May 162022
 

Vai decorrer em junho, e durante seis dias, seis manhãs uma acção de formação relacionada com Structural Equation Modelling.
Do programa consta:
1. SEM Foundations and Path Analysis
2. Confirmatory Factor analysis
3. SEM with latent variable
4. Multigroup analysis and other SEM applications
5. Meet the researchers

podem ser feitas inscrições até ao dia 4 de junho com um custo de 275 euros.

+infos(oficial): LINK

May 012022
 

Encontrei o Professor Carlos Martinho a fazer uma apresentação acerca de uma investigação realizada pelo seu orientando Miguel Antunes:

da tese surge: “O mundo analógico e digital dos jogos de tabuleiro está em constante evolução, o que torna importante a recolha de informações sobre os jogadores. É fundamental compreender as diferenças que existem entre os jogadores, pois permite-nos compreender as suas motivações para jogar um jogo de tabuleiro. Caracterizámos os nossos jogadores desde traços demográficos mais gerais a aspectos relacionados com o contexto humano e o ambiente em torno do jogo. Conseguimos reunir um vasto espetro de participantes. Uma das questões para as quais procurávamos uma resposta era: Jogadores diferentes podem jogar o mesmo jogo de formas diferentes ou por razões diferentes? Para verificar se esta relação existe, utilizámos um questionário de personalidade e criámos um questionário de motivação de jogos de tabuleiro. Definimos um modelo CISSI que agrupa em componentes as dimensões das motivações para jogar jogos de tabuleiro: Desafio Intelectual; Experiência Imaginativa; Experiência Sensorial; Interação Competitiva; Desafio Social. Na nossa amostra de 229 participantes encontrámos uma pequena correlação entre a personalidade e as motivações para jogar jogos de tabuleiro. Observámos que a Extroversão e o Neuroticismo são as mais relacionadas com as dimensões das Motivações. Globalmente, é possível definir um modelo que permite caracterizar um jogador de jogo de tabuleiro com base nas suas motivações para jogar. No entanto, a sua correlação com Personalidade é um processo que necessita de cuidado, devido à fraca correlação.”

+infos(fonte): https://fenix.tecnico.ulisboa.pt/cursos/meic-t/dissertacao/846778572213469

May 012022
 

Da apresentação do livro “Code as Creative Medium: A Handbook for Computational Art and Design de Golan Levin, Tega Brain” em que:
“An essential guide for teaching and learning computational art and design: exercises, assignments, interviews, and more than 170 illustrations of creative work.
This book is an essential resource for art educators and practitioners who want to explore code as a creative medium, and serves as a guide for computer scientists transitioning from STEM to STEAM in their syllabi or practice. It provides a collection of classic creative coding prompts and assignments, accompanied by annotated examples of both classic and contemporary projects, and more than 170 illustrations of creative work, and features a set of interviews with leading educators. Picking up where standard programming guides leave off, the authors highlight alternative programming pedagogies suitable for the art- and design-oriented classroom, including teaching approaches, resources, and community support structures.”

Do índice consta:
Part One: Assignments
Iterative Pattern
Face Generator
Clock
Generative Landscape
Virtual Creature
Custom Pixel
Drawing Machine
Modular Alphabet
Data Self-Portrait
Augmented Projection
One-Button Game
Bot
Collective Memory
Experimental Chat
Browser Extension
Creative Cryptography
Voice Machine
Measuring Device
Personal Prosthetic
Parametric Object
Virtual Public Sculpture
Extrapolated Body
Synesthetic Instrument

Part Two: Exercises
Computing without a Computer
Graphic Elements
Iteration
Color
Conditional Testing
Unpredictability
Arrays
Time and Interactivity
Typography
Curves
Shapes
Geometry
Image
Visualization
Text and Language
Simulation
Machine Learning
Sound
Games

Part Three: Interviews
Teaching Programming
to Artists and Designers
The Bimodal Classroom
Encouraging a Point of View
The First Day
Favorite Assignment
When Things Go Wrong
Most Memorable Response
Advice for New Educators

