https://wiki.uni-konstanz.de/gamelab/api.php?action=feedcontributions&feedformat=atom&user=Charlotte.feichtmair 2026-04-17T20:08:02Z User contributions MediaWiki 1.43.8 https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1665 2020-04-20T20:42:32Z

<p>Charlotte.feichtmair: /* Introduction */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs [[Non-Player Character]] and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers). According to Beat Suter a Magical Circle must be established, which sets the frame for a game and its mechanics. Parameters must be set in order to create a world of its own to function as a game. Therefore, rules for objects and characters must be created as well as rules for their behaviors and relationships (In ‘The Sims’ a Sim cannot dispose a used plate in a bin. The latter must be put in a dishwasher or do the dishes manually, for example. A Sim cannot have a polyamorous relationship without expecting trouble on the part of his partner plus holding a disreputable status (like disloyal) within the Sims-world). A Game world can be perceived as object-oriented. &lt;ref&gt; ibid. p. 23-24. &lt;/ref&gt;<br /> <br /> ==Motivating Systems of Rules ==<br /> <br /> Games have motivational characteristics, which game designers eagerly add within the magic circle of mechanics. The structure of those characteristics underlies the principle of punishment and reward. The basic rule for game designers is to challenge the player. For this to happen designers ought to provide the player with tasks, missions and problems to be solved. Such requests achieve motivation because of positive or negative feedback given to the player. The nature of rules and feedbacks vary from game to game. This means how explicitly phrased and demanded requests are. So, the player accepts the rules and due to this interaction, the player is enclosed to the Magic Circle. Suter mentions that it is possible to shift rules within the Magic Circle (from a game) in the real world. For instance, in an augmented or alternate reality game players interact with regulatory structures of a city and must conform themselves to them. In conclusion it is possible to add a new set of rules to an already existing (real) set. This means the Magic Circle is permeable. Both, on the first look contrasting parts, connect and it makes the new (artificial) rules compatible to the rules from the real world. These compatible rules are in force as long as the game runs. It is also the case that rules of the real-world influence rules in a game. So, the game can be censored by oppressive governmental interests. In this perspective the Magic Circle cannot be a law-free zone. On the one hand the Circle underlies the control and the supervision of the real world, on the other hand the latter express how to access a game. Although the Magic Circle-world and the real world affect each other the latter does not interfere directly with the rules of the Magic Circle after all. The real world rather frames and regulates the other. <br /> Live Action Roleplaying (LARP) behaves in comparison to other ‘genres’ quite freer in conjunction to the former mentioned permeable characteristic of the Magic Circle and again to its relation the real world. Firstly, the player is not only physically present in the shape of a game character. The player is also free to interpret this role. Consequently, personal life-experience and individual rules influence the game character. Killing another game character resembles like a theater play, so the action of killing must be simulated like ‘performed’ and not just carried out because the real player is physically not hurt. His body obeys to the rules of the real world. That’s why killing is colored theatrically. Although rules for killing within the Magic Circle do not coincide with them in the real-world game-rules can be set differently depending on the game. Concluding LARP games are highly suffused with real world rules. &lt;ref&gt; ibid. p. 23. &lt;/ref&gt;<br /> <br /> ==Micro and Macro Mechanics==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game: [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> In particular to mentioned: [[Non-Player Character]]<br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1664 2020-04-20T20:42:08Z

<p>Charlotte.feichtmair: /* Introduction */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs [Non-Player Character] and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers). According to Beat Suter a Magical Circle must be established, which sets the frame for a game and its mechanics. Parameters must be set in order to create a world of its own to function as a game. Therefore, rules for objects and characters must be created as well as rules for their behaviors and relationships (In ‘The Sims’ a Sim cannot dispose a used plate in a bin. The latter must be put in a dishwasher or do the dishes manually, for example. A Sim cannot have a polyamorous relationship without expecting trouble on the part of his partner plus holding a disreputable status (like disloyal) within the Sims-world). A Game world can be perceived as object-oriented. &lt;ref&gt; ibid. p. 23-24. &lt;/ref&gt;<br /> <br /> ==Motivating Systems of Rules ==<br /> <br /> Games have motivational characteristics, which game designers eagerly add within the magic circle of mechanics. The structure of those characteristics underlies the principle of punishment and reward. The basic rule for game designers is to challenge the player. For this to happen designers ought to provide the player with tasks, missions and problems to be solved. Such requests achieve motivation because of positive or negative feedback given to the player. The nature of rules and feedbacks vary from game to game. This means how explicitly phrased and demanded requests are. So, the player accepts the rules and due to this interaction, the player is enclosed to the Magic Circle. Suter mentions that it is possible to shift rules within the Magic Circle (from a game) in the real world. For instance, in an augmented or alternate reality game players interact with regulatory structures of a city and must conform themselves to them. In conclusion it is possible to add a new set of rules to an already existing (real) set. This means the Magic Circle is permeable. Both, on the first look contrasting parts, connect and it makes the new (artificial) rules compatible to the rules from the real world. These compatible rules are in force as long as the game runs. It is also the case that rules of the real-world influence rules in a game. So, the game can be censored by oppressive governmental interests. In this perspective the Magic Circle cannot be a law-free zone. On the one hand the Circle underlies the control and the supervision of the real world, on the other hand the latter express how to access a game. Although the Magic Circle-world and the real world affect each other the latter does not interfere directly with the rules of the Magic Circle after all. The real world rather frames and regulates the other. <br /> Live Action Roleplaying (LARP) behaves in comparison to other ‘genres’ quite freer in conjunction to the former mentioned permeable characteristic of the Magic Circle and again to its relation the real world. Firstly, the player is not only physically present in the shape of a game character. The player is also free to interpret this role. Consequently, personal life-experience and individual rules influence the game character. Killing another game character resembles like a theater play, so the action of killing must be simulated like ‘performed’ and not just carried out because the real player is physically not hurt. His body obeys to the rules of the real world. That’s why killing is colored theatrically. Although rules for killing within the Magic Circle do not coincide with them in the real-world game-rules can be set differently depending on the game. Concluding LARP games are highly suffused with real world rules. &lt;ref&gt; ibid. p. 23. &lt;/ref&gt;<br /> <br /> ==Micro and Macro Mechanics==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game: [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> In particular to mentioned: [[Non-Player Character]]<br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1663 2020-04-20T20:41:56Z

<p>Charlotte.feichtmair: /* Introduction */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs ([Non-Player Character]) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers). According to Beat Suter a Magical Circle must be established, which sets the frame for a game and its mechanics. Parameters must be set in order to create a world of its own to function as a game. Therefore, rules for objects and characters must be created as well as rules for their behaviors and relationships (In ‘The Sims’ a Sim cannot dispose a used plate in a bin. The latter must be put in a dishwasher or do the dishes manually, for example. A Sim cannot have a polyamorous relationship without expecting trouble on the part of his partner plus holding a disreputable status (like disloyal) within the Sims-world). A Game world can be perceived as object-oriented. &lt;ref&gt; ibid. p. 23-24. &lt;/ref&gt;<br /> <br /> ==Motivating Systems of Rules ==<br /> <br /> Games have motivational characteristics, which game designers eagerly add within the magic circle of mechanics. The structure of those characteristics underlies the principle of punishment and reward. The basic rule for game designers is to challenge the player. For this to happen designers ought to provide the player with tasks, missions and problems to be solved. Such requests achieve motivation because of positive or negative feedback given to the player. The nature of rules and feedbacks vary from game to game. This means how explicitly phrased and demanded requests are. So, the player accepts the rules and due to this interaction, the player is enclosed to the Magic Circle. Suter mentions that it is possible to shift rules within the Magic Circle (from a game) in the real world. For instance, in an augmented or alternate reality game players interact with regulatory structures of a city and must conform themselves to them. In conclusion it is possible to add a new set of rules to an already existing (real) set. This means the Magic Circle is permeable. Both, on the first look contrasting parts, connect and it makes the new (artificial) rules compatible to the rules from the real world. These compatible rules are in force as long as the game runs. It is also the case that rules of the real-world influence rules in a game. So, the game can be censored by oppressive governmental interests. In this perspective the Magic Circle cannot be a law-free zone. On the one hand the Circle underlies the control and the supervision of the real world, on the other hand the latter express how to access a game. Although the Magic Circle-world and the real world affect each other the latter does not interfere directly with the rules of the Magic Circle after all. The real world rather frames and regulates the other. <br /> Live Action Roleplaying (LARP) behaves in comparison to other ‘genres’ quite freer in conjunction to the former mentioned permeable characteristic of the Magic Circle and again to its relation the real world. Firstly, the player is not only physically present in the shape of a game character. The player is also free to interpret this role. Consequently, personal life-experience and individual rules influence the game character. Killing another game character resembles like a theater play, so the action of killing must be simulated like ‘performed’ and not just carried out because the real player is physically not hurt. His body obeys to the rules of the real world. That’s why killing is colored theatrically. Although rules for killing within the Magic Circle do not coincide with them in the real-world game-rules can be set differently depending on the game. Concluding LARP games are highly suffused with real world rules. &lt;ref&gt; ibid. p. 23. &lt;/ref&gt;<br /> <br /> ==Micro and Macro Mechanics==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game: [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> In particular to mentioned: [[Non-Player Character]]<br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1662 2020-04-20T20:41:29Z

<p>Charlotte.feichtmair: /* Related Links/Approaches */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers). According to Beat Suter a Magical Circle must be established, which sets the frame for a game and its mechanics. Parameters must be set in order to create a world of its own to function as a game. Therefore, rules for objects and characters must be created as well as rules for their behaviors and relationships (In ‘The Sims’ a Sim cannot dispose a used plate in a bin. The latter must be put in a dishwasher or do the dishes manually, for example. A Sim cannot have a polyamorous relationship without expecting trouble on the part of his partner plus holding a disreputable status (like disloyal) within the Sims-world). A Game world can be perceived as object-oriented. &lt;ref&gt; ibid. p. 23-24. &lt;/ref&gt;<br /> <br /> ==Motivating Systems of Rules ==<br /> <br /> Games have motivational characteristics, which game designers eagerly add within the magic circle of mechanics. The structure of those characteristics underlies the principle of punishment and reward. The basic rule for game designers is to challenge the player. For this to happen designers ought to provide the player with tasks, missions and problems to be solved. Such requests achieve motivation because of positive or negative feedback given to the player. The nature of rules and feedbacks vary from game to game. This means how explicitly phrased and demanded requests are. So, the player accepts the rules and due to this interaction, the player is enclosed to the Magic Circle. Suter mentions that it is possible to shift rules within the Magic Circle (from a game) in the real world. For instance, in an augmented or alternate reality game players interact with regulatory structures of a city and must conform themselves to them. In conclusion it is possible to add a new set of rules to an already existing (real) set. This means the Magic Circle is permeable. Both, on the first look contrasting parts, connect and it makes the new (artificial) rules compatible to the rules from the real world. These compatible rules are in force as long as the game runs. It is also the case that rules of the real-world influence rules in a game. So, the game can be censored by oppressive governmental interests. In this perspective the Magic Circle cannot be a law-free zone. On the one hand the Circle underlies the control and the supervision of the real world, on the other hand the latter express how to access a game. Although the Magic Circle-world and the real world affect each other the latter does not interfere directly with the rules of the Magic Circle after all. The real world rather frames and regulates the other. <br /> Live Action Roleplaying (LARP) behaves in comparison to other ‘genres’ quite freer in conjunction to the former mentioned permeable characteristic of the Magic Circle and again to its relation the real world. Firstly, the player is not only physically present in the shape of a game character. The player is also free to interpret this role. Consequently, personal life-experience and individual rules influence the game character. Killing another game character resembles like a theater play, so the action of killing must be simulated like ‘performed’ and not just carried out because the real player is physically not hurt. His body obeys to the rules of the real world. That’s why killing is colored theatrically. Although rules for killing within the Magic Circle do not coincide with them in the real-world game-rules can be set differently depending on the game. Concluding LARP games are highly suffused with real world rules. &lt;ref&gt; ibid. p. 23. &lt;/ref&gt;<br /> <br /> ==Micro and Macro Mechanics==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game: [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> In particular to mentioned: [[Non-Player Character]]<br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=J%C3%B8rgensen,_Kristine&diff=1661 2020-04-20T20:39:20Z

<p>Charlotte.feichtmair: </p> <hr /> <div>==Academics==<br /> Kristine Jørgensen is a professor for Media Studies at the University of Bergen.<br /> <br /> Her research interests are:<br /> <br /> *User interfaces (UI)<br /> *Interaction in games<br /> *Production and industry studies<br /> *The Norwegian game industry<br /> <br /> ==Related Links/Approaches==<br /> This Approach can be related to<br /> <br /> ==Further informaiton== <br /> Please click [https://www.uib.no/en/persons/Kristine.J%C3%B8rgensen#uib-tabs-research] for further information.<br /> [[Category:Authors|Jørgensen, Kristine]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=J%C3%B8rgensen,_Kristine&diff=1660 2020-04-20T20:37:25Z

<p>Charlotte.feichtmair: </p> <hr /> <div>==Academics==<br /> Kristine Jørgensen is a professor for Media Studies at the University of Bergen.<br /> <br /> Her research interests are:<br /> <br /> * User interfaces (UI)<br /> * Interaction in games<br /> * Production and industry studies<br /> * The Norwegian game industry<br /> <br /> ==Related Links/Approaches==<br /> This Approach can be related to<br /> <br /> ==Further informaiton== <br /> Please click [https://www.uib.no/en/persons/Kristine.J%C3%B8rgensen#uib-tabs-research] for further information.</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=J%C3%B8rgensen,_Kristine&diff=1659 2020-04-20T20:35:24Z

<p>Charlotte.feichtmair: /* Further informaiton */</p> <hr /> <div>==Academics==<br /> Kristine Jørgensen is a professor for Media Studies at the University of Bergen.<br /> <br /> Her research interests are:<br /> User interfaces (UI)<br /> interaction in games<br /> production and industry studies<br /> the Norwegian game industry<br /> <br /> ==Related Links/Approaches==<br /> This Approach can be related to<br /> <br /> ==Further informaiton== <br /> Please click [https://www.uib.no/en/persons/Kristine.J%C3%B8rgensen#uib-tabs-research] for further information.</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=J%C3%B8rgensen,_Kristine&diff=1658 2020-04-20T20:35:06Z

<p>Charlotte.feichtmair: Created page with &quot;==Academics== Kristine Jørgensen is a professor for Media Studies at the University of Bergen. Her research interests are: User interfaces (UI) interaction in games produc...&quot;</p> <hr /> <div>==Academics==<br /> Kristine Jørgensen is a professor for Media Studies at the University of Bergen.<br /> <br /> Her research interests are:<br /> User interfaces (UI)<br /> interaction in games<br /> production and industry studies<br /> the Norwegian game industry<br /> <br /> ==Related Links/Approaches==<br /> This Approach can be related to<br /> <br /> ==Further informaiton== <br /> Please click [[https://www.uib.no/en/persons/Kristine.J%C3%B8rgensen#uib-tabs-research]] for further information.</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1572 2020-04-18T14:42:18Z

<p>Charlotte.feichtmair: /* Motivating Systems of Rules */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers). According to Beat Suter a Magical Circle must be established, which sets the frame for a game and its mechanics. Parameters must be set in order to create a world of its own to function as a game. Therefore, rules for objects and characters must be created as well as rules for their behaviors and relationships (In ‘The Sims’ a Sim cannot dispose a used plate in a bin. The latter must be put in a dishwasher or do the dishes manually, for example. A Sim cannot have a polyamorous relationship without expecting trouble on the part of his partner plus holding a disreputable status (like disloyal) within the Sims-world). A Game world can be perceived as object-oriented. &lt;ref&gt; ibid. p. 23-24. &lt;/ref&gt;<br /> <br /> ==Motivating Systems of Rules ==<br /> <br /> Games have motivational characteristics, which game designers eagerly add within the magic circle of mechanics. The structure of those characteristics underlies the principle of punishment and reward. The basic rule for game designers is to challenge the player. For this to happen designers ought to provide the player with tasks, missions and problems to be solved. Such requests achieve motivation because of positive or negative feedback given to the player. The nature of rules and feedbacks vary from game to game. This means how explicitly phrased and demanded requests are. So, the player accepts the rules and due to this interaction, the player is enclosed to the Magic Circle. Suter mentions that it is possible to shift rules within the Magic Circle (from a game) in the real world. For instance, in an augmented or alternate reality game players interact with regulatory structures of a city and must conform themselves to them. In conclusion it is possible to add a new set of rules to an already existing (real) set. This means the Magic Circle is permeable. Both, on the first look contrasting parts, connect and it makes the new (artificial) rules compatible to the rules from the real world. These compatible rules are in force as long as the game runs. It is also the case that rules of the real-world influence rules in a game. So, the game can be censored by oppressive governmental interests. In this perspective the Magic Circle cannot be a law-free zone. On the one hand the Circle underlies the control and the supervision of the real world, on the other hand the latter express how to access a game. Although the Magic Circle-world and the real world affect each other the latter does not interfere directly with the rules of the Magic Circle after all. The real world rather frames and regulates the other. <br /> Live Action Roleplaying (LARP) behaves in comparison to other ‘genres’ quite freer in conjunction to the former mentioned permeable characteristic of the Magic Circle and again to its relation the real world. Firstly, the player is not only physically present in the shape of a game character. The player is also free to interpret this role. Consequently, personal life-experience and individual rules influence the game character. Killing another game character resembles like a theater play, so the action of killing must be simulated like ‘performed’ and not just carried out because the real player is physically not hurt. His body obeys to the rules of the real world. That’s why killing is colored theatrically. Although rules for killing within the Magic Circle do not coincide with them in the real-world game-rules can be set differently depending on the game. Concluding LARP games are highly suffused with real world rules. &lt;ref&gt; ibid. p. 23. &lt;/ref&gt;<br /> <br /> ==Micro and Macro Mechanics==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1571 2020-04-18T14:42:11Z

<p>Charlotte.feichtmair: /* Micro and Macro Mechanics */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers). According to Beat Suter a Magical Circle must be established, which sets the frame for a game and its mechanics. Parameters must be set in order to create a world of its own to function as a game. Therefore, rules for objects and characters must be created as well as rules for their behaviors and relationships (In ‘The Sims’ a Sim cannot dispose a used plate in a bin. The latter must be put in a dishwasher or do the dishes manually, for example. A Sim cannot have a polyamorous relationship without expecting trouble on the part of his partner plus holding a disreputable status (like disloyal) within the Sims-world). A Game world can be perceived as object-oriented. &lt;ref&gt; ibid. p. 23-24. &lt;/ref&gt;<br /> <br /> ==Motivating Systems of Rules ==<br /> <br /> Games have motivational characteristics, which game designers eagerly add within the magic circle of mechanics. The structure of those characteristics underlies the principle of punishment and reward. The basic rule for game designers is to challenge the player. For this to happen designers ought to provide the player with tasks, missions and problems to be solved. Such requests achieve motivation because of positive or negative feedback given to the player. The nature of rules and feedbacks vary from game to game. This means how explicitly phrased and demanded requests are. So, the player accepts the rules and due to this interaction, the player is enclosed to the Magic Circle. Suter mentions that it is possible to shift rules within the Magic Circle (from a game) in the real world. For instance, in an augmented or alternate reality game players interact with regulatory structures of a city and must conform themselves to them. In conclusion it is possible to add a new set of rules to an already existing (real) set. This means the Magic Circle is permeable. Both, on the first look contrasting parts, connect and it makes the new (artificial) rules compatible to the rules from the real world. These compatible rules are in force as long as the game runs. It is also the case that rules of the real-world influence rules in a game. So, the game can be censored by oppressive governmental interests. In this perspective the Magic Circle cannot be a law-free zone. On the one hand the Circle underlies the control and the supervision of the real world, on the other hand the latter express how to access a game. Although the Magic Circle-world and the real world affect each other the latter does not interfere directly with the rules of the Magic Circle after all. The real world rather frames and regulates the other. <br /> Live Action Roleplaying (LARP) behaves in comparison to other ‘genres’ quite freer in conjunction to the former mentioned permeable characteristic of the Magic Circle and again to its relation the real world. Firstly, the player is not only physically present in the shape of a game character. The player is also free to interpret this role. Consequently, personal life-experience and individual rules influence the game character. Killing another game character resembles like a theater play, so the action of killing must be simulated like ‘performed’ and not just carried out because the real player is physically not hurt. His body obeys to the rules of the real world. That’s why killing is colored theatrically. Although rules for killing within the Magic Circle do not coincide with them in the real-world game-rules can be set differently depending on the game. Concluding LARP games are highly suffused with real world rules. &lt;ref&gt; ibid. p. 23. &lt;/ref&gt;<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1570 2020-04-18T14:35:30Z

<p>Charlotte.feichtmair: /* What are Game Mechanics? */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers). According to Beat Suter a Magical Circle must be established, which sets the frame for a game and its mechanics. Parameters must be set in order to create a world of its own to function as a game. Therefore, rules for objects and characters must be created as well as rules for their behaviors and relationships (In ‘The Sims’ a Sim cannot dispose a used plate in a bin. The latter must be put in a dishwasher or do the dishes manually, for example. A Sim cannot have a polyamorous relationship without expecting trouble on the part of his partner plus holding a disreputable status (like disloyal) within the Sims-world). A Game world can be perceived as object-oriented. &lt;ref&gt; ibid. p. 23-24. &lt;/ref&gt;<br /> <br /> ==Micro and Macro Mechanics==<br /> <br /> ==Motivating Systems of Rules ==<br /> <br /> Games have motivational characteristics, which game designers eagerly add within the magic circle of mechanics. The structure of those characteristics underlies the principle of punishment and reward. The basic rule for game designers is to challenge the player. For this to happen designers ought to provide the player with tasks, missions and problems to be solved. Such requests achieve motivation because of positive or negative feedback given to the player. The nature of rules and feedbacks vary from game to game. This means how explicitly phrased and demanded requests are. So, the player accepts the rules and due to this interaction, the player is enclosed to the Magic Circle. Suter mentions that it is possible to shift rules within the Magic Circle (from a game) in the real world. For instance, in an augmented or alternate reality game players interact with regulatory structures of a city and must conform themselves to them. In conclusion it is possible to add a new set of rules to an already existing (real) set. This means the Magic Circle is permeable. Both, on the first look contrasting parts, connect and it makes the new (artificial) rules compatible to the rules from the real world. These compatible rules are in force as long as the game runs. It is also the case that rules of the real-world influence rules in a game. So, the game can be censored by oppressive governmental interests. In this perspective the Magic Circle cannot be a law-free zone. On the one hand the Circle underlies the control and the supervision of the real world, on the other hand the latter express how to access a game. Although the Magic Circle-world and the real world affect each other the latter does not interfere directly with the rules of the Magic Circle after all. The real world rather frames and regulates the other. <br /> Live Action Roleplaying (LARP) behaves in comparison to other ‘genres’ quite freer in conjunction to the former mentioned permeable characteristic of the Magic Circle and again to its relation the real world. Firstly, the player is not only physically present in the shape of a game character. The player is also free to interpret this role. Consequently, personal life-experience and individual rules influence the game character. Killing another game character resembles like a theater play, so the action of killing must be simulated like ‘performed’ and not just carried out because the real player is physically not hurt. His body obeys to the rules of the real world. That’s why killing is colored theatrically. Although rules for killing within the Magic Circle do not coincide with them in the real-world game-rules can be set differently depending on the game. Concluding LARP games are highly suffused with real world rules. &lt;ref&gt; ibid. p. 23. &lt;/ref&gt;<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1569 2020-04-18T14:35:13Z

<p>Charlotte.feichtmair: /* Micro and Macro Mechanics */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers). According to Beat Suter a Magical Circle must be established, which sets the frame for a game and its mechanics. Parameters must be set in order to create a world of its own to function as a game. Therefore, rules for objects and characters must be created as well as rules for their behaviors and relationships (In ‘The Sims’ a Sim cannot dispose a used plate in a bin. The latter must be put in a dishwasher or do the dishes manually, for example. A Sim cannot have a polyamorous relationship without expecting trouble on the part of his partner plus holding a disreputable status (like disloyal) within the Sims-world). A Game world can be perceived as object-oriented. &lt;ref&gt; ibid. p. 23-24. &lt;/ref&gt;<br /> <br /> ==Motivating Systems of Rules ==<br /> <br /> Games have motivational characteristics, which game designers eagerly add within the magic circle of mechanics. The structure of those characteristics underlies the principle of punishment and reward. The basic rule for game designers is to challenge the player. For this to happen designers ought to provide the player with tasks, missions and problems to be solved. Such requests achieve motivation because of positive or negative feedback given to the player. The nature of rules and feedbacks vary from game to game. This means how explicitly phrased and demanded requests are. So, the player accepts the rules and due to this interaction, the player is enclosed to the Magic Circle. Suter mentions that it is possible to shift rules within the Magic Circle (from a game) in the real world. For instance, in an augmented or alternate reality game players interact with regulatory structures of a city and must conform themselves to them. In conclusion it is possible to add a new set of rules to an already existing (real) set. This means the Magic Circle is permeable. Both, on the first look contrasting parts, connect and it makes the new (artificial) rules compatible to the rules from the real world. These compatible rules are in force as long as the game runs. It is also the case that rules of the real-world influence rules in a game. So, the game can be censored by oppressive governmental interests. In this perspective the Magic Circle cannot be a law-free zone. On the one hand the Circle underlies the control and the supervision of the real world, on the other hand the latter express how to access a game. Although the Magic Circle-world and the real world affect each other the latter does not interfere directly with the rules of the Magic Circle after all. The real world rather frames and regulates the other. <br /> Live Action Roleplaying (LARP) behaves in comparison to other ‘genres’ quite freer in conjunction to the former mentioned permeable characteristic of the Magic Circle and again to its relation the real world. Firstly, the player is not only physically present in the shape of a game character. The player is also free to interpret this role. Consequently, personal life-experience and individual rules influence the game character. Killing another game character resembles like a theater play, so the action of killing must be simulated like ‘performed’ and not just carried out because the real player is physically not hurt. His body obeys to the rules of the real world. That’s why killing is colored theatrically. Although rules for killing within the Magic Circle do not coincide with them in the real-world game-rules can be set differently depending on the game. Concluding LARP games are highly suffused with real world rules. &lt;ref&gt; ibid. p. 23. &lt;/ref&gt;<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1568 2020-04-18T14:31:28Z

<p>Charlotte.feichtmair: /* Motivating Systems of Rules */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers). According to Beat Suter a Magical Circle must be established, which sets the frame for a game and its mechanics. Parameters must be set in order to create a world of its own to function as a game. Therefore, rules for objects and characters must be created as well as rules for their behaviors and relationships (In ‘The Sims’ a Sim cannot dispose a used plate in a bin. The latter must be put in a dishwasher or do the dishes manually, for example. A Sim cannot have a polyamorous relationship without expecting trouble on the part of his partner plus holding a disreputable status (like disloyal) within the Sims-world). A Game world can be perceived as object-oriented. &lt;ref&gt; ibid. p. 23-24. &lt;/ref&gt;<br /> <br /> ==Motivating Systems of Rules ==<br /> <br /> Games have motivational characteristics, which game designers eagerly add within the magic circle of mechanics. The structure of those characteristics underlies the principle of punishment and reward. The basic rule for game designers is to challenge the player. For this to happen designers ought to provide the player with tasks, missions and problems to be solved. Such requests achieve motivation because of positive or negative feedback given to the player. The nature of rules and feedbacks vary from game to game. This means how explicitly phrased and demanded requests are. So, the player accepts the rules and due to this interaction, the player is enclosed to the Magic Circle. Suter mentions that it is possible to shift rules within the Magic Circle (from a game) in the real world. For instance, in an augmented or alternate reality game players interact with regulatory structures of a city and must conform themselves to them. In conclusion it is possible to add a new set of rules to an already existing (real) set. This means the Magic Circle is permeable. Both, on the first look contrasting parts, connect and it makes the new (artificial) rules compatible to the rules from the real world. These compatible rules are in force as long as the game runs. It is also the case that rules of the real-world influence rules in a game. So, the game can be censored by oppressive governmental interests. In this perspective the Magic Circle cannot be a law-free zone. On the one hand the Circle underlies the control and the supervision of the real world, on the other hand the latter express how to access a game. Although the Magic Circle-world and the real world affect each other the latter does not interfere directly with the rules of the Magic Circle after all. The real world rather frames and regulates the other. <br /> Live Action Roleplaying (LARP) behaves in comparison to other ‘genres’ quite freer in conjunction to the former mentioned permeable characteristic of the Magic Circle and again to its relation the real world. Firstly, the player is not only physically present in the shape of a game character. The player is also free to interpret this role. Consequently, personal life-experience and individual rules influence the game character. Killing another game character resembles like a theater play, so the action of killing must be simulated like ‘performed’ and not just carried out because the real player is physically not hurt. His body obeys to the rules of the real world. That’s why killing is colored theatrically. Although rules for killing within the Magic Circle do not coincide with them in the real-world game-rules can be set differently depending on the game. Concluding LARP games are highly suffused with real world rules. &lt;ref&gt; ibid. p. 23. &lt;/ref&gt;<br /> <br /> ==Micro and Macro Mechanics==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1567 2020-04-18T14:27:27Z

<p>Charlotte.feichtmair: /* Motivating Systems of Rules */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers). According to Beat Suter a Magical Circle must be established, which sets the frame for a game and its mechanics. Parameters must be set in order to create a world of its own to function as a game. Therefore, rules for objects and characters must be created as well as rules for their behaviors and relationships (In ‘The Sims’ a Sim cannot dispose a used plate in a bin. The latter must be put in a dishwasher or do the dishes manually, for example. A Sim cannot have a polyamorous relationship without expecting trouble on the part of his partner plus holding a disreputable status (like disloyal) within the Sims-world). A Game world can be perceived as object-oriented. &lt;ref&gt; ibid. p. 23-24. &lt;/ref&gt;<br /> <br /> ==Motivating Systems of Rules ==<br /> <br /> Games have motivational characteristics, which game designers eagerly add within the magic circle of mechanics. The structure of those characteristics underlies the principle of punishment and reward. The basic rule for game designers is to challenge the player. For this to happen designers ought to provide the player with tasks, missions and problems to be solved. Such requests achieve motivation because of positive or negative feedback given to the player. The nature of rules and feedbacks vary from game to game. This means how explicitly phrased and demanded requests are. So, the player accepts the rules and due to this interaction, the player is enclosed to the Magic Circle. Suter mentions that it is possible to shift rules within the Magic Circle (from a game) in the real world. For instance, in an augmented or alternate reality game players interact with regulatory structures of a city and must conform themselves to them. In conclusion it is possible to add a new set of rules to an already existing (real) set. This means the Magic Circle is permeable. Both, on the first look contrasting parts, connect and it makes the new (artificial) rules compatible to the rules from the real world. These compatible rules are in force as long as the game runs. It is also the case that rules of the real-world influence rules in a game. So, the game can be censored by oppressive governmental interests. In this perspective the Magic Circle cannot be a law-free zone. On the one hand the Circle underlies the control and the supervision of the real world, on the other hand the latter express how to access a game. Although the Magic Circle-world and the real world affect each other the latter does not interfere directly with the rules of the Magic Circle after all. The real world rather frames and regulates the other. <br /> Live Action Roleplaying (LARP) behaves in comparison to other ‘genres’ quite freer in conjunction to the former mentioned permeable characteristic of the Magic Circle and again to its relation the real world. Firstly, the player is not only physically present in the shape of a game character. The player is also free to interpret this role. Consequently, personal life-experience and individual rules influence the game character. Killing another game character resembles like a theater play, so the action of killing must be simulated like ‘performed’ and not just carried out because the real player is physically not hurt. His body obeys to the rules of the real world. That’s why killing is colored theatrically. Although rules for killing within the Magic Circle do not coincide with them in the real-world game-rules can be set differently depending on the game. Concluding LARP games are highly suffused with real world rules. &lt;ref&gt; ibid. p. 23. &lt;/ref&gt;<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1566 2020-04-18T13:57:31Z

<p>Charlotte.feichtmair: /* Guidance Systems */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers). According to Beat Suter a Magical Circle must be established, which sets the frame for a game and its mechanics. Parameters must be set in order to create a world of its own to function as a game. Therefore, rules for objects and characters must be created as well as rules for their behaviors and relationships (In ‘The Sims’ a Sim cannot dispose a used plate in a bin. The latter must be put in a dishwasher or do the dishes manually, for example. A Sim cannot have a polyamorous relationship without expecting trouble on the part of his partner plus holding a disreputable status (like disloyal) within the Sims-world). A Game world can be perceived as object-oriented. &lt;ref&gt; ibid. p. 23-24. &lt;/ref&gt;<br /> <br /> ==Motivating Systems of Rules ==<br /> <br /> Games have motivational characteristics, which game designers eagerly add within the magic circle of mechanics. The structure of those characteristics underlies the principle of punishment and reward. The basic rule for game designers is to challenge the player. For this to happen designers ought to provide the player with tasks, missions and problems to be solved. Such requests achieve motivation because of positive or negative feedback given to the player. The nature of rules and feedbacks vary from game to game. This means how explicitly phrased and demanded requests are. So, the player accepts the rules and due to this interaction, the player is enclosed to the Magic Circle. Suter mentions that it is possible to shift rules within the Magic Circle (from a game) in the real world. For instance, in an augmented or alternate reality game players interact with regulatory structures of a city and must conform themselves to them. In conclusion it is possible to add a new set of rules to an already existing (real) set. This means the Magic Circle is permeable. Both, on the first look contrasting parts, connect and it makes the new (artificial) rules compatible to the rules from the real world. These compatible rules are in force as long as the game runs. It is also the case that rules of the real-world influence rules in a game. So, the game can be censored by oppressive governmental interests. In this perspective the Magic Circle cannot be a law-free zone. On the one hand the Circle underlies the control and the supervision of the real world, on the other hand the latter express how to access a game. Although the Magic Circle-world and the real world affect each other the latter does not interfere directly with the rules of the Magic Circle after all. The real world rather frames and regulates the other. <br /> Live Action Roleplaying (LARP) behaves in comparison to other ‘genres’ quite freer in conjunction to the former mentioned permeable characteristic of the Magic Circle and again to its relation the real world. Firstly, the player is not only physically present in the shape of a game character. The player is also free to interpret this role. Consequently, personal life-experience and individual rules influence the game character. &lt;ref&gt; ibid. p. 23. &lt;/ref&gt;<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1565 2020-04-18T13:55:40Z

<p>Charlotte.feichtmair: /* What are Game Mechanics? */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers). According to Beat Suter a Magical Circle must be established, which sets the frame for a game and its mechanics. Parameters must be set in order to create a world of its own to function as a game. Therefore, rules for objects and characters must be created as well as rules for their behaviors and relationships (In ‘The Sims’ a Sim cannot dispose a used plate in a bin. The latter must be put in a dishwasher or do the dishes manually, for example. A Sim cannot have a polyamorous relationship without expecting trouble on the part of his partner plus holding a disreputable status (like disloyal) within the Sims-world). A Game world can be perceived as object-oriented. &lt;ref&gt; ibid. p. 23-24. &lt;/ref&gt;<br /> <br /> ==Guidance Systems==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1561 2020-04-18T13:11:12Z

<p>Charlotte.feichtmair: /* What are Game Mechanics? */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers).<br /> <br /> ==Guidance Systems==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1560 2020-04-18T13:10:55Z

<p>Charlotte.feichtmair: /* Introduction */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules.'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;.<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers).<br /> <br /> ==Guidance Systems==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1559 2020-04-18T13:09:32Z

<p>Charlotte.feichtmair: /* What are Game Mechanics? */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;.<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers).<br /> <br /> ==Guidance Systems==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1558 2020-04-18T13:09:04Z

<p>Charlotte.feichtmair: /* Introduction */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018, p. 8-9. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior &lt;ref&gt; ibid. &lt;/ref&gt;.<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers).<br /> <br /> ==Guidance Systems==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1557 2020-04-18T13:00:10Z

<p>Charlotte.feichtmair: /* Dealing with Media Aesthetics */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1-13. &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real. &lt;ref&gt; ibid. p. 2-4. &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020), quoted after Martin Seel, ''Vor dem Schein kommt das Erscheinen. Bemerkungen zu einer Ästhetik der Medien'', in: ''Merkur'' (1993) no 09/10 p.781. &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6. &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7-9. &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12. &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. p. 10-11. &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. p. 12-13. &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1556 2020-04-18T12:59:45Z

<p>Charlotte.feichtmair: /* Computer Simulation and Transmaterialization */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1-13. &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4. &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020), quoted after Martin Seel, ''Vor dem Schein kommt das Erscheinen. Bemerkungen zu einer Ästhetik der Medien'', in: ''Merkur'' (1993) no 09/10 p.781. &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6. &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7-9. &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12. &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. p. 10-11. &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. p. 12-13. &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1548 2020-04-17T17:22:27Z

<p>Charlotte.feichtmair: /* Dealing with the discourse */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1-13. &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4. &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020), quoted after Martin Seel, ''Vor dem Schein kommt das Erscheinen. Bemerkungen zu einer Ästhetik der Medien'', in: ''Merkur'' (1993) no 09/10 p.781. &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6. &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7. &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12. &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. p. 10-11. &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. p. 12-13. &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1547 2020-04-17T16:58:33Z

<p>Charlotte.feichtmair: /* Introduction */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are ''structures of sets of rules'' &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior &lt;ref&gt; ibid. &lt;/ref&gt;.<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers).<br /> <br /> ==Guidance Systems==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1546 2020-04-17T16:35:18Z

<p>Charlotte.feichtmair: /* The New Media and Media Aesthetics */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1-13. &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4. &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. p. 5. &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6. &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7. &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12. &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. p. 10-11. &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. p. 12-13. &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1545 2020-04-17T16:35:06Z

<p>Charlotte.feichtmair: /* Transmedial intermediality in relation to computers */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1-13. &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4. &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. p. 5. &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6. &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7. &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12. &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. p. 10-11. &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. p. 12-13 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1544 2020-04-17T16:34:51Z

<p>Charlotte.feichtmair: /* Computer Simulation and Transmaterialization */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1-13. &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4. &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. p. 5. &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6. &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7. &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12. &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. p. 9-10. &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. p. 10-11 &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. p. 12-13 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1543 2020-04-17T16:34:31Z

<p>Charlotte.feichtmair: /* Dealing with the discourse */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1-13. &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4. &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. p. 5. &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6. &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7 &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12 &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. p. 9-10 &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. p. 10-11 &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. p. 12-13 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1542 2020-04-17T16:34:17Z

<p>Charlotte.feichtmair: /* Dealing with Media Aesthetics */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1-13. &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4. &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. p. 5 &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6 &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7 &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12 &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. p. 9-10 &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. p. 10-11 &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. p. 12-13 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Digital_Realism&diff=1541 2020-04-17T16:22:13Z

<p>Charlotte.feichtmair: /* Image scientific media analysis */</p> <hr /> <div><br /> <br /> <br /> ==Introduction to Computeranimation==<br /> &lt;big&gt;'''What are computer generated animations?'''&lt;/big&gt;<br /> <br /> Computer animations are artificially produced images that depict sequences of movement. Different techniques are used for this. These are used in areas such as animated films, computer game software or scientific simulations. Depending on the software capacity, it is possible to create almost any imaginable object, since it is not bound to the rules of reality but obeys the laws of mathematics. These objects are constructed in two phases. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008 &lt;/ref&gt;<br /> <br /> '''Phase 1''' &lt;u&gt;Modeling:&lt;/u&gt;<br /> <br /> A three-dimensional geometric model is created. Software is used to model the object in polygon facets (polygon mesh representation). This is used to process information such as volume and shape. The more closely meshed, the more detailed is the surface structure. The object has a basic skeleton which is provided with an outer skin (texture). The object is then illuminated with virtual spotlights. &lt;ref&gt; ibid. p. 71 &lt;/ref&gt;<br /> <br /> '''Phase 2''' &lt;u&gt;Rendering:&lt;/u&gt; <br /> <br /> Here the three-dimensional image is projected onto a two-dimensional surface by the rendering software acting as a simulated camera. It calculates perspective and distances. The result is a two-dimensional single image. In such computer animations, motion sequences within a time span and the changing light conditions are depicted. In computer animation, movement and image information is stored separately. Therefore, motion sequences can be transferred variably to the animated object without deleting the information of the animation. This means that the movement is separated from the image. This results in a &quot;form of emergence, which is created by the interaction of data.&quot; For the creation of 3-D characters, different techniques are used, which are generated on the computer. The character setup allows the creation of a skeleton, whose motion sequences are animated by hand (key-frame animation) or transferred to it with a motion simulation. Such movement parameters are also added to the flesh, skin and hair of the characters. To avoid having to animate every single hair individually, individual movement patterns are adapted to the hairstyle, which is made possible by simulation software. These patterns move within different force fields, such as gravity or wind. Computer simulations, unlike animations, run automatically by calculating movement parameters of the object in space in relation to time. &lt;ref&gt; ibid. p. 71-73&lt;/ref&gt; <br /> <br /> Motion in a computer-generated three-dimensional space occurs on three different levels. The spatial constellation is recalculated by changing the lighting, the size of the objects and the angle from which they are viewed. This creates the impression of movement, such as a flickering campfire, the light of a candle or incident sunlight.&lt;ref&gt; ibid. p. 73 &lt;/ref&gt;<br /> <br /> <br /> &lt;big&gt;'''Keyframe Animation:'''&lt;/big&gt;<br /> <br /> This technique uses transformation calculations. It is originated in animated cartoons. Designer drew just important ‘key-drafts’ while their assistants created intermediate drafts in order to achieve comprehensible results. In animated cartoon as well as in computer animation there are certain aspects (key-values) given to limit the animation (frame). Intermediate stages created by computers are called inbetweenings. There is another key-frame animation technique called algorithmic animation, which has no need for those inbetweenings. Instead it simulates motion influenced by a preset starting point and a fixed speed rate. It renders a motion sequence by including physical parameters like speeding up, for instance. &lt;ref&gt; ibid. p. 74 &lt;/ref&gt;<br /> <br /> Another way to imply motion is to modify the perspective. This modification can be driven to an extent, that gives an impression of a camera (virtual camera) filming and rotating indoors simultaneously. In order to depict such an impression, it is necessary to include variables such as proportions, movement speeds (this process is called ''matchmoving''). &lt;ref&gt; ibid. p. 75 &lt;/ref&gt;<br /> <br /> The difference between a virtual camera and filmic recording systems lies in the perception. Animation can be put as a shift of computer modelled objects, which are subject to changing light settings. That’s why animations can’t be described with movements, because the impression of motion arises only by motion recording including continuously calculated setting changes. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008. p. 72-75 &lt;/ref&gt;<br /> <br /> ==Image scientific media analysis==<br /> <br /> Media aesthetics are highly influenced by hybrid pictures, which are concerned by useful approaches of Visual Culture Studies. Analyzing images means being aware of their significance. It is not important ''reading'' an image rather ''perceiving'' it. Their semantic meaning is always various in comparison with an inherent way of reading. There is a clear distinction between a verbal statement and the semantic meaning of images, because the latter behaves differently. &lt;ref&gt; cf. Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008, p. 24. &lt;/ref&gt;<br /> <br /> The significant characteristic of images is that they produce something ‘more’ that can’t be verbalized easily. This leads to the fact that mentioned ‘more’ produces an oversupply of meaning. Therefore, it is to be assumed that the message of an image is highly ambiguous. The so-called ''iconic turn'', coined by Gottfried Boehm in the mid-1990s, links to the fact that the visual carries the meaning and encourages to analyze images in an equal interaction of visual and linguistic understanding. It is important to deal academically with display formats like computer games, commercials and Hollywood productions, because mass-produced imagery has a significant effectiveness. Visual Culture Studies understand motion pictures as ''interfaces in the process flow of a comprehensive visual culture'' and count mass-produced images to one of major relevance to the latter. It can be observed that media analysis detaches itself from specific discourses of art history, Film- and Media Studies and settles in a broad context of visual culture. Due to Karl Prümm discussing media requires a shift of perspective. &lt;ref&gt; cf. ibid. &lt;/ref&gt;<br /> <br /> The process of image acquisition and image production should come to the fore as those values are being a decisive process of cinematographic production of meaning in order to discuss films. A fixation on the director should be avoided. Due to Prümm &lt;ref&gt; cf. Richter, Sebastian: Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008, quoted after Prümm, Karl: ''Das schwebende Auge. Zur Genese der bewegten Kamera'', in: ''Die Medien und ihre Technik, Theorien - Modelle - Geschichte''. Marburg/ Schüren 2004, p. 235-256. &lt;/ref&gt; focusing on the process of production cannot grasp image formation and shaping. To achieve the desired perspective-shift within the discourse the image elements of a visible image must be analyzed and treated as an organization system. So, in a further discussion examining the ''mise-en-scene'' should be shifted to analyzing the ''mise-en-image''.<br /> <br /> '''Mise-en-Scene''' is a term used by former Media Studies generations that examines dramaturgy and narration. Film directors are due to this approach the most important part, who sketch and model meanings right beforehand. The expression of movies is linked to characters psychology who act scenically, that means their acting adheres to script-scenes. Simultaneously the latter refers to the dramaturgy and the narrative structure. Finally, this leads to the assumption of understanding the movie expression as a diversified space of meaning.<br /> <br /> '''Mise-en-image''' embodies the antithesis. This term describes the movie image as homogenic and balanced in its power. Also, it is an aim to shift the perspective on film images in order to establish a new view. Specifically focusing its dynamics in relation to its materiality, structure, segments, changes in light, color shades and color contrasts. The new view understands motions and their connections beyond media borders towards genealogies of images and iconographic traditions. Mise-en-Image involves image determination, its production as wells as its ‘fabricatedness’ and captures its techniques and regulations. &lt;ref&gt; ibid. p. 27-29 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]]<br /> <br /> It relates to [[Media Aesthetics]]<br /> [[Category:Research Approaches]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Digital_Realism&diff=1540 2020-04-17T16:18:15Z

