Just realized that there is only one single game, which is installed on all my current systems, the Windows-machine, the MacBook, and the smartphone: ‘↑Minecraft.’
My physical inbox today was graced by the presence of the newest issue (60/2012) of the ‘Berliner Blätter: Ethnographische und ethnologische Beiträge’ [Berlin leafs: Ethnographic and Anthropological Contributions], a German language anthropology journal. It bears the title: ‘Räume durch Bewegung: Ethnographische Perspektiven auf eine vernetzte Welt’ [Space by Movement: Ethnographic Perspectives upon a Networked World]. The editors of said issue, ↑Beatrix Hoffmann and ↑Hansjörg Dilger—who did a truly fine job—sent me the specimen, because it contains a short contribution by yours truly. Here’s the abstract, taken from the issue’s introduction:
Alexander Knorr erläutert in seinem Beitrag Möglichkiten ethnografischer Forschung unter Gemeinschaften, die sich ohne Bezug zu einem physisch-materiellen Raum ausschließlich auf der Basis virtueller Interaktionen konstituieren. Am Beispiel von game moddern, Internet-Akteuren, die sich der Modifizierung und Weiterentwicklung von Computerspielen widmen, zeigt Knorr, dass auf der Basis “Dichter Teilnahme”, d.h. der Beobachtung und Initiierung von sozialen Interaktionen und durch die interative Teilhabe daran Feldforschung auch unter solchen Gemeinschaften möglich ist, deren Mitglieder sich nie physisch begegnen. (Hoffmann & Dilger 2012: 11-12)
To my eye all articles within the issue, which is the ↑result of a conference which took place in November 2010 in Berlin, are interesting and worthwhile, but I am especially struck by ↑Martin Zillinger‘s contribution. Again from the introduction:
Die Erläuterung von Möglichkeiten und Grenzen ethnografischer Forschung unter den Bedingungen medial gestalteter Räume, Beziehungen und Praxen steht im Fokus des Beitrags von Martin Zillinger. Am Beispiel von in Brüssel lebenden marokkanischen Migranten und deren Kontakten zu sufi-Trance-Bruderschaften in ihrer nordafrikanischen Heimat beschreibt Zillinger die Eigenschaften medialer Räume und stellt zugleich methodische Ansätze für ihre Erforschung vor. Von zentraler Bedeutung ist dabei die Beobachtung von Praxen der Zirkulation von Dingen, Zeichen und Ideen über nationale und soziale Grenzen hinweg, welche dem Ethnologen den Blick auf mediale Austauschräume eröffnet: Mit seiner dichten Nachzeichnung der “Medienpraktiken” unterschiedlicher Akteure der Bruderschaften zeigt Zillinger, wie im Zuge ritueller Ereignisse ein transnationaler Raum aufgespannt wird, der sich aus den multidirektionalen Interaktionen zwischen den Mitgliedern der rituellen Gemeinschaft, sowie durch die Zirkulation der von ihnen mobilisierten und genutzten Zeichen, symbolischen Praktiken und Gegenstände immer wieder neu konstituiert. (Hoffmann & Dilger 2012: 11)
If that’s to your taste, then Martin’s upcoming book definitely is, too: ‘Die Trance, das Blut, die Kamera: Trance-Medien und Neue Medien im marokkanischen Sufismus’ (2013). ‘Trance, Blood, and Camera’ … that is what I call a title for an ethnography! Here’s the official abstract:
Im 21. Jahrhundert haben Migration, der Einsatz Neuer Medien und eine zunehmende Kommerzialisierung marokkanische Sufi-Gruppen und ihre Trance-Rituale verändert. Angesichts islamistischer Reformbewegungen, nationalpolitischer Ansprüche und transnationaler Verflechtungen werden Konflikte um religiöse Lebensführung an den Orten dieser Bruderschaften, ihrer Heiligen und Dämonen, neu verortet.
Dieses Buch untersucht im Anschluss an die Studien von Vincent Crapanzano (1973, 1980), wie mit der Nutzung Neuer Medien bisherige Praktiken der Isawa und Hamadsa regeneriert und ihre Besessenheitsrituale und öffentlichen Zeremonien in neue Zusammenhänge und Lebenswelten übersetzt werden.
Last Tuesday the ↑Wolverhampton Instrument for Teaching Computing from Harwell (WITCH) was rebooted for the first time since the 1970s. For two and a half years volunteers had restaurated the machine, which was built in 1951, at Great Britain’s ↑National Museum of Computing at Bletchley Park.
zeph’s pop culture quiz #50
Who is checking the time on his fob watch?
Just leave a comment with your educated guess—you can ask for additional hints, too. [Leaving a comment is easy; just click the ‘Leave a comment’ at the end of the post and fill in the form. If it’s the first time you post a comment, it will be held for moderation. But I am constantly checking, and once I’ve approved a comment, your next ones won’t be held, but published immediately by the system.]