Classroom Techniques

Provenance

Appendices
Authors and Contributors
Notes on Computational
Book Design
Acknowledgments

+infos(oficial): https://mitpress.mit.edu/books/code-creative-medium

May 012022
 

How to take notes for research: the slip-box method
https://www.youtube.com/watch?v=bDQn9ry22n0

Understanding note-taking – Zettelkasten
https://www.youtube.com/watch?v=-r6fnC5lVfE

e com ajuda de software:
Obsidian for Beginners: Start HERE — How to Use the Obsidian App for Notes (1/6)
https://www.youtube.com/watch?v=QgbLb6QCK88

Obsidian for Beginners: 6 Keys to Markdown (2/6) — How to Use the Obsidian App for Notes
https://www.youtube.com/watch?v=bBk2kg8Gm_U

Obsidian for Beginners: 8 Key Settings (3/6) — How to Use the Obsidian App for Notes
https://www.youtube.com/watch?v=_2z-7D4bQEA

Obsidian for Beginners: Custom Themes (4/6) — How to Use the Obsidian App for Notes
https://www.youtube.com/watch?v=Ca5ebhAYMm8

Obsidian for Beginners: 8 Important Hotkeys (5/6) — How to Use the Obsidian App for Notes
https://www.youtube.com/watch?v=cDcoBMVJsvk

Obsidian for Beginners: Just Start. Now. (6/6) — How to Use the Obsidian App for Notes
https://www.youtube.com/watch?v=bt7JPYKTrSU

Obsidian Publish (0.9.2) — The World is Your Oyster
https://www.youtube.com/watch?v=1pf6aj3Uwuk

e ainda sobre tirar notas:
Linking Your Thinking
https://www.youtube.com/channel/UC85D7ERwhke7wVqskV_DZUA/videos

How to turn your notes into published articles and books using the Obsidian app with Eleanor Konik
https://www.youtube.com/watch?v=nO5N_x2so0g

Mar 262022
 

A autora Marina Umaschi Bers lançou mais um livro acerca de crianças e pelo facto delas aprenderem a escrever código, com o titulo “Beyond Coding HOW CHILDREN LEARN HUMAN VALUES THROUGH PROGRAMMING” e que tem como conteúdo:
1 Coding, Robotics, and Values 1
2 The Coding Wars 23
3 The Rise of STEM 45
4 Coding as Another Language 63
5 From Theory to Practice 87
6 Coding Character 117
7 The Palette of Virtues 137
8 Coding Bridges 183
Further Readings 203
Resources 205

do texto de apresentação surge:
“Today, schools are introducing STEM education and robotics to children in ever-lower grades. In Beyond Coding, Marina Umaschi Bers lays out a pedagogical roadmap for teaching code that encompasses the cultivation of character along with technical knowledge and skills. Presenting code as a universal language, she shows how children discover new ways of thinking, relating, and behaving through creative coding activities. Today’s children will undoubtedly have the technical knowledge to change the world. But cultivating strength of character, socioeconomic maturity, and a moral compass alongside that knowledge, says Bers, is crucial.

Bers, a leading proponent of teaching computational thinking and coding as early as preschool and kindergarten, presents examples of children and teachers using the Scratch Jr. and Kibo robotics platforms to make explicit some of the positive values implicit in the process of learning computer science. If we are to do right by our children, our approach to coding must incorporate the elements of a moral education: the use of narrative to explore identity and values, the development of logical thinking to think critically and solve technical and ethical problems, and experiences in the community to enable personal relationships. Through learning the language of programming, says Bers, it is possible for diverse cultural and religious groups to find points of connection, put assumptions and stereotypes behind them, and work together toward a common goal.”