<p>Charlotte.feichtmair: /* Image scientific media analysis */</p> <hr /> <div><br /> <br /> <br /> ==Introduction to Computeranimation==<br /> &lt;big&gt;'''What are computer generated animations?'''&lt;/big&gt;<br /> <br /> Computer animations are artificially produced images that depict sequences of movement. Different techniques are used for this. These are used in areas such as animated films, computer game software or scientific simulations. Depending on the software capacity, it is possible to create almost any imaginable object, since it is not bound to the rules of reality but obeys the laws of mathematics. These objects are constructed in two phases. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008 &lt;/ref&gt;<br /> <br /> '''Phase 1''' &lt;u&gt;Modeling:&lt;/u&gt;<br /> <br /> A three-dimensional geometric model is created. Software is used to model the object in polygon facets (polygon mesh representation). This is used to process information such as volume and shape. The more closely meshed, the more detailed is the surface structure. The object has a basic skeleton which is provided with an outer skin (texture). The object is then illuminated with virtual spotlights. &lt;ref&gt; ibid. p. 71 &lt;/ref&gt;<br /> <br /> '''Phase 2''' &lt;u&gt;Rendering:&lt;/u&gt; <br /> <br /> Here the three-dimensional image is projected onto a two-dimensional surface by the rendering software acting as a simulated camera. It calculates perspective and distances. The result is a two-dimensional single image. In such computer animations, motion sequences within a time span and the changing light conditions are depicted. In computer animation, movement and image information is stored separately. Therefore, motion sequences can be transferred variably to the animated object without deleting the information of the animation. This means that the movement is separated from the image. This results in a &quot;form of emergence, which is created by the interaction of data.&quot; For the creation of 3-D characters, different techniques are used, which are generated on the computer. The character setup allows the creation of a skeleton, whose motion sequences are animated by hand (key-frame animation) or transferred to it with a motion simulation. Such movement parameters are also added to the flesh, skin and hair of the characters. To avoid having to animate every single hair individually, individual movement patterns are adapted to the hairstyle, which is made possible by simulation software. These patterns move within different force fields, such as gravity or wind. Computer simulations, unlike animations, run automatically by calculating movement parameters of the object in space in relation to time. &lt;ref&gt; ibid. p. 71-73&lt;/ref&gt; <br /> <br /> Motion in a computer-generated three-dimensional space occurs on three different levels. The spatial constellation is recalculated by changing the lighting, the size of the objects and the angle from which they are viewed. This creates the impression of movement, such as a flickering campfire, the light of a candle or incident sunlight.&lt;ref&gt; ibid. p. 73 &lt;/ref&gt;<br /> <br /> <br /> &lt;big&gt;'''Keyframe Animation:'''&lt;/big&gt;<br /> <br /> This technique uses transformation calculations. It is originated in animated cartoons. Designer drew just important ‘key-drafts’ while their assistants created intermediate drafts in order to achieve comprehensible results. In animated cartoon as well as in computer animation there are certain aspects (key-values) given to limit the animation (frame). Intermediate stages created by computers are called inbetweenings. There is another key-frame animation technique called algorithmic animation, which has no need for those inbetweenings. Instead it simulates motion influenced by a preset starting point and a fixed speed rate. It renders a motion sequence by including physical parameters like speeding up, for instance. &lt;ref&gt; ibid. p. 74 &lt;/ref&gt;<br /> <br /> Another way to imply motion is to modify the perspective. This modification can be driven to an extent, that gives an impression of a camera (virtual camera) filming and rotating indoors simultaneously. In order to depict such an impression, it is necessary to include variables such as proportions, movement speeds (this process is called ''matchmoving''). &lt;ref&gt; ibid. p. 75 &lt;/ref&gt;<br /> <br /> The difference between a virtual camera and filmic recording systems lies in the perception. Animation can be put as a shift of computer modelled objects, which are subject to changing light settings. That’s why animations can’t be described with movements, because the impression of motion arises only by motion recording including continuously calculated setting changes. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008. p. 72-75 &lt;/ref&gt;<br /> <br /> ==Image scientific media analysis==<br /> <br /> Media aesthetics are highly influenced by hybrid pictures, which are concerned by useful approaches of Visual Culture Studies. Analyzing images means being aware of their significance. It is not important ''reading'' an image rather ''perceiving'' it. Their semantic meaning is always various in comparison with an inherent way of reading. There is a clear distinction between a verbal statement and the semantic meaning of images, because the latter behaves differently. &lt;ref&gt; cf. Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008, p. 24. &lt;/ref&gt;<br /> <br /> The significant characteristic of images is that they produce something ‘more’ that can’t be verbalized easily. This leads to the fact that mentioned ‘more’ produces an oversupply of meaning. Therefore, it is to be assumed that the message of an image is highly ambiguous. The so-called ''iconic turn'', coined by Gottfried Boehm in the mid-1990s, links to the fact that the visual carries the meaning and encourages to analyze images in an equal interaction of visual and linguistic understanding. It is important to deal academically with display formats like computer games, commercials and Hollywood productions, because mass-produced imagery has a significant effectiveness. Visual Culture Studies understand motion pictures as ''interfaces in the process flow of a comprehensive visual culture'' and count mass-produced images to one of major relevance to the latter. It can be observed that media analysis detaches itself from specific discourses of art history, Film- and Media Studies and settles in a broad context of visual culture. Due to Karl Prümm discussing media requires a shift of perspective. &lt;re&gt; cf. ibid. &lt;/ref&gt;<br /> <br /> The process of image acquisition and image production should come to the fore as those values are being a decisive process of cinematographic production of meaning in order to discuss films. A fixation on the director should be avoided. Due to Prümm &lt;ref&gt; cf. Richter, Sebastian: Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008, quoted after Prümm, Karl: ''Das schwebende Auge. Zur Genese der bewegten Kamera'', in: ''Die Medien und ihre Technik, Theorien - Modelle - Geschichte''. Marburg/ Schüren 2004, p. 235-256. &lt;/ref&gt; focusing on the process of production cannot grasp image formation and shaping. To achieve the desired perspective-shift within the discourse the image elements of a visible image must be analyzed and treated as an organization system. So, in a further discussion examining the ''mise-en-scene'' should be shifted to analyzing the ''mise-en-image''.<br /> <br /> '''Mise-en-Scene''' is a term used by former Media Studies generations that examines dramaturgy and narration. Film directors are due to this approach the most important part, who sketch and model meanings right beforehand. The expression of movies is linked to characters psychology who act scenically, that means their acting adheres to script-scenes. Simultaneously the latter refers to the dramaturgy and the narrative structure. Finally, this leads to the assumption of understanding the movie expression as a diversified space of meaning.<br /> <br /> '''Mise-en-image''' embodies the antithesis. This term describes the movie image as homogenic and balanced in its power. Also, it is an aim to shift the perspective on film images in order to establish a new view. Specifically focusing its dynamics in relation to its materiality, structure, segments, changes in light, color shades and color contrasts. The new view understands motions and their connections beyond media borders towards genealogies of images and iconographic traditions. Mise-en-Image involves image determination, its production as wells as its ‘fabricatedness’ and captures its techniques and regulations. &lt;ref&gt; ibid. p. 27-29 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]]<br /> <br /> It relates to [[Media Aesthetics]]<br /> [[Category:Research Approaches]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Digital_Realism&diff=1539 2020-04-17T16:16:34Z

<p>Charlotte.feichtmair: /* Image scientific media analysis */</p> <hr /> <div><br /> <br /> <br /> ==Introduction to Computeranimation==<br /> &lt;big&gt;'''What are computer generated animations?'''&lt;/big&gt;<br /> <br /> Computer animations are artificially produced images that depict sequences of movement. Different techniques are used for this. These are used in areas such as animated films, computer game software or scientific simulations. Depending on the software capacity, it is possible to create almost any imaginable object, since it is not bound to the rules of reality but obeys the laws of mathematics. These objects are constructed in two phases. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008 &lt;/ref&gt;<br /> <br /> '''Phase 1''' &lt;u&gt;Modeling:&lt;/u&gt;<br /> <br /> A three-dimensional geometric model is created. Software is used to model the object in polygon facets (polygon mesh representation). This is used to process information such as volume and shape. The more closely meshed, the more detailed is the surface structure. The object has a basic skeleton which is provided with an outer skin (texture). The object is then illuminated with virtual spotlights. &lt;ref&gt; ibid. p. 71 &lt;/ref&gt;<br /> <br /> '''Phase 2''' &lt;u&gt;Rendering:&lt;/u&gt; <br /> <br /> Here the three-dimensional image is projected onto a two-dimensional surface by the rendering software acting as a simulated camera. It calculates perspective and distances. The result is a two-dimensional single image. In such computer animations, motion sequences within a time span and the changing light conditions are depicted. In computer animation, movement and image information is stored separately. Therefore, motion sequences can be transferred variably to the animated object without deleting the information of the animation. This means that the movement is separated from the image. This results in a &quot;form of emergence, which is created by the interaction of data.&quot; For the creation of 3-D characters, different techniques are used, which are generated on the computer. The character setup allows the creation of a skeleton, whose motion sequences are animated by hand (key-frame animation) or transferred to it with a motion simulation. Such movement parameters are also added to the flesh, skin and hair of the characters. To avoid having to animate every single hair individually, individual movement patterns are adapted to the hairstyle, which is made possible by simulation software. These patterns move within different force fields, such as gravity or wind. Computer simulations, unlike animations, run automatically by calculating movement parameters of the object in space in relation to time. &lt;ref&gt; ibid. p. 71-73&lt;/ref&gt; <br /> <br /> Motion in a computer-generated three-dimensional space occurs on three different levels. The spatial constellation is recalculated by changing the lighting, the size of the objects and the angle from which they are viewed. This creates the impression of movement, such as a flickering campfire, the light of a candle or incident sunlight.&lt;ref&gt; ibid. p. 73 &lt;/ref&gt;<br /> <br /> <br /> &lt;big&gt;'''Keyframe Animation:'''&lt;/big&gt;<br /> <br /> This technique uses transformation calculations. It is originated in animated cartoons. Designer drew just important ‘key-drafts’ while their assistants created intermediate drafts in order to achieve comprehensible results. In animated cartoon as well as in computer animation there are certain aspects (key-values) given to limit the animation (frame). Intermediate stages created by computers are called inbetweenings. There is another key-frame animation technique called algorithmic animation, which has no need for those inbetweenings. Instead it simulates motion influenced by a preset starting point and a fixed speed rate. It renders a motion sequence by including physical parameters like speeding up, for instance. &lt;ref&gt; ibid. p. 74 &lt;/ref&gt;<br /> <br /> Another way to imply motion is to modify the perspective. This modification can be driven to an extent, that gives an impression of a camera (virtual camera) filming and rotating indoors simultaneously. In order to depict such an impression, it is necessary to include variables such as proportions, movement speeds (this process is called ''matchmoving''). &lt;ref&gt; ibid. p. 75 &lt;/ref&gt;<br /> <br /> The difference between a virtual camera and filmic recording systems lies in the perception. Animation can be put as a shift of computer modelled objects, which are subject to changing light settings. That’s why animations can’t be described with movements, because the impression of motion arises only by motion recording including continuously calculated setting changes. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008. p. 72-75 &lt;/ref&gt;<br /> <br /> ==Image scientific media analysis==<br /> <br /> Media aesthetics are highly influenced by hybrid pictures, which are concerned by useful approaches of Visual Culture Studies. Analyzing images means being aware of their significance. It is not important ''reading'' an image rather ''perceiving'' it. Their semantic meaning is always various in comparison with an inherent way of reading. There is a clear distinction between a verbal statement and the semantic meaning of images, because the latter behaves differently. &lt;ref&gt; cf. Richter, Sebastian: Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen, Bielefeld 2008, p. 24.<br /> <br /> The significant characteristic of images is that they produce something ‘more’ that can’t be verbalized easily. This leads to the fact that mentioned ‘more’ produces an oversupply of meaning. Therefore, it is to be assumed that the message of an image is highly ambiguous. The so-called ''iconic turn'', coined by Gottfried Boehm in the mid-1990s, links to the fact that the visual carries the meaning and encourages to analyze images in an equal interaction of visual and linguistic understanding. It is important to deal academically with display formats like computer games, commercials and Hollywood productions, because mass-produced imagery has a significant effectiveness. Visual Culture Studies understand motion pictures as ''interfaces in the process flow of a comprehensive visual culture'' and count mass-produced images to one of major relevance to the latter. It can be observed that media analysis detaches itself from specific discourses of art history, Film- and Media Studies and settles in a broad context of visual culture. Due to Karl Prümm discussing media requires a shift of perspective. &lt;re&gt; cf. cf. ibid. &lt;/ref&gt;<br /> <br /> The process of image acquisition and image production should come to the fore as those values are being a decisive process of cinematographic production of meaning in order to discuss films. A fixation on the director should be avoided. Due to Prümm &lt;ref&gt; cf. Richter, Sebastian: Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008, quoted after Prümm, Karl: ''Das schwebende Auge. Zur Genese der bewegten Kamera'', in: ''Die Medien und ihre Technik, Theorien - Modelle - Geschichte''. Marburg/ Schüren 2004, p. 235-256. &lt;/ref&gt; focusing on the process of production cannot grasp image formation and shaping. To achieve the desired perspective-shift within the discourse the image elements of a visible image must be analyzed and treated as an organization system. So, in a further discussion examining the ''mise-en-scene'' should be shifted to analyzing the ''mise-en-image''.<br /> <br /> '''Mise-en-Scene''' is a term used by former Media Studies generations that examines dramaturgy and narration. Film directors are due to this approach the most important part, who sketch and model meanings right beforehand. The expression of movies is linked to characters psychology who act scenically, that means their acting adheres to script-scenes. Simultaneously the latter refers to the dramaturgy and the narrative structure. Finally, this leads to the assumption of understanding the movie expression as a diversified space of meaning.<br /> <br /> '''Mise-en-image''' embodies the antithesis. This term describes the movie image as homogenic and balanced in its power. Also, it is an aim to shift the perspective on film images in order to establish a new view. Specifically focusing its dynamics in relation to its materiality, structure, segments, changes in light, color shades and color contrasts. The new view understands motions and their connections beyond media borders towards genealogies of images and iconographic traditions. Mise-en-Image involves image determination, its production as wells as its ‘fabricatedness’ and captures its techniques and regulations. &lt;ref&gt; ibid. p. 27-29 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]]<br /> <br /> It relates to [[Media Aesthetics]]<br /> [[Category:Research Approaches]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Digital_Realism&diff=1538 2020-04-17T16:09:53Z

