produzieren, folgert Ernst daraus, dass ein Diskurs auch nicht abbilden könne, was Medien sind. Dies sollen nur die Medien selber können: „Media are not only the objects but also subjects (‚authors‘) of media archaelogy.“ 142 Da Ernst unter Medien hauptsächlich technische Medien, also die „Kopplung von Logik
(vgl. Ronald E. Day, Indexing It All. The Subject in the Age of Documentation, Information, and Data , Cambridge/ MA : MIT Press, 2014). 533 Zu dessen Digitalisierung vgl. Sabrina Negri, »Simulating the Past. Digital Preservation and the ›End of Cinema‹«, in: Cinéma & Cie. International Film
This chapter is focused on the intersecting subjects of gender, sexuality, and morality in Dishonored (2012). I would like to posit that the game’s strong 19th-century British influence is connected to its rereading/writing of Victorian sexuality and attitudes toward illegitimate offspring (as well as the moral stigma – or lack thereof – that comes with bastard children), particularly for the relatively few female characters. Through Victorian female literary tropes, ideals and attitudes, it is possible to gain a better and more complex understanding of the game’s treatment of its female characters and their place in the world of the game. Simultaneously, it is necessary to address the backwards-looking and revisionary nature of a game set in an unVictorian world created by modern developers, and the role of contemporary biases (gendered and otherwise) in this setting. Neo- Victorian literary critics such as Samantha Carroll, Alexia Bowler and Peter Widdowson provide a mode of critical discourse that help to understand and explain Dishonored’s re-vision (and lack of re-vision) of gendered roles, tropes and archetypes. Additionally, Stefania Forlini provides perspective on the question of morality in Neo-Victorian texts, which proves interesting when considering Dishonored’s female characters and their places in the game’s moral system. The overall aim of this chapter is to place Dishonored alongside the Neo-Victorian literary tradition and apply relevant critical thought to explore the overlapping and intersecting traditions of gender within the game.
From the perspective of Gilles Deleuze and Felix Guattari, the recent debacle surrounding the Mass Effect 3 gaming series arguably indicates the difficulty of producing a ‘body-without-organs’ in the contemporary era. For Deleuze and Guattari, a ‘body-without-organs’ may be a creative artefact which exceeds the axiomatic stratification that informs present-day capitalist society, and thereby makes possible an immanent field in which new experiences can precipitate new thinking. On the one hand, Mass Effect 3 initially continued to mirror aspects of such stratification, insofar as it remained a traditional third-person action roleplaying game replete with valorisation of the dominating, exploitative, hyperindividualistic consumer subject. However, on the other hand, the tragic ending of the game, involving the demise of the protagonist, Shepard, constituted a ‘line of flight’ away from such stratification. Arguably, this ‘line of flight’ not only thematised the fragility and vulnerability of human beings, but also pointed toward their loss of individuality – or ‘dividualisation’ – within contemporary ‘control’ society; the process of which Deleuze explores in his article ‘Postscript on Control Societies.’ This chapter takes as its point of departure many gamers’ formidable negative reaction to the tragic ending of Mass Effect 3, which culminated in an online petition during which no less than $80,000 was raised, in order to force the game developer to create an alternative ending in which Shepard survives. In this chapter, it will be advanced that these gamers constituted a conglomerate – or a ‘desiring machine’ – which attached itself to the ‘body-without-organs’ of Mass Effect 3, with a view to stratifying the latter in accordance with the axiomatic of capitalism. This study has a bearing on the issue of identity formation through gaming.
Motiv und Metapher der Schrift in der Fotografie
Eine medientheoretische mit einer motivgeschichtlichen Perspektive kreuzend, fokussiert Goldbach seinen Gegenstand im Schnittpunkt zweier Blickachsen: der einer Konzeption von Fotografie als neuer und anderer Sprachform, und der konkreter fotografischer Bilder von Schriften – u.a. bei Brassaï, László Moholy-Nagy, Walker Evans, William Klein und Andreas Gursky. Erstmals zusammenhängend nachgezeichnet wird die Beziehung von Fotografie und Schrift auf einer technik- und diskursgeschichtlichen, systematisch-formalen und ästhetisch-poetologischen Ebene.
challenge human sense-making. Sensory processing is not directed through human sensing-subjects primarily but is instead located throughout automated sensing processes. As it is decoupled from human subjects, sensing as a process of making meaning, and of generating capacities to make sense and act on
what economic geographers call the friction of distance, exposing it to the risk of damage, spoilage, theft, or miscarriage and subjecting it to the contingencies of topography, seasonality, and territorial politics. It submitted the picture to the captivation of extrinsic transport and communications
ubiquitous computing refers […] simply to itself, consisting of networks of sensors, actuators, finitestate machines, maintaining homeostatic levels, feeding and tracking information from one integrated circuit to another. The human subject may come late in the chain if at all.« 680 Der von Weiser avisierte
delicate, weightless, and ephemeral its subject matter, as soon as a painting must be shipped, it must be weighed and measured, packed and labelled. Postage must be paid.« 385 Vor dem Hintergrund dieser weit zurückreichenden Erzählung der »material mobility of pictures« (Roberts) scheint die Vorstellung
Edited by William Collins Donahue, Norbert Otto Eke, Sven Kramer and Elizabeth Loentz
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