+infos(oficial): LINK

Feb 132022
 

Gostava de ter acesso a este artigo:
“Do Real-Time Strategy Video Gamers Have Better Attentional Control?”
Objective
Do real-time strategy (RTS) video gamers have better attentional control? To examine this issue, we tested experienced versus inexperienced RTS video gamers on multi-object tracking tasks (MOT) and dual-MOT tasks with visual or auditory secondary tasks (dMOT). We employed a street-crossing task with a visual working memory task as a secondary task in a virtual reality (VR) environment to examine any generalized attentional advantage.

Background
Similar to action video games, RTS video games require players to switch attention between multiple visual objects and views. However, whether the attentional control advantage is limited by sensory modalities or generalizes to real-life tasks remains unclear.

Method
In study 1, 25 RTS video game players (SVGP) and 25 non-video game players (NVGP) completed the MOT task and two dMOT tasks. In study 2, a different sample with 25 SVGP and 25 NVGP completed a simulated street-crossing task with the visual dual task in a VR environment.

Results
After controlling the effects of the speed-accuracy trade-off, SVGP showed better performance than NVGP in the MOT task and the visual dMOT task, but SVGP did not perform better in either the auditory dMOT task or the street-crossing task.

Conclusion
RTS video gamers had better attentional control in visual computer tasks, but not in the auditory tasks and the VR tasks. Attentional control benefits associated with RTS video game experience may be limited by sensory modalities, and may not translate to performance benefits in real-life tasks.

+infos(oficial): LINK

Feb 132022
 

Um texto interessante, e fica aqui uma cópia porque tem acesso restrito.. enfim:

“Why have students—many of whom are video-game players—so disliked the virtual learning environments of their colleges and universities? JT Torres asks and suggests some answers.
By JT Torres
December 8, 2021