UPDATE and solution (21 November 2012):
The day will come when I again will post screencaps of movies like ‘↵The Resurrection of Zachary Wheeler,’ ‘↵Vexille,’ or ‘↵Mr. Moto Takes a Vacation‘ and Alexander Rabitsch won’t recognize them right away like he has ↵done again: It indeed is Steve McQueen as Thomas Crown checking the time—Mr. Rabitsch even furnished us with the knowledge that the watch is a Patek Philippe—in ‘↑The Thomas Crown Affair,’ directed by Norman Jewison (1968). To the ↵cyberpunk aficionado Jewison of course is best known for his magnificent ‘↵Rollerball‘ (1975). ‘Thomas Crown’ has nothing to do with cyberpunk whatsoever. It is a heist movie, remarkable for its atmosphere, the chemistry between McQueen and Faye Dunaway, and maybe best remembered for the employed ↑split-screen technique. When, as a youth, I saw ‘Thomas Crown’ for the first time (on television), I found the split-screen scenes to be irritating, unnerving, and in consequence downright boring. Today, since more than a decade well used to sitting in front of multiple screens, I somehow like it. So I was delighted to see the split-screens being used for the elaborate cut-scenes in ‘↑Max Payne 3‘ (Rockstar Vancouver 2012). And I am amused that Microsoft’s advertising machine currently tries to convince us all that tiles are the up-to-date interactive design thing for graphical user interfaces, all the while acting like they’re selling us a ↑Mondrian Composition at a bargain.
‘The Thomas Crown Affair’ was remade in 1999, starring Pierce Brosnan and Rene Russo, John McTiernan directing—no ↑multi-dynamic image technique here. Three years later McTiernan remade yet another film by Norman Jewison, the already mentioned ‘Rollerball.’ The remake was shredded by the critics and failed at the box office.
The day before yesterday ↑CBS Films ↑announced that ↑Scott Derrickson, who directed e.g. ‘↑The Day the Earth Stood Still‘ (2008) [the remake, obviously], will direct a movie based on the ↑‘Deus Ex’ series of computer games, the latest installment, ‘↑Deus Ex: Human Revolution‘ (Eidos Montreal & Nixxes Software 2011) in particular.
↑Steven ↑Levy, author of ‘↑Hackers: Heroes of the Computer Revolution‘ (1984), among others, has written a comprehensive article, published at Wired, on the complex of problems comprising patents, the patent wars, and patent trolls. Along a suspenseful storyline, and by using some fine metaphors from the cold war and beyond, he makes the matter perfectly clear and understandable.
That’s traditionally been the spirit in which large companies have built their patent stockpiles, as a purely defensive measure. They were dissuaded from suing one another because they knew their target likely had patents that covered similar territory and they could be countersued quickly—the legal equivalent of mutually assured destruction. […]
That labyrinthine process, combined with the intricacies of the court system, have made trolls more powerful than ever. NPEs [nonpracticing entities—companies which neither manufacture anything nor offer any services but solely make profits from their patent portfolios the lawyers’ way] have nothing to lose. Because they don’t create anything, they can’t infringe on anyone else’s patents, no matter how overblown. That means they can’t be countersued. This isn’t mutually assured destruction; it’s asymmetric warfare.
Players Unleashed is a thought provoking and well-argued reconstruction of the history of digital games and the role of player modifications to such artifacts. Focusing on the wide-ranging universe of mods for the best selling game The Sims, Sihvonen presents a cogent and persuasive argument for the importance of such activities, and in doing so helps us understand the vital role that players have claimed in the development and evolution of digital games. (Mia Consalvo)
↑A Slower Speed of Light is a first-person game prototype in which players navigate a 3D space while picking up orbs that reduce the speed of light in increments. Custom-built, open-source relativistic graphics code allows the speed of light in the game to approach the player’s own maximum walking speed. Visual effects of special relativity gradually become apparent to the player, increasing the challenge of gameplay. These effects, rendered in realtime to vertex accuracy, include the Doppler effect (red- and blue-shifting of visible light, and the shifting of infrared and ultraviolet light into the visible spectrum); the searchlight effect (increased brightness in the direction of travel); time dilation (differences in the perceived passage of time from the player and the outside world); Lorentz transformation (warping of space at near-light speeds); and the runtime effect (the ability to see objects as they were in the past, due to the travel time of light). Players can choose to share their mastery and experience of the game through Twitter. A Slower Speed of Light combines accessible gameplay and a fantasy setting with theoretical and computational physics research to deliver an engaging and pedagogically rich experience.
Dream of Pixels is a beautiful falling blocks puzzle game, in reverse. The brilliant twist on the old classic is the unpacking of tetromino blocks in place of the usual packing. Simply tap on the descending grid to unpack the tetrominos and watch them spin, rotate and drop with gravity. Clear the lines from the beautiful cloudy grid fast enough or it’s—dream over.
The slogan ‘Creative engineering makes science your obedient servant’ not only perfectly sums up the immediate post-war era stance of absolute belief in technological feasibility, but also unmistakingly voices where science’s proper place in society should be. I maintain that the understanding of said era is quintessential for understanding our contemporary world:
In present day society, the term ‘science’ has great potency. Not only is ‘science’ more or less equivalent to ‘valid knowledge’, but it also merges with ‘technology’, that is, the useful application of knowledge […]. (Mulkay 1993: 639—bold emphasis mine)
Knowledge has no doubt always played a significant role in human life. Human action has to a greater or lesser extent always been steered by knowledge. Power, for example, has never exclusively been based on brute physical force, but frequently also on a knowledge advantage. At present, however, knowledge is assuming a greater significance than ever before. Advanced industrial societies may even be regarded as ‘knowledge societies’. A thoroughgoing scientization of all spheres of human life and action, the transformation of both traditional structures of domination and of the economy, as well as the groing impact and influence of experts are all indications of the rapidly increasing role of knowledge in the organization of modern societies. (Meja & Stehr 1993: 639—bold emphasis mine)
‘Power, for example, has never exclusively been based on brute physical force, but frequently also on a knowledge advantage.’ … The ‘also’ is crucial here, because knowledge and brute force oftentimes are in a mutual, dialectical relationship. All the utopian visions of the good life created by science and technology as expressed by the advertisement above notwithstanding, we shouldn’t forget the ultimate goals science and technology so often are put to: