View allAll Photos Tagged GameDesign
JUNE 4 2019/4 GIUGNO 2019
18:00 - 19:00
Room 135/Aula 135 (terzo piano)
Università IULM (IULM 1)
Via Carlo Bo, 1
20143 Milan
gamedesign.university
7 1/2 OBSERVATIONS ABOUT THE SHORTEST FOUR-LETTER WORD IN GAMES
LANGUAGE: ENGLISH
When players enjoy a game, they say, “That was fun!” When designers make, journalists review, or academics theorize about a game, the word fun rarely comes up. A word so commonplace as to sound meaningless and typically ignored, “fun" remains unmentioned by those who make and write about games. This talk looks beyond game development, game journalism and game studies for ideas to help us better understand the role of fun in games and beyond. Drawing on fields as diverse as cognitive psychology, anthropology, cultural theory, the philosophy of art, and sociology, Sharp explores the power and potential of fun as useful concept and tool for experiencing, thinking about, and understanding play.
historian, curator and educator with thirty years of involvement in the creation and study of art and design. John's current design work focuses on cultural games, artgames and non-digital games. His current research addresses game aesthetics, the processes of creativity, and the intersections of aesthetics and ethics. Sharp is Associate Professor in the School of Art, Media, and Technology at Parsons School of Design at the New School. He is the author of Works of Game: On the Aesthetics of Games and Art (MIT Press) and coauthor (with Colleen Macklin) of Iterate.Ten Lessons in Design and Failure and (with David Thomas) Fun, Taste, & Games: An Aesthetics of the Idle, Unproductive, and Otherwise Playful (MIT Press). Sharp and Macklin are Codirectors of the PETLab (Prototyping Education and Technology Lab) at Parsons. John was the curator of Spacewar!: Videogames Blast Off (2012) and A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games (2018, co-curator Jason Eppink) at the Museum of the Moving Image and co-curator of XYZ: Alternative Voices in Game Design (2013) at the Museum of Design-Atlanta. John’s Games include The Metagame (2015) and Losswords (2019).
7 OSSERVAZIONI E 1/2 SULLA PAROLA DI QUATTRO LETTERE PIÙ CORTA NEI GIOCHI
Quando un giocatore s’imbatte in un’esperienza ludica particolarmente avvincente, spesso esclama: "Wow, è veramente divertente!". Eppure designer, giornalisti e accademici raramente utilizzano il termine “divertimento” per riferisi ai videogiochi. Questo sostantivo è così vago e generico che persino chi sviluppa o scrive di videogiochi tende a ignorarlo. Beninteso, il fenomeno non riguarda solo game design, giornalismo e game studies, ma la cultura in quanto tale. In un avvincente excursus che attinge a piene mani dalla psicologia cognitiva, dall'antropologia, dalla teoria culturale, dalla filosofia dell'arte e alla sociologia - Sharp esplora il potenziale del divertimento per ripensare l’attività del giocare.
John Sharp è un designer, storico dell'arte, curatore ed educatore con trent'anni di esperienza nello sviluppo e nello studio dell'arte e del design. La sua ricerca si concentra sui videogiochi culturali, artistici e analogici, con particolare attenzione all'estetica videoludica, i processi creativi e le intersezioni tra estetica ed etica. Professore Associato alla Scuola di Arte, Media e Tecnologia della Parsons School of Design (New School), è l’autore di Works of Game: On the Aesthetics of Games and Art (MIT Press) e coautore (con Colleen Macklin) di Iterate.Ten Lessons in Design and Failure e (con David Thomas) Fun, Taste, Taste, & Games: An Aesthetics of the Idle, Unproductive, and Otherwise Playful (MIT Press). Sharp e Macklin sono i direttori del PETLab (Prototyping Education and Technology Lab) alla Parsons School of Design. Ha curato numerose mostre tra cui Spacewar!: Videogames Blast Off (2012) e A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games (2018, insieme a Jason Eppink) al Museum of the Moving Image. Ha co-curato XYZ: Alternative Voices in Game Design (2013) al Museum of Design-Atlanta. Come designer, ha realizzato The Metagame (2015) and Losswords (2019).
John Sharp is a designer, art
This chess set cost about $10.00 to prototype; once we put it into production as a kit for the school, I think we'll be able to scale it down to about $5.90. I wish the pawns were a little taller, but it's a minor detail.
Update (7 July 2015): This chess set is now named the Gutenberg Chess Set, in honor of the woman who inspired it, Cheryl Gusenberg, the second grade teacher at my school who died this week.
On Sunday, January 23, 2011, the one-year Game Design program at VFS hosted an Open House in conjunction with Game Design Expo. The Open House offered an inside look into the Game Design program including sample classes, an alumni presentation, and a chance to play student- and alumni-created games.
Learn about Game Design Expo at gamedesignexpo.com.
Find out more about VFS's one-year Game Design program at vfs.com/gamedesign
At the Swiss Game Lounge, aficionados can discover the most creative Swiss computer games, in other words the best of Swiss game design. The Swiss Game Lounge represents the innovative game development scene which has emerged in Switzerland that creates increasingly complex digital worlds.
© FDFA / Presence Switzerland
Trivial Pursuit Game with 2 categories :
Camera Controls
History of Photography
Composition
Other
Students design a Game including board, pieces, rules, playing cards
Archiving my very 1st teenage steps with the Atari 800XL in the form of a folder full of code, sketches & references (all created between 1988-1991)... I started with writing pure hex code, then taught myself the 6502 flavour of Assembler (only learned Z80 before) but then got more & more into game design, icons & demo scene activities (as coder, gfx and chiptunes & co-organizer) and started building several tools & games (incl. The Brundles, a commercial Lemmings clone for the 8-bit Atari in '93)
Knox College students in the Interactive Design course create their own games using randomly assigned objects. The course draws on faculty from computer science, graphic design and theatre. Photo by Peter Bailley.