The pandemic forced many of us to move into hybrid, technology-mediated teaching, and as we continue our voyage into such spaces, one thing that we in higher ed should remember is that many students have long been quite good at navigating hybrid environments. Really, it’s about time formal education finally catches up.
In his landmark 2003 book What Video Games Have to Teach Us About Learning and Literacy James Paul Gee detailed the ways video games do a better job of facilitating literacy learning than education institutions. Almost 20 years later, his analysis has become incredibly relevant. It would seem that the move toward more hybrid learning environments should have captivated a student demographic primed by video games. But instead, students—many of whom are video-game players—have often hated the virtual learning environments of their universities. Somewhat ironically, the video-game industry is experiencing a resurgence. Prophetically, Gee wrote, “The theories of learning one would infer from looking at schools today comport very poorly with the theory of learning in good video games.”
Now is the perfect time to revisit the principles of why video games are so good at teaching and learning in ways most virtual classes don’t seem to be. Below is a summary of some of those principles.
Storying content. Gee discussed meaning as being situated in specific contexts. Knowledge, in other words, only becomes meaningful in certain situations. For instance, I might know the nutritional content of eggs, but that doesn’t mean I know how to scramble them or even prepare a nutritious breakfast. In video games, the concepts and skills a player learns have specific uses in particular moments. Those situated meanings require players to recognize the patterns that indicate how to best apply their newly acquired knowledge. Typically, situated meanings are created via stories. Within those stories, players assume an identity that motivates them to make use of whatever the video game is teaching them.
Applying newly learned skills and knowledge. Video games make frequent use of interest-based interaction with knowledge, promoting self-directed mastery. Very rarely do video games ask players to passively listen to and absorb information—instead, they deliver information in usable chunks. At each stage, players practice applying their new learning, first to familiar situations and progressively to novel situations, facilitating transfer.
Providing just-in-time feedback. Players typically receive information at the time they need it. Say a player in a particular game is threatened by an oncoming storm. Right at that moment, the game teaches the player how to construct shelter. Other video games might rely on social interactions, often facilitated through popular apps like Discord or GameFAQs. This approach encourages collaboration, allowing players to actively seek information from others when they require it most.
Encouraging risk. Of course, the consequences of failing in a video game are much lower than failing an expensive college class that could perhaps even influence one’s career. The low-stakes challenges of video games empower players to try new strategies and discover novel approaches to problem solving.
Rewarding failure. When players take risks and fail, they still learn. On a metacognitive level, players realize a gap in ability or knowledge that might motivate them to persist. On a pragmatic level, they learn not only what doesn’t work but also what might work with modification, the foundation of self-regulation.
These principles remind educators that the virtual wheel does not need to be reinvented. We don’t have to be tech savants to understand what grabs students’ attention and inspires them. We don’t even have to use video games or gamify classrooms. Below are some practical translations of the above principles that can work in our classrooms right now, even without Zoom wizardry.
Frame content with culturally relevant themes. If meaning is situated in specific contexts, then one way we can engage students is to consider the stories that matter to them. We can do this by activating prior knowledge, such as personal experience, or asking students to share stories of their potential relationships with the course content. For example, an economics professor introducing the topic of monopolies might ask students to consider how they would shop for items if they wanted to boycott Amazon. Good video games invite the players to also shape the story. Zoom can encourage collaborative story shaping (i.e., learning) through hybrid or online groups. The economics professor could set the narrative stage: let’s boycott Amazon. In groups, students could design a plan for only consuming from markets not influenced by Amazon. As they realize the difficulty of effectively doing so, the professor can explicitly illustrate the principles of monopolies.
Create moments for students to use newly learned skills and knowledge. Active learning has long been a trend, but it isn’t always understood. To be clear, active learning should not replace direct instruction, which, of course, is effective. Certainly, video games have moments when the action pauses and information is directly communicated to the player. But it’s combining the two types of learning together—explicit instruction alongside opportunities for application—that create the strongest learning environments. Experience does not need to be taken literally. Fiction, a simulation of reality, can also be an experience. By broadening the concept of “experience,” virtual environments can expand notions of active learning. For instance, students might role-play imagined experiences. Simulating or role-playing experiences immerse students in the task by motivating them to learn the means to succeed at the task.
Provide brief checkpoints. Students usually have to complete an entire assignment before receiving any kind of formal feedback. If assignments are broken down into tasks, the way they are in video games’ War and Peace–length epic quests, then instructors can make quick observations of what students are doing, such as through polls. Based on what the instructor sees, they can adapt subsequent class activities. This not only helps educate the students, but it also saves time for the instructor, who then doesn’t have to provide detailed feedback on each student’s final major assignment. Assessment checkpoints can also be social, potentially enhancing student agency. Just as players flock to Discord for help, students could engage each other in some social space. These spaces can be structured—a Padlet with guidelines and examples for students—or open-ended hangouts. Peer review can both save time and be more dynamic in virtual environments.
Require reflection. When students begin to take social control over assessment, they become more reflective about their own learning. Reflection doesn’t always happen on its own, however. It must be structured as part of the experience. The low-stakes and learn-from-failure approach to video games is one way to encourage such reflection by offering multiple attempts accompanied by instructor or peer feedback. One suggestion for translating that approach to classrooms comes from the Stanford Life Design Lab. In it, students generate hypotheses about newly encountered knowledge, and then they test their hypotheses in the attempt to rethink problems and solutions.
Stay active. There are many ways to incorporate active discovery, but these strategies must again be guided by explicit instruction about how to reflect on and learn from the risks and failures. The flipped classroom is a good model for pairing explicit instruction with virtual experience. Instructors can deliver much of the direct instruction via video or the college’s LMS. Then students can spend the freed-up time in hybrid breakout groups trying to solve a relevant problem.
Technology itself cannot improve or damage learning. It’s our use of it that matters. There are indeed bad video games, and by bad, I mean games that people did not play. There are also many good ones, and what we need are good course designs so that people want to play and learn from them, too.

