via Lacanian dream analysis. It also argues that the Left needs to work inside this dreamspace - a powerful arena for constructing our desires - or else the dreamworld will fall entirely into the hands of dominant and reactionary forces. While cyberspace is increasingly dominated by corporate organization, gaming, at its most subversive, can nevertheless produce radical forms of enjoyment which threaten the capitalist norms that are created and endlessly repeated in our daily relationships with mobile phones, videogames, computers and other forms of technological entertainment. Far from being a book solely for dedicated gamers, this book dissects the structure of our relationships to all technological entertainment at a time when entertainment has become ubiquitous. We can no longer escape our fantasies but rather live inside their digital reality.

    His range is wide, and his insights are acute, frequently ironic, and often downright funny. Translated by William Weaver. A Helen and Kurt Wolff Book

    We are using life on the screen to engage in new ways of thinking about evolution, relationships, politics, sex, and the self. "Life on the Screen" traces a set of boundary negotiations, telling the story of the changing impact of the computer on our psychological lives and our evolving ideas about minds, bodies, and machines. What is emerging, Turkle says, is a new sense of identity-- as decentered and multiple. She describes trends in computer design, in artificial intelligence, and in people's experiences of virtual environments that confirm a dramatic shift in our notions of self, other, machine, and world. The computer emerges as an object that brings postmodernism down to earth.

    * The authors provide a clear and comprehensive overview of this phenomenon. The book also includes important contributions by Henry Jenkins and John Hartley, both experts in this field. Full description

    People of all ages and from all walks of life now spend thousands of hours—and dollars—partaking in this popular new brand of escapism. But the line between fantasy and reality is starting to blur. Players have created virtual societies with governments and economies of their own whose currencies now trade against the dollar on eBay at rates higher than the yen. And the players who inhabit these synthetic worlds are starting to spend more time online than at their day jobs. In Synthetic Worlds, Edward Castronova offers the first comprehensive look at the online game industry, exploring its implications for business and culture alike. He starts with the players, giving us a revealing look into the everyday lives of the gamers—outlining what they do in their synthetic worlds and why. He then describes the economies inside these worlds to show how they might dramatically affect real world financial systems, from potential disruptions of markets to new business horizons. Ultimately, he explores the long-term social consequences of online games: If players can inhabit worlds that are more alluring and gratifying than reality, then how can the real world ever compete? Will a day ever come when we spend more time in these synthetic worlds than in our own? Or even more startling, will a day ever come when such questions no longer sound alarmist but instead seem obsolete? With more than ten million active players worldwide—and with Microsoft and Sony pouring hundreds of millions of dollars into video game development—online games have become too big to ignore. Synthetic Worlds spearheads our efforts to come to terms with this virtual reality and its concrete effects. “Illuminating. . . . Castronova’s analysis of the economics of fun is intriguing. Virtual-world economies are designed to make the resulting game interesting and enjoyable for their inhabitants. Many games follow a rags-to-riches storyline, for example. But how can all the players end up in the top 10%? Simple: the upwardly mobile human players need only be a subset of the world's population. An underclass of computer-controlled 'bot' citizens, meanwhile, stays poor forever. Mr. Castronova explains all this with clarity, wit, and a merciful lack of academic jargon.”—The Economist “Synthetic Worlds is a surprisingly profound book about the social, political, and economic issues arising from the emergence of vast multiplayer games on the Internet. What Castronova has realized is that these games, where players contribute considerable labor in exchange for things they value, are not merely like real economies, they are real economies, displaying inflation, fraud, Chinese sweatshops, and some surprising in-game innovations.”—Tim Harford, Chronicle of Higher Education

    Whether we log on to Web sites to scrutinize the latest plot turns in Lost, "stalk" our favorite celebrities on Gawker, attend gaming conventions, or simply wait with bated breath for the newest Harry Potter novel--each of us is a fan. Fandom extends beyond television and film to literature, opera, sports, and pop music, and encompasses both high and low culture.Fandom brings together leading scholars to examine fans, their practices, and their favorite texts. This unparalleled selection of original essays examines instances across the spectrum of modern cultural consumption from Karl Marx to Paris Hilton, Buffy the Vampire Slayer to backyard wrestling, Bach fugues to Bollywood cinema, and nineteenth-century concert halls to computer gaming. Contributors examine fans of high cultural texts and genres, the spaces of fandom, fandom around the globe, the impact of new technologies on fandom, and the legal and historical contexts of fan activity. Fandom is key to understanding modern life in our increasingly mediated and globalized world.

    Sontag develops further the concept of 'transparency'. When anything can be photographed and photography has destroyed the boundaries and definitions of art, a viewer can approach a photograph freely with no expectations of discovering what it means. This collection of six lucid and invigorating essays, the most famous being "In Plato's Cave", make up a deep exploration of how the image has affected society.

    A companion work to Katie Salen and Eric Zimmerman's textbook Rules of Play: Game Design Fundamentals, The Game Design Reader is a classroom sourcebook, a reference for working game developers, and a great read for game fans and players.Thirty-two essays by game designers, game critics, game fans, philosophers, anthropologists, media theorists, and others consider fundamental questions: What are games and how are they designed? How do games interact with culture at large? What critical approaches can game designers take to create game stories, game spaces, game communities, and new forms of play?Salen and Zimmerman have collected seminal writings that span 50 years to offer a stunning array of perspectives. Game journalists express the rhythms of game play, sociologists tackle topics such as role-playing in vast virtual worlds, players rant and rave, and game designers describe the sweat and tears of bringing a game to market. Each text acts as a springboard for discussion, a potential class assignment, and a source of inspiration. The book is organized around fourteen topics, from The Player Experience to The Game Design Process, from Games and Narrative to Cultural Representation. Each topic, introduced with a short essay by Salen and Zimmerman, covers ideas and research fundamental to the study of games, and points to relevant texts within the Reader. Visual essays between book sections act as counterpoint to the writings.Like Rules of Play, The Game Design Reader is an intelligent and playful book. An invaluable resource for professionals and a unique introduction for those new to the field, The Game Design Reader is essential reading for anyone who takes games seriously.

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    Yet Williams' analysis of television's history, its institutions, programmes and practices, and its future prospects, remains remarkably prescient.Williams stresses the importance of technology in shaping the cultural form of television, while always resisting the determinism of McLuhan's dictum that 'the medium is the message'. If the medium really is the message, Williams asks, what is left for us to do or say? Williams argues that, on the contrary, we as viewers have the power to disturb, disrupt and to distract the otherwise cold logic of history and technology - not just because television is part of the fabric of our daily lives, but because new technologies continue to offer opportunities, momentarily outside the sway of transnational corporations or the grasp of media moguls, for new forms of self and political expression.

    The Architecture of Happiness starts from the idea that where we are heavily influences who we can be, and it argues that it is architecture's task to stand as an eloquent reminder of our full potential.Whereas many architects are wary of openly discussing the word beauty, this book has at its center the large and naïve question: What is a beautiful building? It is a tour through the philosophy and psychology of architecture that aims to change the way we think about our homes, our streets and ourselves.

    Content is the first collection of Doctorow’s infamous articles, essays, and polemics.Here’s why Microsoft should stop treating its customers as criminals (through relentless digital-rights management); how America chose copyright and Happy Meal toys over jobs; why Facebook is taking a faceplant; how Wikipedia is a poor cousin of The Hitchhiker’s Guide to the Galaxy; and, of course, why free e-books kick ass.Accessible to geeks and noobs (if you’re not sure what that means, it’s you) alike, Content is a must-have compilation from Cory Doctorow, who will be glad to take you along for the ride as he effortlessly surfs the zeitgeist.

    In her examination of the cultural forms to which these affects give rise, Sianne Ngai suggests that these minor and more politically ambiguous feelings become all the more suited for diagnosing the character of late modernity.Along with her inquiry into the aesthetics of unprestigious negative affects such as irritation, envy, and disgust, Ngai examines a racialized affect called “animatedness,” and a paradoxical synthesis of shock and boredom called “stuplimity.” She explores the politically equivocal work of these affective concepts in the cultural contexts where they seem most at stake, from academic feminist debates to the Harlem Renaissance, from late-twentieth-century American poetry to Hollywood film and network television. Through readings of Herman Melville, Nella Larsen, Sigmund Freud, Alfred Hitchcock, Gertrude Stein, Ralph Ellison, John Yau, and Bruce Andrews, among others, Ngai shows how art turns to ugly feelings as a site for interrogating its own suspended agency in the affirmative culture of a market society, where art is tolerated as essentially unthreatening.Ngai mobilizes the aesthetics of ugly feelings to investigate not only ideological and representational dilemmas in literature—with a particular focus on those inflected by gender and race—but also blind spots in contemporary literary and cultural criticism. Her work maps a major intersection of literary studies, media and cultural studies, feminist studies, and aesthetic theory.

    This textbook traces the history of video games, introduces the major theories used to analyze games such as ludology and narratology, reviews the economics of the game industry, examines the aesthetics of game design, surveys the broad range of game genres, explores player culture, and addresses the major debates surrounding the medium, from educational benefits to the effects of violence.Throughout the book, the authors ask readers to consider larger questions about the medium:what defines a video game? who plays games? why do we play games? how do games affect the player?Extensively illustrated, Understanding Video Games is an indispensable and comprehensive resource for those interested in the ways video games are reshaping entertainment and society. A Companion Website (www.routledge.com/textbooks/978041597...) features student resources including discussion questions for each chapter, a glossary of key terms, a video game timeline, and links to other video game studies resources for further study.