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18 JUNE 2012

6th Annual International Conference on Computer Games Multimedia & Allied Technologies

"Annual International Conference on Computer Games, Multimedia and Allied Technology raises a platform for the Asian Gaming Community to realize, recognize, and reveal the technological interplay at work behind the immersive and compelling world of gaming. The conference mantles the experience, expertise, and technological know–how flowing in from academicians, researchers, and industry professionals and provides an apt platform for view and review.

The Conference Themes on Animation,Multimedia, IPTV, Edutainment, Mobile, Virtual Reality nunciating [sic] the evident convergence of technology while focusing on the differing facets of the gaming industry. The world of gaming is a result of numerous technologies, game tools and systems, the conference strives to discuss the technological advances, perspectives of future developments, and innovative applications while exploring the key concerns and issues related to Game security and Game regulations."

(Global Science & Technology Forum, Singapore)

TAGS

2012animation • Asian Gaming Community • audio design for games • computer gamecomputer games • Computer Games Multimedia and Allied Technology (conference) • conferenceconvergencediegesis • edutainment • future developments • game design • game production • game programming • game regulations • game security • game systems • game tools • games • gaming community • gaming industry • Global Science and Technology Forum GSTF • immersive • innovative applications • IPTVmobile • mobile gaming • multimediaSingapore • technical sessions • technological advances • technological interplay • technological know-howtechnologiestechnologytechnology convergencevirtual reality • world of gaming

CONTRIBUTOR

Simon Perkins
13 OCTOBER 2011

An interactive system defines a virtual space

"An interactive system defines a virtual space, whether the system's interface provides access to the inhospitable planet of Stroggos or the Microsoft Windows desktop. Users of both these systems interact with a place, one created by a computer and in which users and computational agents carry out their individual and collective activities. The intuitive and often–discussed benefit of a well–designed interface metaphor is that it allows users to carry over conventions from their 'real' experience when performing tasks within the interface world.

Another key and often unarticulated value of an interface arises from the interface's mimetic quality. While mimesis is often discussed by narrative theorists as a contrast to diegesis, distinguishing the concepts of showing versus telling (Aristotle), my emphasis here is to distinguish between an artifact that is intended to be an imitation of something, but is not really that thing and an artifact that is intended to be mistaken as that thing. An example of the former case would be a film of a fictional account of the D–Day landing on the beaches of Normandy. An example of the later might be a virtual reality system displaying photo–realistic graphical images of a physical space. D–Days stories like The Longest Day and Saving Private Ryan are, in some ways, imitations, and so are more mimetic than VR systems whose design is intended to '...produce synthetic images visually and measurably indistinguishable from real world images.' (Greenberg 1999)(pg. 45)."

(R. Michael Young, 1999)

Greenberg, D. P. 1999. 'A framework for realistic image synthesis'. Communications of the ACM 42(8):45–53.

1). R. Michael Young (1999). 'Notes on the Use of Plan Structures in the Creation of Interactive Plot', Papers from the 1999 Fall Association for the Advancement of Artificial Intelligence Symposium

TAGS

1999 • AAAI • AristotleAssociation for the Advancement of Artificial Intelligence • computational agents • conventionsD-Day landingdesktop metaphordiegesis • Donald P. Greenberg • fictional account • graphical images • image synthesis • imitation of something • imitations • interact with a place • interactive narrative • interactive system • interface metaphor • interface world • intuitiveMicrosoft Windowsmimesis • mimetic quality • mistaken as that thing • narrative theory • Normandy • performing tasks • photo-realistic • physical space • real experience • real world images • realism • Saving Private Ryan • showing • stories • Stroggos • synthetic images • telling • The Longest Day • usersvirtual heritagevirtual realityvirtual reality systemvirtual space • VR systems • WWII

CONTRIBUTOR

Simon Perkins
22 MARCH 2011

The Conformist: dramatic interplay of light and shadow, gestures and movements and room space and sound

"The Conformist is a difficult film, not because its themes are heavy or its form too radical, but because the statement it proposes is a tad indigestible. Once you get over its slight simplification of ideas and reasons, it is a sweeping masterwork that you are looking at. I probably haven't seen any film that as clearly reveal how we have all confused sexuality with morality, morality with religion, religion with politics and politics with security. The tension is palpable in almost every shot of the film. Consider the central scene of sheer cinematic awesomeness where Quadri and Clerici recollect what actually went wrong. Using staggering interplay of light and shadow, gestures and movements and room space and sound, Bertolucci develops the central motif of the film in pure film language, without ever betraying the diegesis of the film. Bertolucci's script takes up Plato's Allegory of the Cave, which suggests that humans are all prisoners inside a dark cave unable to differentiate between real objects and the shadows that they cast on the walls, and adapts it so as to examine the dark history of the country. It is after this point that every element of the film cries out for attention and the ambivalence of the central character brought to light. Especially remarkable is the final shot of the film where, after Italo is swept away by a Rossellinian crowd, Clerici sits on a low platform near the fire, looking towards a homosexual street dweller through prison–like iron bars, still unsure of his political, sexual and moral footing."

(Just Another Film Buff @ The Seventh Art)

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TAGS

1970aestheticsallegory of the caveBernardo Bertoluccichiaroscurocinematiccinematographydesign formalismdiegesisfigures in spacefilmfilm languagefootinghomosexuality • Il Conformista • insecurity • Italy • light and shadow • masterworkmise-en-scenemoralitymotifmovementpatternPlatopoliticsprisonerrealityreligion • Roberto Rossellini • sexuality • shadows • shotspace • The Conformist • visual communicationvisual designvisual languagevisual literacyvisual spectacle

CONTRIBUTOR

Simon Perkins
23 AUGUST 2005

Diegesis and Diegetic Space in Videogames

"Rimmon–Kenan (1983) notes how the distinction between Plato's and Aristotle's mimesis (often translated as showing) and diegesis (telling) had come by the end of the nineteenth century to mean, on the one hand, the direct presentation of events in which the narrator seems to disappear (as in drama), and, on the other, presentation mediated by a narrator who, instead of exhibiting events, talks about them, sums them up, and so forth. Since then, the term diegesis has been widely adopted in film theory with a rather different sense: diegetic space is that which is accessible to the characters in the film (Giejgo 2001). By contrast, one of the most common extra–diegetic components is film music, heard by the audience but not by the characters in the story. Subtitles and inter–titles are also extra–diegetic. In the case of a painting, the artist's signature is usually in the non–diegetic space of the canvas surface ? but occasionally is made diegetic by being incorporated into the scene itself. In a videogame, there is almost invariably a diegetic world occupied by the scenery and characters, and a non–diegetic layer occupied by status indicators for variables such as health, weaponry, and so forth. We argue that this divided relationship between the world and the interface, between the diegesis and the extra–diegetic, is analogous to the configurational mode of graphics. There is a diagrammatic relation between a pictured world and the set of controls and measures which are external to that world. Such a relation is also familiar in standard graphical user interfaces, usually considered as examples of direct manipulation (Shneiderman 1998:186 passim) but often favouring indirect manipulation, so that for example an onscreen video–console has a set of controls to play, stop, rewind and so forth, rather than the user interacting with the displayed video material itself. The controls are extra–diegetic."

(Stephen Boyd Davis)

[1] Rimmon–Kenan, Shlomith. 1983. Narrative Fiction: contemporary poetics. Methuen, London.
[2] Giejgo, Marja. 2001. www, ?Val Geilgud and the BBC?, website of Independent Radio Drama Productions
Ltd, http://www.irdp.co.uk/GIELGUD/valbbc14.htm (1 September 2001)
[3] Shneiderman, Ben. 1993. 3rd edition. Designing the User Interface – strategies for effective human computerinter action. Addison–Wesley, Reading, MA.

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TAGS

arcade gameAristotle • Boyd Davis • computer gamediegesisdiegetic spacegameludicludic spacemimesismusicPlatospacevideo gameworld of the story
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