<p>Charlotte.feichtmair: /* Image scientific media analysis */</p> <hr /> <div><br /> <br /> <br /> ==Introduction to Computeranimation==<br /> &lt;big&gt;'''What are computer generated animations?'''&lt;/big&gt;<br /> <br /> Computer animations are artificially produced images that depict sequences of movement. Different techniques are used for this. These are used in areas such as animated films, computer game software or scientific simulations. Depending on the software capacity, it is possible to create almost any imaginable object, since it is not bound to the rules of reality but obeys the laws of mathematics. These objects are constructed in two phases. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008 &lt;/ref&gt;<br /> <br /> '''Phase 1''' &lt;u&gt;Modeling:&lt;/u&gt;<br /> <br /> A three-dimensional geometric model is created. Software is used to model the object in polygon facets (polygon mesh representation). This is used to process information such as volume and shape. The more closely meshed, the more detailed is the surface structure. The object has a basic skeleton which is provided with an outer skin (texture). The object is then illuminated with virtual spotlights. &lt;ref&gt; ibid. p. 71 &lt;/ref&gt;<br /> <br /> '''Phase 2''' &lt;u&gt;Rendering:&lt;/u&gt; <br /> <br /> Here the three-dimensional image is projected onto a two-dimensional surface by the rendering software acting as a simulated camera. It calculates perspective and distances. The result is a two-dimensional single image. In such computer animations, motion sequences within a time span and the changing light conditions are depicted. In computer animation, movement and image information is stored separately. Therefore, motion sequences can be transferred variably to the animated object without deleting the information of the animation. This means that the movement is separated from the image. This results in a &quot;form of emergence, which is created by the interaction of data.&quot; For the creation of 3-D characters, different techniques are used, which are generated on the computer. The character setup allows the creation of a skeleton, whose motion sequences are animated by hand (key-frame animation) or transferred to it with a motion simulation. Such movement parameters are also added to the flesh, skin and hair of the characters. To avoid having to animate every single hair individually, individual movement patterns are adapted to the hairstyle, which is made possible by simulation software. These patterns move within different force fields, such as gravity or wind. Computer simulations, unlike animations, run automatically by calculating movement parameters of the object in space in relation to time. &lt;ref&gt; ibid. p. 71-73&lt;/ref&gt; <br /> <br /> Motion in a computer-generated three-dimensional space occurs on three different levels. The spatial constellation is recalculated by changing the lighting, the size of the objects and the angle from which they are viewed. This creates the impression of movement, such as a flickering campfire, the light of a candle or incident sunlight.&lt;ref&gt; ibid. p. 73 &lt;/ref&gt;<br /> <br /> <br /> &lt;big&gt;'''Keyframe Animation:'''&lt;/big&gt;<br /> <br /> This technique uses transformation calculations. It is originated in animated cartoons. Designer drew just important ‘key-drafts’ while their assistants created intermediate drafts in order to achieve comprehensible results. In animated cartoon as well as in computer animation there are certain aspects (key-values) given to limit the animation (frame). Intermediate stages created by computers are called inbetweenings. There is another key-frame animation technique called algorithmic animation, which has no need for those inbetweenings. Instead it simulates motion influenced by a preset starting point and a fixed speed rate. It renders a motion sequence by including physical parameters like speeding up, for instance. &lt;ref&gt; ibid. p. 74 &lt;/ref&gt;<br /> <br /> Another way to imply motion is to modify the perspective. This modification can be driven to an extent, that gives an impression of a camera (virtual camera) filming and rotating indoors simultaneously. In order to depict such an impression, it is necessary to include variables such as proportions, movement speeds (this process is called ''matchmoving''). &lt;ref&gt; ibid. p. 75 &lt;/ref&gt;<br /> <br /> The difference between a virtual camera and filmic recording systems lies in the perception. Animation can be put as a shift of computer modelled objects, which are subject to changing light settings. That’s why animations can’t be described with movements, because the impression of motion arises only by motion recording including continuously calculated setting changes. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008. p. 72-75 &lt;/ref&gt;<br /> <br /> ==Image scientific media analysis==<br /> <br /> Media aesthetics are highly influenced by hybrid pictures, which are concerned by useful approaches of Visual Culture Studies. Analyzing images means being aware of their significance. It is not important ''reading'' an image rather ''perceiving'' it. Their semantic meaning is always various in comparison with an inherent way of reading. There is a clear distinction between a verbal statement and the semantic meaning of images, because the latter behaves differently.<br /> <br /> The significant characteristic of images is that they produce something ‘more’ that can’t be verbalized easily. This leads to the fact that mentioned ‘more’ produces an oversupply of meaning. Therefore, it is to be assumed that the message of an image is highly ambiguous. The so-called ''iconic turn'', coined by Gottfried Boehm in the mid-1990s, links to the fact that the visual carries the meaning and encourages to analyze images in an equal interaction of visual and linguistic understanding. It is important to deal academically with display formats like computer games, commercials and Hollywood productions, because mass-produced imagery has a significant effectiveness. Visual Culture Studies understand motion pictures as ''interfaces in the process flow of a comprehensive visual culture'' and count mass-produced images to one of major relevance to the latter. It can be observed that media analysis detaches itself from specific discourses of art history, Film- and Media Studies and settles in a broad context of visual culture. Due to Karl Prümm discussing media requires a shift of perspective. <br /> <br /> The process of image acquisition and image production should come to the fore as those values are being a decisive process of cinematographic production of meaning in order to discuss films. A fixation on the director should be avoided. Due to Prümm &lt;ref&gt; cf. Richter, Sebastian: Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008, quoted after Prümm, Karl: ''Das schwebende Auge. Zur Genese der bewegten Kamera'', in: ''Die Medien und ihre Technik, Theorien - Modelle - Geschichte''. Marburg/ Schüren 2004, p. 235-256. &lt;/ref&gt; focusing on the process of production cannot grasp image formation and shaping. To achieve the desired perspective-shift within the discourse the image elements of a visible image must be analyzed and treated as an organization system. So, in a further discussion examining the ''mise-en-scene'' should be shifted to analyzing the ''mise-en-image''.<br /> <br /> '''Mise-en-Scene''' is a term used by former Media Studies generations that examines dramaturgy and narration. Film directors are due to this approach the most important part, who sketch and model meanings right beforehand. The expression of movies is linked to characters psychology who act scenically, that means their acting adheres to script-scenes. Simultaneously the latter refers to the dramaturgy and the narrative structure. Finally, this leads to the assumption of understanding the movie expression as a diversified space of meaning.<br /> <br /> '''Mise-en-image''' embodies the antithesis. This term describes the movie image as homogenic and balanced in its power. Also, it is an aim to shift the perspective on film images in order to establish a new view. Specifically focusing its dynamics in relation to its materiality, structure, segments, changes in light, color shades and color contrasts. The new view understands motions and their connections beyond media borders towards genealogies of images and iconographic traditions. Mise-en-Image involves image determination, its production as wells as its ‘fabricatedness’ and captures its techniques and regulations. &lt;ref&gt; ibid. p. 27-29 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]]<br /> <br /> It relates to [[Media Aesthetics]]<br /> [[Category:Research Approaches]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Digital_Realism&diff=1537 2020-04-17T16:09:06Z

<p>Charlotte.feichtmair: /* Image scientific media analysis */</p> <hr /> <div><br /> <br /> <br /> ==Introduction to Computeranimation==<br /> &lt;big&gt;'''What are computer generated animations?'''&lt;/big&gt;<br /> <br /> Computer animations are artificially produced images that depict sequences of movement. Different techniques are used for this. These are used in areas such as animated films, computer game software or scientific simulations. Depending on the software capacity, it is possible to create almost any imaginable object, since it is not bound to the rules of reality but obeys the laws of mathematics. These objects are constructed in two phases. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008 &lt;/ref&gt;<br /> <br /> '''Phase 1''' &lt;u&gt;Modeling:&lt;/u&gt;<br /> <br /> A three-dimensional geometric model is created. Software is used to model the object in polygon facets (polygon mesh representation). This is used to process information such as volume and shape. The more closely meshed, the more detailed is the surface structure. The object has a basic skeleton which is provided with an outer skin (texture). The object is then illuminated with virtual spotlights. &lt;ref&gt; ibid. p. 71 &lt;/ref&gt;<br /> <br /> '''Phase 2''' &lt;u&gt;Rendering:&lt;/u&gt; <br /> <br /> Here the three-dimensional image is projected onto a two-dimensional surface by the rendering software acting as a simulated camera. It calculates perspective and distances. The result is a two-dimensional single image. In such computer animations, motion sequences within a time span and the changing light conditions are depicted. In computer animation, movement and image information is stored separately. Therefore, motion sequences can be transferred variably to the animated object without deleting the information of the animation. This means that the movement is separated from the image. This results in a &quot;form of emergence, which is created by the interaction of data.&quot; For the creation of 3-D characters, different techniques are used, which are generated on the computer. The character setup allows the creation of a skeleton, whose motion sequences are animated by hand (key-frame animation) or transferred to it with a motion simulation. Such movement parameters are also added to the flesh, skin and hair of the characters. To avoid having to animate every single hair individually, individual movement patterns are adapted to the hairstyle, which is made possible by simulation software. These patterns move within different force fields, such as gravity or wind. Computer simulations, unlike animations, run automatically by calculating movement parameters of the object in space in relation to time. &lt;ref&gt; ibid. p. 71-73&lt;/ref&gt; <br /> <br /> Motion in a computer-generated three-dimensional space occurs on three different levels. The spatial constellation is recalculated by changing the lighting, the size of the objects and the angle from which they are viewed. This creates the impression of movement, such as a flickering campfire, the light of a candle or incident sunlight.&lt;ref&gt; ibid. p. 73 &lt;/ref&gt;<br /> <br /> <br /> &lt;big&gt;'''Keyframe Animation:'''&lt;/big&gt;<br /> <br /> This technique uses transformation calculations. It is originated in animated cartoons. Designer drew just important ‘key-drafts’ while their assistants created intermediate drafts in order to achieve comprehensible results. In animated cartoon as well as in computer animation there are certain aspects (key-values) given to limit the animation (frame). Intermediate stages created by computers are called inbetweenings. There is another key-frame animation technique called algorithmic animation, which has no need for those inbetweenings. Instead it simulates motion influenced by a preset starting point and a fixed speed rate. It renders a motion sequence by including physical parameters like speeding up, for instance. &lt;ref&gt; ibid. p. 74 &lt;/ref&gt;<br /> <br /> Another way to imply motion is to modify the perspective. This modification can be driven to an extent, that gives an impression of a camera (virtual camera) filming and rotating indoors simultaneously. In order to depict such an impression, it is necessary to include variables such as proportions, movement speeds (this process is called ''matchmoving''). &lt;ref&gt; ibid. p. 75 &lt;/ref&gt;<br /> <br /> The difference between a virtual camera and filmic recording systems lies in the perception. Animation can be put as a shift of computer modelled objects, which are subject to changing light settings. That’s why animations can’t be described with movements, because the impression of motion arises only by motion recording including continuously calculated setting changes. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008. p. 72-75 &lt;/ref&gt;<br /> <br /> ==Image scientific media analysis==<br /> <br /> Media aesthetics are highly influenced by hybrid pictures, which are concerned by useful approaches of Visual Culture Studies. Analyzing images means being aware of their significance. It is not important ''reading'' an image rather ''perceiving'' it. Their semantic meaning is always various in comparison with an inherent way of reading. There is a clear distinction between a verbal statement and the semantic meaning of images, because the latter behaves differently.<br /> <br /> The significant characteristic of images is that they produce something ‘more’ that can’t be verbalized easily. This leads to the fact that mentioned ‘more’ produces an oversupply of meaning. Therefore, it is to be assumed that the message of an image is highly ambiguous. The so-called ''iconic turn'', coined by Gottfried Boehm in the mid-1990s, links to the fact that the visual carries the meaning and encourages to analyze images in an equal interaction of visual and linguistic understanding. It is important to deal academically with display formats like computer games, commercials and Hollywood productions, because mass-produced imagery has a significant effectiveness. Visual Culture Studies understand motion pictures as ''interfaces in the process flow of a comprehensive visual culture'' and count mass-produced images to one of major relevance to the latter. It can be observed that media analysis detaches itself from specific discourses of art history, Film- and Media Studies and settles in a broad context of visual culture. Due to Karl Prümm discussing media requires a shift of perspective. <br /> <br /> The process of image acquisition and image production should come to the fore as those values are being a decisive process of cinematographic production of meaning in order to discuss films. A fixation on the director should be avoided. Due to Prümm &lt;ref&gt; cf. Richter, Sebastian: Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen, Bielefeld 2008. &lt;/ref&gt; focusing on the process of production cannot grasp image formation and shaping. To achieve the desired perspective-shift within the discourse the image elements of a visible image must be analyzed and treated as an organization system. So, in a further discussion examining the ''mise-en-scene'' should be shifted to analyzing the ''mise-en-image''.<br /> <br /> '''Mise-en-Scene''' is a term used by former Media Studies generations that examines dramaturgy and narration. Film directors are due to this approach the most important part, who sketch and model meanings right beforehand. The expression of movies is linked to characters psychology who act scenically, that means their acting adheres to script-scenes. Simultaneously the latter refers to the dramaturgy and the narrative structure. Finally, this leads to the assumption of understanding the movie expression as a diversified space of meaning.<br /> <br /> '''Mise-en-image''' embodies the antithesis. This term describes the movie image as homogenic and balanced in its power. Also, it is an aim to shift the perspective on film images in order to establish a new view. Specifically focusing its dynamics in relation to its materiality, structure, segments, changes in light, color shades and color contrasts. The new view understands motions and their connections beyond media borders towards genealogies of images and iconographic traditions. Mise-en-Image involves image determination, its production as wells as its ‘fabricatedness’ and captures its techniques and regulations. &lt;ref&gt; ibid. p. 27-29 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]]<br /> <br /> It relates to [[Media Aesthetics]]<br /> [[Category:Research Approaches]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Digital_Realism&diff=1536 2020-04-17T16:08:09Z