+infos(fonte): LINK

Feb 122022
 

Minor Platforms in Videogame History de Benjamin Nicoll
Videogame history is not just a history of one successful technology replacing the next. It is also a history of platforms and communities that never quite made it; that struggled to make their voices heard; that aggravated against the conventions of the day; and that never enjoyed the commercial success or recognition of their major counterparts. In Minor Platforms in Videogame History, Benjamin Nicoll argues that ‘minor’ videogame histories are anything but insignificant. Through an analysis of transitional, decolonial, imaginary, residual, and minor videogame platforms, Nicoll highlights moments of difference and discontinuity in videogame history. From the domestication of vector graphics in the early years of videogame consoles to the ‘cloning’ of Japanese computer games in South Korea in the 1980s, this book explores case studies that challenge taken-for-granted approaches to videogames, platforms, and their histories.

+infos(oficial): LINK

Perspectives on the European Videogame, editores Víctor Navarro-Remesal, Óliver Pérez-Latorre
The history of European videogames has so far been overshadowed by the global impact of the Japanese and North American industries. However, European game development studios have played a major role in videogame history, and many prominent videogames in popular culture, such as Grand Theft Auto, Tomb Raider, Alone in the Dark, and The Witcher, were made in Europe. This book proposes an inquiry into European videogames, including both analyses of transnational aspects of European production and close readings of national specificities. It offers a kaleidoscope of European videogame culture, focusing on the analysis of European works and creators but also addressing contextual aspects and placing videogames within a wider sociocultural and philosophical ground.
The aim of this collective work is to contribute to the creation of a, until now, almost non-existent yet necessary academic endeavour: a story and critical exploration of the works, authors, styles, and cultures of the European videogame.

+infos(oficial): LINK

Jan 072022
 

Encontrei este livro: “Why Video Games are Good for Your Soul” de James Paul Gee que parece ser interessante de se ler. Tentei obter informações acerca do índice do livro mas sem sucesso, contudo o o google books disponibiliza esta parte e que é a introdução:
“Good video games are good for your soul. Now there’s a statement that begs for some qualifications!

First, what’s a video game? What I mean are the sorts of commercial games people play on computers and game platforms like the Playstation 2, the GameCube, the Xbox, and the handheld Game Boy. I mean action, adventure, shooter, strategy, sports, and role-playing games. I mean games like Castlevania, Half-Life, Deus Ex, Metal Gear Solid, Max Payne, Return to Castle Wolfenstein, Tony Hawk Underground, Rise of Nations, Civilization, Age of Mythology, The Elder Scrolls III: Morrowind, Allied Assault, Call of Duty, Tales of Symphonia, 1C0, Pikmin, Zelda: The Wind Waker, and Ninja Gaiden to name some random good games off the top of my head. There are many others.

Second, what does “good for you” mean? Next to nothing is good or bad for you in and of itself and all by itself. It all depends on how it is used and the context in which it is used. Is television good or bad for children? Neither and both. It’s good if people around them are getting them to think and talk about what they are watching, bad when they sit there alone watching passively being baby-sat by the tube (Greenfield 1984). The same is true of books. Reading reflectively, asking yourself questions, and engaging in a dialogue with others, is good for your head. Believing everything you read uncritically is bad for you and for the rest of us, as well, since you may well become a danger to the world.

So good video games are good for your soul when you play them with thought, reflection, and engagement with the world around you. They are good if, as a player, you begin to think and act like a game designer While you play the game, something good games encourage. After all, players co-author games by playing them, since if the player doesn’t interact with the game and make choices about what will happen, nothing will happen. Each page of a book and each scene in a move is predetermined before you see it and is the same for every reader. Many acts and their order in a video game, however, are open to player choice and different for different players.

So, then, what’s a good, as opposed to a bad, Video game? It would take a book longer than this one to explicate what makes good games good and gamers don’t know how to put it all into words. You have to play the games. So, then, what’s a good, as opposed to a bad, video game? It would take a book longer than this one to explicate what makes good games good and gamers don’t know how to put it all into words. You have to play the games.
Good games are the ones gamers come to see as “gaming goodness”, “fair”, and sometimes even “deep”—all terms of gaming art. Good games are the games that lots of gamers come to agree are good, though they rarely think any one game is perfect.

Some games, like [CO or American McGee’s Alice, get discovered late and become underground classics, while others, like Half-Life or Zelda: The Wind Waker, nearly everyone agrees from the outset are good. Then there are
games like Anachronox, which didn’t sell well and received some rather tepid reviews, but is, I’m telling you, a darn good game—you see I have my own opinions about these matters. In fact, different gamers like and dislike different games and different types of games.

OK, then, what for heaven’s sake is your soul? And what could playing Video games have to do with it? Once, years ago, I had the special experience of going back into time and living for several years in the Middle Ages. The
details need not detain us—you’ll just have to trust me on this—but, believe me, that experience taught me what souls meant in one context. That is not what I mean here.

Too often in the world today people from all sorts of religions believe that those who don’t share their beliefs will go to some sort of hell and, worse, they are sometimes willing to make life hell for others here and now to help them, whether they like it or not, avoid going to hell. Or, perhaps, they just make life hell for others to ensure that they themselves will go to heaven, having displayed their merit by removing a suitable number of infidels. While I do retain a certain nostalgia for the Middle Ages, that nostalgia plays no role in this book.

So what could I mean by “soul?” I mean What the poet Emily Dickinson meant (Dickinson 1924):
My life closed twice before its close —
It yet remains to see
If Immortality unveil
A third event to me

So huge, so hopeless to conceive
As these that twice befell.
Parting is all we know of heaven,
And all we need of hell.

What Emily Dickinson is talking about here is not the immortality, heaven, and hell of traditional religion (Dickinson was skeptical of traditional religion at a time and place where that was socially dangerous, especially for women). She is talking about a fact that every human being knows and feels, a fact that defines what it means to be human. This fact is that we each have two parts. One of these parts is our body. If you truly traumatize the body, it will die and it can die but once, which is, indeed, a mercy.

But there is another part of us, a part to which different religions and cultures through the ages have given different names. This part—let’s just say it is our “soul”—can be traumatized over and over again and not die, just as in the case of the two emotionally damaging events to which Emily Dickinson alludes. No mercy here, as we all very well know, unless you have been very fortunate, indeed, in your life. The rest of us have, if old enough, already died more than once. This part—this soul—is immortal in the sense that, until the body goes, it can go on suffering grievously over and over again, suffering many deaths, unlike the body which can die but once.

But it is because we have this soul part that events and other people can take on such a charge for human beings. It is because we have this soul part that events and other people can give us what we know of heaven here on earth. It is only because losing a loved one, either by death or parting, as Dickinson is alluding to, can give rise to such pain that loving others can rise to such joy. You can’t really have the one without the other. Having the charge, the spark, is heaven and losing it is hell. But you can’t have it if there is no chance of losing it, that’s the way of life for us humans. That’s why we “need” hell. There is no heaven without hell, no positive charges without risk of negative ones.

Emily Dickinson very well knew, then, that it matters hugely whether life here and now for people is heaven or hell. It matters hugely whether we help make life heaven or hell for others, whether we murder or rejoice their other parts, their souls, that part of them that cannot die as long as they have their bodies. It matters. We can be complicit with murder without having killed anyone. The world can murder us several times over long before it takes our bodies.

The Middle Ages saw to it that peasants and the poor died many times before they died. The rich got off more easily, though, by the nature of life itself, they, too, paid their soul dues. Modern life offers more opportunities, but more complexity, as well. For many people—perhaps, all of us at times—modern life offers too much risk and too much complexity (Kelly 1994). We don’t really understand what’s going on around us, lots of it just doesn’t make any good sense, at least as far as we can tell. We can understand why some people turn to fundamentalism to garner secure “truths” without thought and reflection. It is, indeed, an attempt to save their souls, to protect themselves from the traumas of modern life, a life Where often the rich get richer, the poor get poorer, and everyone suffers risks created by other people, even people clear across the globe.