<p>Charlotte.feichtmair: /* Image scientific media analysis */</p> <hr /> <div><br /> <br /> <br /> ==Introduction to Computeranimation==<br /> &lt;big&gt;'''What are computer generated animations?'''&lt;/big&gt;<br /> <br /> Computer animations are artificially produced images that depict sequences of movement. Different techniques are used for this. These are used in areas such as animated films, computer game software or scientific simulations. Depending on the software capacity, it is possible to create almost any imaginable object, since it is not bound to the rules of reality but obeys the laws of mathematics. These objects are constructed in two phases. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008 &lt;/ref&gt;<br /> <br /> '''Phase 1''' &lt;u&gt;Modeling:&lt;/u&gt;<br /> <br /> A three-dimensional geometric model is created. Software is used to model the object in polygon facets (polygon mesh representation). This is used to process information such as volume and shape. The more closely meshed, the more detailed is the surface structure. The object has a basic skeleton which is provided with an outer skin (texture). The object is then illuminated with virtual spotlights. &lt;ref&gt; ibid. p. 71 &lt;/ref&gt;<br /> <br /> '''Phase 2''' &lt;u&gt;Rendering:&lt;/u&gt; <br /> <br /> Here the three-dimensional image is projected onto a two-dimensional surface by the rendering software acting as a simulated camera. It calculates perspective and distances. The result is a two-dimensional single image. In such computer animations, motion sequences within a time span and the changing light conditions are depicted. In computer animation, movement and image information is stored separately. Therefore, motion sequences can be transferred variably to the animated object without deleting the information of the animation. This means that the movement is separated from the image. This results in a &quot;form of emergence, which is created by the interaction of data.&quot; For the creation of 3-D characters, different techniques are used, which are generated on the computer. The character setup allows the creation of a skeleton, whose motion sequences are animated by hand (key-frame animation) or transferred to it with a motion simulation. Such movement parameters are also added to the flesh, skin and hair of the characters. To avoid having to animate every single hair individually, individual movement patterns are adapted to the hairstyle, which is made possible by simulation software. These patterns move within different force fields, such as gravity or wind. Computer simulations, unlike animations, run automatically by calculating movement parameters of the object in space in relation to time. &lt;ref&gt; ibid. p. 71-73&lt;/ref&gt; <br /> <br /> Motion in a computer-generated three-dimensional space occurs on three different levels. The spatial constellation is recalculated by changing the lighting, the size of the objects and the angle from which they are viewed. This creates the impression of movement, such as a flickering campfire, the light of a candle or incident sunlight.&lt;ref&gt; ibid. p. 73 &lt;/ref&gt;<br /> <br /> <br /> &lt;big&gt;'''Keyframe Animation:'''&lt;/big&gt;<br /> <br /> This technique uses transformation calculations. It is originated in animated cartoons. Designer drew just important ‘key-drafts’ while their assistants created intermediate drafts in order to achieve comprehensible results. In animated cartoon as well as in computer animation there are certain aspects (key-values) given to limit the animation (frame). Intermediate stages created by computers are called inbetweenings. There is another key-frame animation technique called algorithmic animation, which has no need for those inbetweenings. Instead it simulates motion influenced by a preset starting point and a fixed speed rate. It renders a motion sequence by including physical parameters like speeding up, for instance. &lt;ref&gt; ibid. p. 74 &lt;/ref&gt;<br /> <br /> Another way to imply motion is to modify the perspective. This modification can be driven to an extent, that gives an impression of a camera (virtual camera) filming and rotating indoors simultaneously. In order to depict such an impression, it is necessary to include variables such as proportions, movement speeds (this process is called ''matchmoving''). &lt;ref&gt; ibid. p. 75 &lt;/ref&gt;<br /> <br /> The difference between a virtual camera and filmic recording systems lies in the perception. Animation can be put as a shift of computer modelled objects, which are subject to changing light settings. That’s why animations can’t be described with movements, because the impression of motion arises only by motion recording including continuously calculated setting changes. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008. p. 72-75 &lt;/ref&gt;<br /> <br /> ==Image scientific media analysis==<br /> <br /> Media aesthetics are highly influenced by hybrid pictures, which are concerned by useful approaches of Visual Culture Studies. Analyzing images means being aware of their significance. It is not important ''reading'' an image rather ''perceiving'' it. Their semantic meaning is always various in comparison with an inherent way of reading. There is a clear distinction between a verbal statement and the semantic meaning of images, because the latter behaves differently.<br /> <br /> The significant characteristic of images is that they produce something ‘more’ that can’t be verbalized easily. This leads to the fact that mentioned ‘more’ produces an oversupply of meaning. Therefore, it is to be assumed that the message of an image is highly ambiguous. The so-called ''iconic turn'', coined by Gottfried Boehm in the mid-1990s, links to the fact that the visual carries the meaning and encourages to analyze images in an equal interaction of visual and linguistic understanding. It is important to deal academically with display formats like computer games, commercials and Hollywood productions, because mass-produced imagery has a significant effectiveness. Visual Culture Studies understand motion pictures as ''interfaces in the process flow of a comprehensive visual culture'' and count mass-produced images to one of major relevance to the latter. It can be observed that media analysis detaches itself from specific discourses of art history, Film- and Media Studies and settles in a broad context of visual culture. Due to Karl Prümm discussing media requires a shift of perspective. <br /> <br /> The process of image acquisition and image production should come to the fore as those values are being a decisive process of cinematographic production of meaning in order to discuss films. A fixation on the director should be avoided. Due to Prümm focusing on the process of production cannot grasp image formation and shaping. To achieve the desired perspective-shift within the discourse the image elements of a visible image must be analyzed and treated as an organization system. So, in a further discussion examining the ''mise-en-scene'' should be shifted to analyzing the ''mise-en-image''.<br /> <br /> '''Mise-en-Scene''' is a term used by former Media Studies generations that examines dramaturgy and narration. Film directors are due to this approach the most important part, who sketch and model meanings right beforehand. The expression of movies is linked to characters psychology who act scenically, that means their acting adheres to script-scenes. Simultaneously the latter refers to the dramaturgy and the narrative structure. Finally, this leads to the assumption of understanding the movie expression as a diversified space of meaning.<br /> <br /> '''Mise-en-image''' embodies the antithesis. This term describes the movie image as homogenic and balanced in its power. Also, it is an aim to shift the perspective on film images in order to establish a new view. Specifically focusing its dynamics in relation to its materiality, structure, segments, changes in light, color shades and color contrasts. The new view understands motions and their connections beyond media borders towards genealogies of images and iconographic traditions. Mise-en-Image involves image determination, its production as wells as its ‘fabricatedness’ and captures its techniques and regulations. &lt;ref&gt; ibid. p. 27-29 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]]<br /> <br /> It relates to [[Media Aesthetics]]<br /> [[Category:Research Approaches]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Digital_Realism&diff=1535 2020-04-17T15:50:00Z

<p>Charlotte.feichtmair: /* Introduction to Computeranimation */</p> <hr /> <div><br /> <br /> <br /> ==Introduction to Computeranimation==<br /> &lt;big&gt;'''What are computer generated animations?'''&lt;/big&gt;<br /> <br /> Computer animations are artificially produced images that depict sequences of movement. Different techniques are used for this. These are used in areas such as animated films, computer game software or scientific simulations. Depending on the software capacity, it is possible to create almost any imaginable object, since it is not bound to the rules of reality but obeys the laws of mathematics. These objects are constructed in two phases. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008 &lt;/ref&gt;<br /> <br /> '''Phase 1''' &lt;u&gt;Modeling:&lt;/u&gt;<br /> <br /> A three-dimensional geometric model is created. Software is used to model the object in polygon facets (polygon mesh representation). This is used to process information such as volume and shape. The more closely meshed, the more detailed is the surface structure. The object has a basic skeleton which is provided with an outer skin (texture). The object is then illuminated with virtual spotlights. &lt;ref&gt; ibid. p. 71 &lt;/ref&gt;<br /> <br /> '''Phase 2''' &lt;u&gt;Rendering:&lt;/u&gt; <br /> <br /> Here the three-dimensional image is projected onto a two-dimensional surface by the rendering software acting as a simulated camera. It calculates perspective and distances. The result is a two-dimensional single image. In such computer animations, motion sequences within a time span and the changing light conditions are depicted. In computer animation, movement and image information is stored separately. Therefore, motion sequences can be transferred variably to the animated object without deleting the information of the animation. This means that the movement is separated from the image. This results in a &quot;form of emergence, which is created by the interaction of data.&quot; For the creation of 3-D characters, different techniques are used, which are generated on the computer. The character setup allows the creation of a skeleton, whose motion sequences are animated by hand (key-frame animation) or transferred to it with a motion simulation. Such movement parameters are also added to the flesh, skin and hair of the characters. To avoid having to animate every single hair individually, individual movement patterns are adapted to the hairstyle, which is made possible by simulation software. These patterns move within different force fields, such as gravity or wind. Computer simulations, unlike animations, run automatically by calculating movement parameters of the object in space in relation to time. &lt;ref&gt; ibid. p. 71-73&lt;/ref&gt; <br /> <br /> Motion in a computer-generated three-dimensional space occurs on three different levels. The spatial constellation is recalculated by changing the lighting, the size of the objects and the angle from which they are viewed. This creates the impression of movement, such as a flickering campfire, the light of a candle or incident sunlight.&lt;ref&gt; ibid. p. 73 &lt;/ref&gt;<br /> <br /> <br /> &lt;big&gt;'''Keyframe Animation:'''&lt;/big&gt;<br /> <br /> This technique uses transformation calculations. It is originated in animated cartoons. Designer drew just important ‘key-drafts’ while their assistants created intermediate drafts in order to achieve comprehensible results. In animated cartoon as well as in computer animation there are certain aspects (key-values) given to limit the animation (frame). Intermediate stages created by computers are called inbetweenings. There is another key-frame animation technique called algorithmic animation, which has no need for those inbetweenings. Instead it simulates motion influenced by a preset starting point and a fixed speed rate. It renders a motion sequence by including physical parameters like speeding up, for instance. &lt;ref&gt; ibid. p. 74 &lt;/ref&gt;<br /> <br /> Another way to imply motion is to modify the perspective. This modification can be driven to an extent, that gives an impression of a camera (virtual camera) filming and rotating indoors simultaneously. In order to depict such an impression, it is necessary to include variables such as proportions, movement speeds (this process is called ''matchmoving''). &lt;ref&gt; ibid. p. 75 &lt;/ref&gt;<br /> <br /> The difference between a virtual camera and filmic recording systems lies in the perception. Animation can be put as a shift of computer modelled objects, which are subject to changing light settings. That’s why animations can’t be described with movements, because the impression of motion arises only by motion recording including continuously calculated setting changes. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008. p. 72-75 &lt;/ref&gt;<br /> <br /> ==Image scientific media analysis==<br /> <br /> Media aesthetics are highly influenced by hybrid pictures, which are concerned by useful approaches of Visual Culture Studies. Analyzing images means being aware of their significance. It is not important ''reading'' an image rather ''perceiving'' it. Their semantic meaning is always various in comparison with an inherent way of reading. There is a clear distinction between a verbal statement and the semantic meaning of images, because the latter behaves differently.<br /> <br /> The significant characteristic of images is that they produce something ‘more’ that can’t be verbalized easily. This leads to the fact that mentioned ‘more’ produces an oversupply of meaning. Therefore, it is to be assumed that the message of an image is highly ambiguous. The so-called iconic turn, coined by Gottfried Boehm in the mid-1990s, links to the fact that the visual carries the meaning and encourages to analyze images in an equal interaction of visual and linguistic understanding. It is important to deal academically with display formats like computer games, commercials and Hollywood productions, because mass-produced imagery has a significant effectiveness. Visual Culture Studies understand motion pictures as “interfaces in the process flow of a comprehensive visual culture” and count mass-produced images to one of major relevance to the latter. It can be observed that media analysis detaches itself from specific discourses of art history, Film- and Media Studies and settles in a broad context of visual culture. Due to Karl Prümm discussing media requires a shift of perspective. <br /> <br /> The process of image acquisition and image production should come to the fore as those values are being a decisive process of cinematographic production of meaning in order to discuss films. A fixation on the director should be avoided. Due to Prümm focusing on the process of production cannot grasp image formation and shaping. To achieve the desired perspective-shift within the discourse the image elements of a visible image must be analyzed and treated as an organization system. So, in a further discussion examining the ''mise-en-scene'' should be shifted to analyzing the ''mise-en-image''.<br /> <br /> '''Mise-en-Scene''' is a term used by former Media Studies generations that examines dramaturgy and narration. Film directors are due to this approach the most important part, who sketch and model meanings right beforehand. The expression of movies is linked to characters psychology who act scenically, that means their acting adheres to script-scenes. Simultaneously the latter refers to the dramaturgy and the narrative structure. Finally, this leads to the assumption of understanding the movie expression as a diversified space of meaning.<br /> <br /> '''Mise-en-image''' embodies the antithesis. This term describes the movie image as homogenic and balanced in its power. Also, it is an aim to shift the perspective on film images in order to establish a new view. Specifically focusing its dynamics in relation to its materiality, structure, segments, changes in light, color shades and color contrasts. The new view understands motions and their connections beyond media borders towards genealogies of images and iconographic traditions. Mise-en-Image involves image determination, its production as wells as its ‘fabricatedness’ and captures its techniques and regulations. &lt;ref&gt; ibid. p. 27-29 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]]<br /> <br /> It relates to [[Media Aesthetics]]<br /> [[Category:Research Approaches]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Games_and_Rules&diff=1534 2020-04-17T15:47:41Z

<p>Charlotte.feichtmair: /* Introduction */</p> <hr /> <div>==Introduction==<br /> <br /> Games are understood as control systems providing physical rules, artificial laws and (in-game) rules. These features are framing the game. Gamers interact willingly with given rules and therefore receive rewards or punishment. So, basically, playing games means to obey rules. Each game is a construct embedded in its own structure due to “execution, acceptance of the rules and (if digital) processing on a computer”. This whole process becomes the actual game, because the player is attached to its ''Magic Circle''. Mentioned circle is a symbolical space (or a world) of play, which obeys to different rules compared to the real world. In this space players interact with other players, NPCs (non-player-characters) and mobile and immobile objects. In order to provide those interactions rules are needed. Game Mechanics are “structures of sets of rules” &lt;ref&gt; Suter, Beat/Kocher, Mela/Bauer, René (eds.): ''Games and Rules, Game Mechanics for the “Magic Circle”'', Bielefeld 2018. &lt;/ref&gt;<br /> <br /> ==What are Game Mechanics?==<br /> Game mechanics are actions which you let your avatar do, like swim, run, jump, collect, ride, drive or shoot. These mechanics can be found in any game. A game provides a set of actions that the players can interact with. Depending on the game mentioned set is limited to a greater or lesser extent. Such sets are like spaces. This can be a single room due to search hidden objects, a whole castle with rooms, dorms and yards to explore or even an extended fictious world that is limited by a map. Interacting with the mechanics of a game helps to understand its physics, restraints and dominant social behavior &lt;ref&gt; ibid. &lt;/ref&gt;.<br /> <br /> Imagine a horse-riding simulation: the horse jumps higher and further due to its level. Therefore, the player must buy a horse that matches with his or her level in order to achieve the best results during a horse race. But the player is just able to pay a high price for a good horse if he or she works for stable points (in-game currency). This occurrence shows the social behavior within the game by requesting work in order to get paid. On the one hand this conveys an ethical message, on the other hand it shows the capitalist principle of our society. The world of [[The Sims 4]] is also dominated by the capitalist system in which the players can choose career paths for their avatars. Not only to earn the avatars’ keep but to fulfill their life wish, too (but the life wish is not exclusively connected with careers).<br /> <br /> ==Guidance Systems==<br /> <br /> ==Related Links/Approaches==<br /> This approach can be related to any game:<br /> [[Games]]<br /> <br /> This approach can be related to any approaches referring to computer games, too: [[Research Approaches]]<br /> <br /> [[Category:Research Approaches|Games and Rules]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Digital_Realism&diff=1533 2020-04-17T15:10:47Z