If people are to nurture their souls, they need to feel a sense of control, meaningfulness, even expertise in the face of risk and complexity. They want and need to feel like heroes in their own life stories and to feel that their stories make sense. They need to feel that they matter and that they have mattered in other people’s stories. If the body feeds on food, the soul feeds on agency and meaningfulness. I will argue that good video games are, in this sense, food for the soul, particularly appropriate food in modern times. Of course, the hope is that this food will empower the soul to find agency and meaning in other aspects of life.

This book is primarily about the pleasures—the charge—that good video games can give people. These pleasures are connected to control, agency, and meaningfulness. But it is also about how good games create deep learning, learning that is better than what we often see today in our schools. Pleasure and learning: For most people these two don’t seem to go together. But that is a mistruth we have picked up at school, where we have been taught that pleasure is fun and learning is work, and, thus, that work is not fun (Gee 2004). But, in fact, good videos games are hard work and deep fun. So is good learning in other contexts.

Pleasure is the basis of learning for humans and learning is, like sex and eating, deeply pleasurable for human beings. Learning is a basic drive for humans. School has taught people to fear and avoid learning as anorexics fear and avoid food, it has turned some people into mental anorexics. Some of these same people learn deeply in and through games, though they say they are playing, not learning. The other people who often say they are playing When they’re working hard at learning are those professionals—scientists, scholars, and craftsmen—who love their work. There is a reason for this kinship between gamers and professionals and that will be one of the things I deal with in this book.

This book is written for anyone interested in video games, whether this be gamers, people interested in learning, or people interested in the pervasive role Video games play in modern society and across the world. After all, games are a massive economic force today and an even more major cultural force, since they are a shared cultui‘e among many young people across the globe (Kent 2001; King 2002; King & Borland 2003; Poole 2002). This book is meant to be a contribution to the emerging field of game studies, though I argue that game studies should interest a wide array of people, gamers and non-gamers alike (Aarseth 1997; Juul 2004; Laurel 1993; Murray 1998; Salin & Zimmerman 2003; Wardrip-Fruin & Harrigan 2004; Wolf 2002, 2003).

I have a confession to make, though. I offer here a partial “theory of games”. I hate to tell you this, because I know lots of you will not like to hear it, since “theory” sounds so boring. But I hasten to add, the book contains precious little jargon (much less than readers had to endure in my earlier book What Video Games Have to Teach Us About Learning and Literacy, 2003). I hasten to add, as well, that I never venture too far from talking about actual games. Things stick pretty close to the ground, I hope. No arcane philosophy, I promise (well, maybe you found the stuff on the soul arcane).

Well, we have to deal with it. We all know the topic is looming over us. What about violence and video games? Does playing video games lead people to be more violent? More ink has been devoted to this topic than any other concerned with video games. But most of that ink has been wasted.

The 19th century was infinitely more violent than the 20th in terms of crime (though not actual warfare) and no one played Video games. The politicians who have heretofore sent people to war have not played video games—they’re too old. The Japanese play video games more than Americans do, as, indeed, they watch more television, but their society is much less violent than America’s. No, as we said above, video games are neither good nor bad all by themselves, they neither lead to Violence or peace. They can be and do one thing in one family, social, or cultural context, quite another in other such contexts.

If you want to lower Violence, then worry about those contexts, which all extend well beyond just playing video games. Politicians who get hot and heavy about violence in video games usually don’t want to worry about such contexts, contexts like poverty, bad parenting, and a culture that celebrates greed, war, and winning. Too expensive, perhaps. In my View, the violence and Video games question is a silly one and you won’t hear more about it here. I do live in fear of people who would kill someone because they have played a Video game, but I know that they would equally kill someone if they had read a book or seen a movie or even overheard another nut and I would like you first to take their weapons away. Then, too, someone should have taught these people how to play video games, read books, and watch movies critically and reflectively.

In a world in which millions of people across the globe are dying in real wars, many of them civil wars, it is surely a luxury that we can worry about little boys getting excited for ten minutes after playing a shooter. There are much better things to worry about and I just pray that a time comes in the world where such a problem really merits serious attention. Let’s stop the killing, for example in Africa, on the part of people who have never played a video game before we ban games, books, and movies to save ourselves from a handful of disturbed teenagers who would have been better served by better families and schools.

On a more positive note, we should realize that the possibilities of video games and the technologies by which they are made are immense. Video games hold out immense economic opportunities for business and for careers. They hold out equally immense possibilities for the transformation of learning inside and outside schools. They hold out immense promise for changing how people think, value, and live. We haven’t seen the beginning yet. As I write, all the game platforms are on their last legs, soon to replaced by more powerful devices. What wonderful worlds will we eventually see? What charged virtual lives will we be able to live?

The Wild West and space were seen new frontiers. Video games and the virtual worlds to which they give birth are, too, a new frontier and we don’t know where they will lead. It would be a shame, indeed, not to find out because, like any frontier, they were fraught with risk and the unknown. But, then, I have already admitted that all of us in the complex modern world are frightened of risk and the unknown. But that, I will argue, is a disease of the soul that good games can help alleviate, though, of course, not cure. I talk about specific games in this book. The danger is that any game can come to seem out of date as newer shiner games appear on the market. But this is a mistake. New games will offer new things (so long as the industry doesn’t monopolize), but good older games retain their gaming goodness and we have lots to learn from them. Indeed, we will start with Castlevania:
Symphony of the Night, a game made for the old PSOne and a series with roots in even older game platforms. But Castlevania: Symphony of the Night retains all its greatness. It is still a wondrous gaming experience. Gaming is, by historical standards, brand new, but it already has its classics.

After Castlevania, we will move on to other, more contemporary games, games like Full Spectrum Warrior, Thief: Deadly Shadows, The Chronicles of Riddick: Escape from Butcher Bay, Rise of Nations, and The Elder Scrolls III: Morrowind. I have chosen games that I myself like and that I think make my points well. But, there is no shortage of games from which to choose and many others would have done as well. Readers may well like different games than I do, though I would still argue that their pleasures stem from the some of the same sources I discuss here.

Not all my readers will be gamers and that is fine. I am an “old” gamer, an inveterate gamer who came to gaming late. Gamers may find I revel in what they take for granted, like a farmer in the big city for the first time. But then the farmer may see things big city folk have already forgotten. Non-gamers may not share my love for games, but I hope they will share my belief that this is an area of culture than must be taken seriously, especially if am right that we gamers are servicing our souls and recovering our atrophied learning muscles at the same time.

Some people may say, well, he’s really arguing it’s all about escape from the perils and pitfalls of real life. But, then, I will say there are escapes that lead no where, like hard drugs, and escapes like scholarly reflection and gaming that can lead to the imagination of new worlds, new possibilities to deal with those perils and pitfalls, new possibilities for better lives for everyone. Our emotions and imagination—our souls—need food for the journeys ahead.”

+infos(loja): LINK

Jan 042022
 

Encontrei este livro Black Games Studies, por Lindsay Grace

o resumo indica que:
“Black Game Studies introduces the work of game makers from the African diaspora through academic scholarship, personal narratives and a catalog of works. It aims to provide a foundation from which researchers, designers, developers, game historians and others can draw an understanding of patterns, present practice, and a potential afro-future. Its works to make more visible, through aggregation and showcase, the creative contributions of Black game makers. It is an effort to meet the need to diversify the game-making community by not only highlighting the work of Black people, but in creating an enduring archive of such work.”

Tem como secções:
An Introduction to Black Games, Blackness in Games, and Otherness
An overview of Games Made by Black Game Makers
Games about Location
Black Analog Game Designers
An Autobiography of Ehdrigohr
On Procedural Rhetoric and Designing Black Like Me
The Black Game Maker’s Experience
Overview on Personal Narratives

..mais informo que o livro (pdf) é gratuito!

+infos(oficial): LINK