<p>Charlotte.feichtmair: /* Introduction to Computeranimation */</p> <hr /> <div><br /> <br /> <br /> ==Introduction to Computeranimation==<br /> &lt;big&gt;'''What are computer generated animations?'''&lt;/big&gt;<br /> <br /> Computer animations are artificially produced images that depict sequences of movement. Different techniques are used for this. These are used in areas such as animated films, computer game software or scientific simulations. Depending on the software capacity, it is possible to create almost any imaginable object, since it is not bound to the rules of reality but obeys the laws of mathematics. These objects are constructed in two phases. &lt;ref&gt; Richter, Sebastian: Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen, Bielefeld 2008 &lt;/ref&gt;<br /> <br /> '''Phase 1''' &lt;u&gt;Modeling:&lt;/u&gt;<br /> <br /> A three-dimensional geometric model is created. Software is used to model the object in polygon facets (polygon mesh representation). This is used to process information such as volume and shape. The more closely meshed, the more detailed is the surface structure. The object has a basic skeleton which is provided with an outer skin (texture). The object is then illuminated with virtual spotlights. &lt;ref&gt; ibid. p. 71 &lt;/ref&gt;<br /> <br /> '''Phase 2''' &lt;u&gt;Rendering:&lt;/u&gt; <br /> <br /> Here the three-dimensional image is projected onto a two-dimensional surface by the rendering software acting as a simulated camera. It calculates perspective and distances. The result is a two-dimensional single image. In such computer animations, motion sequences within a time span and the changing light conditions are depicted. In computer animation, movement and image information is stored separately. Therefore, motion sequences can be transferred variably to the animated object without deleting the information of the animation. This means that the movement is separated from the image. This results in a &quot;form of emergence, which is created by the interaction of data.&quot; For the creation of 3-D characters, different techniques are used, which are generated on the computer. The character setup allows the creation of a skeleton, whose motion sequences are animated by hand (key-frame animation) or transferred to it with a motion simulation. Such movement parameters are also added to the flesh, skin and hair of the characters. To avoid having to animate every single hair individually, individual movement patterns are adapted to the hairstyle, which is made possible by simulation software. These patterns move within different force fields, such as gravity or wind. Computer simulations, unlike animations, run automatically by calculating movement parameters of the object in space in relation to time. &lt;ref&gt; ibid. p. 71-73&lt;/ref&gt; <br /> <br /> Motion in a computer-generated three-dimensional space occurs on three different levels. The spatial constellation is recalculated by changing the lighting, the size of the objects and the angle from which they are viewed. This creates the impression of movement, such as a flickering campfire, the light of a candle or incident sunlight.&lt;ref&gt; ibid. p. 73 &lt;/ref&gt;<br /> <br /> <br /> &lt;big&gt;'''Keyframe Animation:'''&lt;/big&gt;<br /> <br /> This technique uses transformation calculations. It is originated in animated cartoons. Designer drew just important ‘key-drafts’ while their assistants created intermediate drafts in order to achieve comprehensible results. In animated cartoon as well as in computer animation there are certain aspects (key-values) given to limit the animation (frame). Intermediate stages created by computers are called inbetweenings. There is another key-frame animation technique called algorithmic animation, which has no need for those inbetweenings. Instead it simulates motion influenced by a preset starting point and a fixed speed rate. It renders a motion sequence by including physical parameters like speeding up, for instance. &lt;ref&gt; ibid. p. 74 &lt;/ref&gt;<br /> <br /> Another way to imply motion is to modify the perspective. This modification can be driven to an extent, that gives an impression of a camera (virtual camera) filming and rotating indoors simultaneously. In order to depict such an impression, it is necessary to include variables such as proportions, movement speeds (this process is called ''matchmoving''). &lt;ref&gt; ibid. p. 75 &lt;/ref&gt;<br /> <br /> The difference between a virtual camera and filmic recording systems lies in the perception. Animation can be put as a shift of computer modelled objects, which are subject to changing light settings. That’s why animations can’t be described with movements, because the impression of motion arises only by motion recording including continuously calculated setting changes. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008. p. 72-75 &lt;/ref&gt;<br /> <br /> ==Image scientific media analysis==<br /> <br /> Media aesthetics are highly influenced by hybrid pictures, which are concerned by useful approaches of Visual Culture Studies. Analyzing images means being aware of their significance. It is not important ''reading'' an image rather ''perceiving'' it. Their semantic meaning is always various in comparison with an inherent way of reading. There is a clear distinction between a verbal statement and the semantic meaning of images, because the latter behaves differently.<br /> <br /> The significant characteristic of images is that they produce something ‘more’ that can’t be verbalized easily. This leads to the fact that mentioned ‘more’ produces an oversupply of meaning. Therefore, it is to be assumed that the message of an image is highly ambiguous. The so-called iconic turn, coined by Gottfried Boehm in the mid-1990s, links to the fact that the visual carries the meaning and encourages to analyze images in an equal interaction of visual and linguistic understanding. It is important to deal academically with display formats like computer games, commercials and Hollywood productions, because mass-produced imagery has a significant effectiveness. Visual Culture Studies understand motion pictures as “interfaces in the process flow of a comprehensive visual culture” and count mass-produced images to one of major relevance to the latter. It can be observed that media analysis detaches itself from specific discourses of art history, Film- and Media Studies and settles in a broad context of visual culture. Due to Karl Prümm discussing media requires a shift of perspective. <br /> <br /> The process of image acquisition and image production should come to the fore as those values are being a decisive process of cinematographic production of meaning in order to discuss films. A fixation on the director should be avoided. Due to Prümm focusing on the process of production cannot grasp image formation and shaping. To achieve the desired perspective-shift within the discourse the image elements of a visible image must be analyzed and treated as an organization system. So, in a further discussion examining the ''mise-en-scene'' should be shifted to analyzing the ''mise-en-image''.<br /> <br /> '''Mise-en-Scene''' is a term used by former Media Studies generations that examines dramaturgy and narration. Film directors are due to this approach the most important part, who sketch and model meanings right beforehand. The expression of movies is linked to characters psychology who act scenically, that means their acting adheres to script-scenes. Simultaneously the latter refers to the dramaturgy and the narrative structure. Finally, this leads to the assumption of understanding the movie expression as a diversified space of meaning.<br /> <br /> '''Mise-en-image''' embodies the antithesis. This term describes the movie image as homogenic and balanced in its power. Also, it is an aim to shift the perspective on film images in order to establish a new view. Specifically focusing its dynamics in relation to its materiality, structure, segments, changes in light, color shades and color contrasts. The new view understands motions and their connections beyond media borders towards genealogies of images and iconographic traditions. Mise-en-Image involves image determination, its production as wells as its ‘fabricatedness’ and captures its techniques and regulations. &lt;ref&gt; ibid. p. 27-29 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]]<br /> <br /> It relates to [[Media Aesthetics]]<br /> [[Category:Research Approaches]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Digital_Realism&diff=1532 2020-04-17T15:05:21Z

<p>Charlotte.feichtmair: /* Introduction to Computeranimation */</p> <hr /> <div><br /> <br /> <br /> ==Introduction to Computeranimation==<br /> &lt;big&gt;'''What are computer generated animations?'''&lt;/big&gt;<br /> <br /> Computer animations are artificially produced images that depict sequences of movement. Different techniques are used for this. These are used in areas such as animated films, computer game software or scientific simulations. Depending on the software capacity, it is possible to create almost any imaginable object, since it is not bound to the rules of reality but obeys the laws of mathematics. These objects are constructed in two phases. &lt;ref&gt; Richter, Sebastian: Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen, Bielefeld 2008 &lt;/ref&gt;<br /> <br /> '''Phase 1''' &lt;u&gt;Modeling:&lt;/u&gt;<br /> <br /> A three-dimensional geometric model is created. Software is used to model the object in polygon facets (polygon mesh representation). This is used to process information such as volume and shape. The more closely meshed, the more detailed is the surface structure. The object has a basic skeleton which is provided with an outer skin (texture). The object is then illuminated with virtual spotlights. &lt;ref&gt; ibid. p. 71 &lt;/ref&gt;<br /> <br /> '''Phase 2''' &lt;u&gt;Rendering:&lt;/u&gt; <br /> <br /> Here the three-dimensional image is projected onto a two-dimensional surface by the rendering software acting as a simulated camera. It calculates perspective and distances. The result is a two-dimensional single image. In such computer animations, motion sequences within a time span and the changing light conditions are depicted. In computer animation, movement and image information is stored separately. Therefore, motion sequences can be transferred variably to the animated object without deleting the information of the animation. This means that the movement is separated from the image. This results in a &quot;form of emergence, which is created by the interaction of data.&quot; For the creation of 3-D characters, different techniques are used, which are generated on the computer. The character setup allows the creation of a skeleton, whose motion sequences are animated by hand (key-frame animation) or transferred to it with a motion simulation. Such movement parameters are also added to the flesh, skin and hair of the characters. To avoid having to animate every single hair individually, individual movement patterns are adapted to the hairstyle, which is made possible by simulation software. These patterns move within different force fields, such as gravity or wind. Computer simulations, unlike animations, run automatically by calculating movement parameters of the object in space in relation to time. &lt;ref&gt; ibid. p. 71-73&lt;/ref&gt; <br /> <br /> Motion in a computer-generated three-dimensional space occurs on three different levels. The spatial constellation is recalculated by changing the lighting, the size of the objects and the angle from which they are viewed. This creates the impression of movement, such as a flickering campfire, the light of a candle or incident sunlight.&lt;ref&gt; ibid. p. 73 &lt;/ref&gt;<br /> <br /> <br /> &lt;big&gt;'''Keyframe Animation:'''&lt;/big&gt;<br /> <br /> This technique uses transformation calculations. It is originated in animated cartoons. Designer drew just important ‘key-drafts’ while their assistants created intermediate drafts in order to achieve comprehensible results. In animated cartoon as well as in computer animation there are certain aspects (key-values) given to limit the animation (frame). Intermediate stages created by computers are called inbetweenings. There is another key-frame animation technique called algorithmic animation, which has no need for those inbetweenings. Instead it simulates motion influenced by a preset starting point and a fixed speed rate. It renders a motion sequence by including physical parameters like speeding up, for instance. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> Another way to imply motion is to modify the perspective. This modification can be driven to an extent, that gives an impression of a camera (virtual camera) filming and rotating indoors simultaneously. In order to depict such an impression, it is necessary to include variables such as proportions, movement speeds (this process is called ''matchmoving''). &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> The difference between a virtual camera and filmic recording systems lies in the perception. Animation can be put as a shift of computer modelled objects, which are subject to changing light settings. That’s why animations can’t be described with movements, because the impression of motion arises only by motion recording including continuously calculated setting changes. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008. p. 72-75 &lt;/ref&gt;<br /> <br /> ==Image scientific media analysis==<br /> <br /> Media aesthetics are highly influenced by hybrid pictures, which are concerned by useful approaches of Visual Culture Studies. Analyzing images means being aware of their significance. It is not important ''reading'' an image rather ''perceiving'' it. Their semantic meaning is always various in comparison with an inherent way of reading. There is a clear distinction between a verbal statement and the semantic meaning of images, because the latter behaves differently.<br /> <br /> The significant characteristic of images is that they produce something ‘more’ that can’t be verbalized easily. This leads to the fact that mentioned ‘more’ produces an oversupply of meaning. Therefore, it is to be assumed that the message of an image is highly ambiguous. The so-called iconic turn, coined by Gottfried Boehm in the mid-1990s, links to the fact that the visual carries the meaning and encourages to analyze images in an equal interaction of visual and linguistic understanding. It is important to deal academically with display formats like computer games, commercials and Hollywood productions, because mass-produced imagery has a significant effectiveness. Visual Culture Studies understand motion pictures as “interfaces in the process flow of a comprehensive visual culture” and count mass-produced images to one of major relevance to the latter. It can be observed that media analysis detaches itself from specific discourses of art history, Film- and Media Studies and settles in a broad context of visual culture. Due to Karl Prümm discussing media requires a shift of perspective. <br /> <br /> The process of image acquisition and image production should come to the fore as those values are being a decisive process of cinematographic production of meaning in order to discuss films. A fixation on the director should be avoided. Due to Prümm focusing on the process of production cannot grasp image formation and shaping. To achieve the desired perspective-shift within the discourse the image elements of a visible image must be analyzed and treated as an organization system. So, in a further discussion examining the ''mise-en-scene'' should be shifted to analyzing the ''mise-en-image''.<br /> <br /> '''Mise-en-Scene''' is a term used by former Media Studies generations that examines dramaturgy and narration. Film directors are due to this approach the most important part, who sketch and model meanings right beforehand. The expression of movies is linked to characters psychology who act scenically, that means their acting adheres to script-scenes. Simultaneously the latter refers to the dramaturgy and the narrative structure. Finally, this leads to the assumption of understanding the movie expression as a diversified space of meaning.<br /> <br /> '''Mise-en-image''' embodies the antithesis. This term describes the movie image as homogenic and balanced in its power. Also, it is an aim to shift the perspective on film images in order to establish a new view. Specifically focusing its dynamics in relation to its materiality, structure, segments, changes in light, color shades and color contrasts. The new view understands motions and their connections beyond media borders towards genealogies of images and iconographic traditions. Mise-en-Image involves image determination, its production as wells as its ‘fabricatedness’ and captures its techniques and regulations. &lt;ref&gt; ibid. p. 27-29 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]]<br /> <br /> It relates to [[Media Aesthetics]]<br /> [[Category:Research Approaches]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Digital_Realism&diff=1531 2020-04-17T15:01:49Z

<p>Charlotte.feichtmair: /* Image scientific media analysis */</p> <hr /> <div><br /> <br /> <br /> ==Introduction to Computeranimation==<br /> &lt;big&gt;'''What are computer generated animations?'''&lt;/big&gt;<br /> <br /> Computer animations are artificially produced images that depict sequences of movement. Different techniques are used for this. These are used in areas such as animated films, computer game software or scientific simulations. Depending on the software capacity, it is possible to create almost any imaginable object, since it is not bound to the rules of reality but obeys the laws of mathematics. These objects are constructed in two phases. &lt;ref&gt; Richter, Sebastian: Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen, Bielefeld 2008 &lt;/ref&gt;<br /> <br /> '''Phase 1''' &lt;u&gt;Modeling:&lt;/u&gt;<br /> <br /> A three-dimensional geometric model is created. Software is used to model the object in polygon facets (polygon mesh representation). This is used to process information such as volume and shape. The more closely meshed, the more detailed is the surface structure. The object has a basic skeleton which is provided with an outer skin (texture). The object is then illuminated with virtual spotlights. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> '''Phase 2''' &lt;u&gt;Rendering:&lt;/u&gt; <br /> <br /> Here the three-dimensional image is projected onto a two-dimensional surface by the rendering software acting as a simulated camera. It calculates perspective and distances. The result is a two-dimensional single image. In such computer animations, motion sequences within a time span and the changing light conditions are depicted. In computer animation, movement and image information is stored separately. Therefore, motion sequences can be transferred variably to the animated object without deleting the information of the animation. This means that the movement is separated from the image. This results in a &quot;form of emergence, which is created by the interaction of data.&quot; For the creation of 3-D characters, different techniques are used, which are generated on the computer. The character setup allows the creation of a skeleton, whose motion sequences are animated by hand (key-frame animation) or transferred to it with a motion simulation. Such movement parameters are also added to the flesh, skin and hair of the characters. To avoid having to animate every single hair individually, individual movement patterns are adapted to the hairstyle, which is made possible by simulation software. These patterns move within different force fields, such as gravity or wind. Computer simulations, unlike animations, run automatically by calculating movement parameters of the object in space in relation to time. &lt;ref&gt; ibid. &lt;/ref&gt; <br /> <br /> Motion in a computer-generated three-dimensional space occurs on three different levels. The spatial constellation is recalculated by changing the lighting, the size of the objects and the angle from which they are viewed. This creates the impression of movement, such as a flickering campfire, the light of a candle or incident sunlight.&lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> <br /> &lt;big&gt;'''Keyframe Animation:'''&lt;/big&gt;<br /> <br /> This technique uses transformation calculations. It is originated in animated cartoons. Designer drew just important ‘key-drafts’ while their assistants created intermediate drafts in order to achieve comprehensible results. In animated cartoon as well as in computer animation there are certain aspects (key-values) given to limit the animation (frame). Intermediate stages created by computers are called inbetweenings. There is another key-frame animation technique called algorithmic animation, which has no need for those inbetweenings. Instead it simulates motion influenced by a preset starting point and a fixed speed rate. It renders a motion sequence by including physical parameters like speeding up, for instance. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> Another way to imply motion is to modify the perspective. This modification can be driven to an extent, that gives an impression of a camera (virtual camera) filming and rotating indoors simultaneously. In order to depict such an impression, it is necessary to include variables such as proportions, movement speeds (this process is called ''matchmoving''). &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> The difference between a virtual camera and filmic recording systems lies in the perception. Animation can be put as a shift of computer modelled objects, which are subject to changing light settings. That’s why animations can’t be described with movements, because the impression of motion arises only by motion recording including continuously calculated setting changes. &lt;ref&gt; Richter, Sebastian: ''Digitaler Realismus, Zwischen Computeranimation und Live-Action, Die neue Bildästhetik in Spielfilmen'', Bielefeld 2008. &lt;/ref&gt;<br /> <br /> ==Image scientific media analysis==<br /> <br /> Media aesthetics are highly influenced by hybrid pictures, which are concerned by useful approaches of Visual Culture Studies. Analyzing images means being aware of their significance. It is not important ''reading'' an image rather ''perceiving'' it. Their semantic meaning is always various in comparison with an inherent way of reading. There is a clear distinction between a verbal statement and the semantic meaning of images, because the latter behaves differently.<br /> <br /> The significant characteristic of images is that they produce something ‘more’ that can’t be verbalized easily. This leads to the fact that mentioned ‘more’ produces an oversupply of meaning. Therefore, it is to be assumed that the message of an image is highly ambiguous. The so-called iconic turn, coined by Gottfried Boehm in the mid-1990s, links to the fact that the visual carries the meaning and encourages to analyze images in an equal interaction of visual and linguistic understanding. It is important to deal academically with display formats like computer games, commercials and Hollywood productions, because mass-produced imagery has a significant effectiveness. Visual Culture Studies understand motion pictures as “interfaces in the process flow of a comprehensive visual culture” and count mass-produced images to one of major relevance to the latter. It can be observed that media analysis detaches itself from specific discourses of art history, Film- and Media Studies and settles in a broad context of visual culture. Due to Karl Prümm discussing media requires a shift of perspective. <br /> <br /> The process of image acquisition and image production should come to the fore as those values are being a decisive process of cinematographic production of meaning in order to discuss films. A fixation on the director should be avoided. Due to Prümm focusing on the process of production cannot grasp image formation and shaping. To achieve the desired perspective-shift within the discourse the image elements of a visible image must be analyzed and treated as an organization system. So, in a further discussion examining the ''mise-en-scene'' should be shifted to analyzing the ''mise-en-image''.<br /> <br /> '''Mise-en-Scene''' is a term used by former Media Studies generations that examines dramaturgy and narration. Film directors are due to this approach the most important part, who sketch and model meanings right beforehand. The expression of movies is linked to characters psychology who act scenically, that means their acting adheres to script-scenes. Simultaneously the latter refers to the dramaturgy and the narrative structure. Finally, this leads to the assumption of understanding the movie expression as a diversified space of meaning.<br /> <br /> '''Mise-en-image''' embodies the antithesis. This term describes the movie image as homogenic and balanced in its power. Also, it is an aim to shift the perspective on film images in order to establish a new view. Specifically focusing its dynamics in relation to its materiality, structure, segments, changes in light, color shades and color contrasts. The new view understands motions and their connections beyond media borders towards genealogies of images and iconographic traditions. Mise-en-Image involves image determination, its production as wells as its ‘fabricatedness’ and captures its techniques and regulations. &lt;ref&gt; ibid. p. 27-29 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]]<br /> <br /> It relates to [[Media Aesthetics]]<br /> [[Category:Research Approaches]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1529 2020-04-17T12:59:12Z

<p>Charlotte.feichtmair: /* Dealing with Media Aesthetics */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1-13 &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4 &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. p. 5 &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6 &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7 &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12 &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. p. 9-10 &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. p. 10-11 &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. p. 12-13 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1528 2020-04-17T12:59:01Z

<p>Charlotte.feichtmair: /* The New Media and Media Aesthetics */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1 &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4 &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. p. 5 &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6 &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7 &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12 &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. p. 9-10 &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. p. 10-11 &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. p. 12-13 &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1527 2020-04-17T12:57:55Z

<p>Charlotte.feichtmair: /* Transmedial intermediality in relation to computers */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1 &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4 &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. p. 5 &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6 &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7 &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12 &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. p. 9-10 &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. p. 10-11 &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1526 2020-04-17T12:57:02Z

<p>Charlotte.feichtmair: /* Computer Simulation and Transmaterialization */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1 &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4 &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. p. 5 &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6 &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7 &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12 &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. p. 9-10 &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1525 2020-04-17T12:54:50Z

<p>Charlotte.feichtmair: /* Computer Simulation and Transmaterialization */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1 &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4 &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. p. 5 &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6 &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 7 &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12 &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1524 2020-04-17T12:54:04Z

<p>Charlotte.feichtmair: /* Dealing with the discourse */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1 &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4 &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. p. 5 &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. p. 5-6 &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 75 &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12 &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1523 2020-04-17T12:52:29Z

<p>Charlotte.feichtmair: /* Dealing with Media Aesthetics */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s. &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) p. 1 &lt;/ref&gt;<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; ibid. p. 2-4 &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 75 &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12 &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1522 2020-04-17T12:49:30Z

<p>Charlotte.feichtmair: /* Computer Simulation and Transmaterialization */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s.<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. p. 75 &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. p. 9-12 &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1521 2020-04-17T12:36:28Z

<p>Charlotte.feichtmair: /* The New Media and Media Aesthetics */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s.<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair https://wiki.uni-konstanz.de/gamelab/index.php?title=Media_Aesthetics&diff=1520 2020-04-17T12:36:20Z

<p>Charlotte.feichtmair: /* Transmedial intermediality in relation to computers */</p> <hr /> <div>==Dealing with Media Aesthetics==<br /> The term ‘new media’ must be put correctly first in order to understand media aesthetics. According to Jens Schröter ‘media aesthetics’ and ‘new media’ are closely connected, because both terms were simultaneously developed during the 1990s onwards, meanwhile the internet spread enormously. Due to Schröter research books, which mentioned ‘media aesthetics’ were all published after 1992. This means ‘new media’ and ‘media aesthetics’ correlate. Computer simulation is a significant pillar of media aesthetics’ discourse in the first half of the 1990s.<br /> <br /> <br /> &lt;u&gt;&lt;big&gt;'''Discourse of the 1990s''':&lt;/big&gt;&lt;/u&gt;<br /> <br /> Scientists felt the advent of a new aesthetic era and published writings about aesthetic agency of ‘new media’, which strongly addressed computer simulation what referred incorrectly to ''virtual reality'' (now this term is defined and used differently). Computer simulation turned from an imitative function to a productive one. Since people now interact with computer simulations from day to day this habit leads to an ''aesthetic turn''. In Welsch words to an “aestheticization” of one’s visual awareness and one’s perception of reality. He also considers that those who work often with CAD (computer-aided design) find reality less real &lt;ref&gt; Schröter, Jens: MediArXiv Preprints, https://mediarxiv.org/bs2zu/ (09.04.2020) &lt;/ref&gt;<br /> <br /> ==Dealing with the discourse==<br /> Why is modeled reality assumed to be not real? Whereas computer Simulations for instance model architecture, engines, human anatomy in order to progress the understanding and learning for future sciences. Hence simulations are actually able to substantiate reality. The dichotomous appearance of simulation can be attributed to obsolete simulation theories. Schröter assumes that there was a tendency of imputing a derealization to simulations’ ability. Thus its ''creative power'' is undermined rather negated. A non-aesthetic 'reality' wasn’t considered anymore. The 1990s discourse discussed a wide concept called ''aisthetics.'' This means that ‘reality’ is full of simulations and consequently not even ‘real’, so ‘reality’ would be 'artificial'. Based on the facts it’s assumable for Schröter, that technology and media perception actually preceded any kind of epistemology. However, there was also an oppositional approach, which criticized the performance-centered notion of media aesthetics. According to Martin Seel (1993) he felt ‘media aesthetics’ is about media usage regarding to perceive aesthetically. He claims a clear difference between a non-aesthetic reality and aesthetic occurrences. For him it does depend on the manner of simulation, not what is simulated. Here the power of representation is determined. Its reception can be put as self-referential. This notion reflects the zeitgeist of the twentieth century. Seel arranges the adjective self-referential purposely to digital (electronic) media and enriches simulation with artistical characteristics. He calls the possibility of digital storage as the first medium of new media. This storage cannot be seen visually, it has an ''immaterial code''. &lt;ref&gt; ibid. &lt;/ref&gt; <br /> <br /> <br /> This code by itself is defined as something imperceptible. On the one hand the immaterial code by itself is not able to evoke perceptible aesthetics. On the other hand, the effects of the immaterial code can do so. In conclusion media reflexivity can no longer be about uncovering the medium that actively shapes art. In conclusion the digital code cannot be defined as a medium. Instead it is something that transposes the concept of the medium itself. To put it in a nutshell there are two types of media aesthetics. Firstly, there is a ‘strong’ kind of media aesthetics, which acknowledges historical discontinuity, but simultaneously borders the field of aesthetics. Secondly, a ‘weak’ kind, which acknowledges aesthetic perception as something independent as well as its continuity. The ‘weak’ approach is problematic due to its oppositional components. On the one side it comprehends (during digital media start to develop) the emergence of media aesthetics with a transporting capability, which at once shapes the base of this approach. On the other side it sticks to a traditional, modernist concept of media reflexivity. &lt;ref&gt; ibid. &lt;/ref&gt; Schröter adds a third medium kind of media aesthetics: In his opinion the world doesn’t depend on a condition of an aesthetic absolute. For him media aesthetics regards to aesthetics, aisthetics and pre-digital media. Most importantly they become visible (and audible) once more through their transposed digital repetition. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''Computer Simulation and Transmaterialization'''==<br /> <br /> <br /> Computer simulations are one of the most significant occurrences, which influences science and technology since the invention of writing. Computer simulations can be put as a process represented as mathematics using algorithms. This means since this process is based on different types of accumulated data, which are regulated within can be deflected as a theory. In principle a computer translates the basic model into a formalized model. Then the data of the formalized model are compared and adapted to the experimental data and finally validated. According to Deleuze objects modelled by computer simulations are virtual objects. Due to his formulation the reality of the virtual is formed by simulations structure (which contains such objects). The conditions of those objects can be modified in future and/or alternative. It seems that the liberty of action is being limited. So, computer simulations determine time features in order to discover probabilities.<br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> Schröter assumes there is a connection of the real in simulations, because computer-based simulations are used in wide-ranging fields like education, humanities and natural sciences. For him simulation is “one of the most powerful means of designing, researching, controlling, and producing things that are very real indeed.” According to him the fact that computer simulation techniques can simulate technological media would be much more relevant such as photorealism. Photographic developed and photorealism emerged in the 1990s and is also simulation. Photos serve as basis for computer models. A ‘virtual camera’ for instance simulates traits from its real-life model such as taking pictures. These characteristics can be ‘updated’ so the virtual camera simulation draws near to its real model gradually, on the one hand. On the other hand, the virtual camera can also be modified so that it is able to capture situations which real cameras can’t. So, a computer simulated camera can perform in two ways. It captures (virtually) both under real-life conditions and under unrealistic conditions. Although the simulated technique tries to provide a perfect simulated capture, there are flaws in its high perfection. Computer generated graphics are assumed to be too ‘clean’ and therefore not realistic enough. Firstly, such virtual cameras capture a simulated object field what is obviously without scratches, dust or anything incomplete. Secondly, simulated cameras don’t obey the unwritten law of linear perspective by their real-life counterpart without intended adjustment. Mentioned perspective is traditional in photography and film, so photorealism can’t reach this point effortlessly. Thirdly, graphic simulations tend to depict the qualities of its models. Such as grainy structures in blow-ups or displaced pixels in light-sensitive movie scenes. There are five forms:<br /> <br /> '''narration structures''':<br /> in movies, literature, television and in computer games. <br /> <br /> '''rythmic structures''':<br /> measure (lit.) in lyric poetry, digital video and music.<br /> <br /> '''planimetric structures''':<br /> This is basically a compilation of some mathematical plot plan which is reflected in photography, paintings or films.<br /> <br /> '''live quality ''':<br /> of radio, telephone and films and so on.<br /> <br /> '''forms of visual look''':<br /> which are shared by television shows, movies, comics, paintings.<br /> <br /> ---&gt; these characteristics are categorised to ''transmedial intermediality'' &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> Recalling former notions of materiality, it was described as something stepping ''behind'', almost invisible. It becomes only evident in faults and malfunctions like stagnated video-calls, white noise, lost E-Mails, lens flares. These faults can be found in pre-digital media-based art forms in order to show the mediums specific materiality behind the form. This is only possible whether these faults are imbedded in a context due to understand the intention plus showing this intention clearly. Thereby these faults can be reversed into ''non-faults'', what makes them an aesthetic technique. So, mediality is defined in two ways. Either it operates as a disturbance, if it transmits information (content) or it creates media aesthetics (e.g., in the art system) by intentional faults. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''Transmedial intermediality in relation to computers'''==<br /> <br /> <br /> Is not only possible to simulate objects like analog media but also modelling their faults and flaws and thereby transfers them from one medial context to another. This strongly effects media aesthetics and is following outlined with aid of the computer-generated film ''Monsters, Inc.'', directed by Pete Docter (USA 2001). <br /> Mentioned shift of medial context is shown in ''Monsters, Inc''. by lens flares among other things. Those emerge usually when cameras face bright light while filming. Because this and other photographic faults can be found within many cartoon-like animated films, these photorealistic techniques want to create a ''new type'' of image. It can be described as an image that “falls between imagery of animation and photography.” Schröter assumes that simulation turns the material specificity within analog media into rather transmedial forms, which are transmedial as well as transmaterial. He calls this process “transmaterialization”. Those two traits have different characteristics. Transmedial forms cannot be related to one particular medium, like narrative techniques, because they are found in various forms like oral narrations, films or plays. Yet for transmaterial forms it is possible to refer to “specific materiality”, like lens flares regard to photographic optics. But this happens in a different context. It should be perceived as a digital repetition of former media, like a separate selection and not as a self-reflexive move to a basic materiality. So, it’s not about the digital code, which appears reflexively. Rather it is about the “digital repetition of one aspect of materiality”. Lens flares in ''Monsters Inc.'' can be put as a revealing act of simulations transforming abilities namely to convert materiality of analog media into transmaterial forms. (aspects of the movie) Not only begins the movie with a scene shot in a simulator. It also shows bloopers and other filmic distortions during credits and in doing so it places itself within the tradition of the photographic film. &lt;ref&gt; ibid. &lt;/ref&gt;<br /> <br /> =='''The New Media and Media Aesthetics'''==<br /> <br /> <br /> Computer have an arguable status when it comes to define them as new media. They are machines which need contextualization for reasonable rather more specific existence. Around the mid-1960s (in the USA) computers were specified as media within the limits of transposing and repeating earlier media. Thereafter ‘the new media’ emerged. Computer approximate to ‘the old media’ using techniques like digital photography and simulation and therefore transform them into ‘new media’. There are three aspects which make the computer a ‘new media’. Firstly, they carry transmedial forms already. Secondly, they have access to approximated and transmaterialized technologies made by simulations. Thirdly, they can register information of other media digitally, which are simultaneously using the computers technology. Contextualization of the computer is split in different sediments. At first material input and output peripheries (so-called displays) are needed due to transform the computer into a medium. Then software can be turned into hardware in the shape of a logical connection. For instance, a CD player can be called a computer within a strictly set framework. So, “new media are the perceptible effects of imperceptible digital codes.” Modernist media aesthetics regard upon this definition since the 1990s. Net art takes this to a further extend. It presupposes the deduction of contextualization and the computer-as-a-net.<br /> <br /> ==Conclusion==<br /> <br /> ==Related Links/Research==<br /> It relates to [[Simulation in Games]] due to its significant meaning to media aesthetics.<br /> <br /> It relates to [[Self-Reflexivity]] because it is an approach of media aesthetics. <br /> &lt;references /&gt;<br /> [[Category:Research Approaches|Media Aesthetics]]</div>

Charlotte.feichtmair