Archiving my very 1st teenage steps with the Atari 800XL in the form of a folder full of code, sketches & references (all created between 1988-1991)... I started with writing pure hex code, then taught myself the 6502 flavour of Assembler (only learned Z80 before) but then got more & more into game design, icons & demo scene activities (as coder, gfx and chiptunes & co-organizer) and started building several tools & games (incl. The Brundles, a commercial Lemmings clone for the 8-bit Atari in '93)
Knox College students in the Interactive Design course create their own games using randomly assigned objects. The course draws on faculty from computer science, graphic design and theatre. Photo by Peter Bailley.
Game Design Summer Intensive.
Find out more about VFS Summer Intensive programs at vfs.com/summerintensives.
Game Design Summer Intensive.
Find out more about VFS Summer Intensive programs at vfs.com/summerintensives.
The urban setting in Grand Theft Auto IV is built to a remarkable level of detail, inviting the impression of a real living city.
Ferrara, John. 2012. Playful Design. New York: Rosenfeld Media. www.rosenfeldmedia.com/books/game-design/
Experiments using animals in Skinner boxes revealed the effects that environmental factors can have on behavior.
Ferrara, John. 2012. Playful Design. New York: Rosenfeld Media. www.rosenfeldmedia.com/books/game-design/
Archiving my very 1st teenage steps with the Atari 800XL in the form of a folder full of code, sketches & references (all created between 1988-1991)... I started with writing pure hex code, then taught myself the 6502 flavour of Assembler (only learned Z80 before) but then got more & more into game design, icons & demo scene activities (as coder, gfx and chiptunes & co-organizer) and started building several tools & games (incl. The Brundles, a commercial Lemmings clone for the 8-bit Atari in '93)
Knox College students in the Interactive Design course create their own games using randomly assigned objects. The course draws on faculty from computer science, graphic design and theatre. Photo by Peter Bailley.
🎅 Celebrate New Year with Christmas Event in Realmcraft Free Minecraft Clone 🎄🎄🎄
★★★★★ FREE 3D CRAFT SANDBOX ★★★★★
Craft & Build & Destroy & Survive
★★★ JOIN SURVIVAL EPIC EXPLORE & ADVENTURE! ★★★
🎮 REALMCRAFT Game Android Download link:
play.google.com/store/apps/details?id=com.tellurionmobile...
Realmcraft is a game almost identical to Minecraft. Many appreciate it for smoother graphics. In addition, unlike Minecraft, it can be played for free. The greatest advantage of this game is the ingeniously simple gameplay that allows you to create whatever you like.
*** GAME FEATURES ***
• 3D Sandbox free construction game;
• MULTIPLAYER: play and build online with your friends;
• Explore world in rpg fun building game;
• Enjoy huge cube world and pixel craft;
• Mine & crafting and building and destroying everything;
• Gather resources, makecraft to survive;
• Fight your enemies in survival & craft mode;
• Crafting and Building game with huge 3D world;
• Creation mode to set your imagination free.
JUNE 4 2019/4 GIUGNO 2019
18:00 - 19:00
Room 135/Aula 135 (terzo piano)
Università IULM (IULM 1)
Via Carlo Bo, 1
20143 Milan
gamedesign.university
7 1/2 OBSERVATIONS ABOUT THE SHORTEST FOUR-LETTER WORD IN GAMES
LANGUAGE: ENGLISH
When players enjoy a game, they say, “That was fun!” When designers make, journalists review, or academics theorize about a game, the word fun rarely comes up. A word so commonplace as to sound meaningless and typically ignored, “fun" remains unmentioned by those who make and write about games. This talk looks beyond game development, game journalism and game studies for ideas to help us better understand the role of fun in games and beyond. Drawing on fields as diverse as cognitive psychology, anthropology, cultural theory, the philosophy of art, and sociology, Sharp explores the power and potential of fun as useful concept and tool for experiencing, thinking about, and understanding play.
historian, curator and educator with thirty years of involvement in the creation and study of art and design. John's current design work focuses on cultural games, artgames and non-digital games. His current research addresses game aesthetics, the processes of creativity, and the intersections of aesthetics and ethics. Sharp is Associate Professor in the School of Art, Media, and Technology at Parsons School of Design at the New School. He is the author of Works of Game: On the Aesthetics of Games and Art (MIT Press) and coauthor (with Colleen Macklin) of Iterate.Ten Lessons in Design and Failure and (with David Thomas) Fun, Taste, & Games: An Aesthetics of the Idle, Unproductive, and Otherwise Playful (MIT Press). Sharp and Macklin are Codirectors of the PETLab (Prototyping Education and Technology Lab) at Parsons. John was the curator of Spacewar!: Videogames Blast Off (2012) and A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games (2018, co-curator Jason Eppink) at the Museum of the Moving Image and co-curator of XYZ: Alternative Voices in Game Design (2013) at the Museum of Design-Atlanta. John’s Games include The Metagame (2015) and Losswords (2019).
7 OSSERVAZIONI E 1/2 SULLA PAROLA DI QUATTRO LETTERE PIÙ CORTA NEI GIOCHI
Quando un giocatore s’imbatte in un’esperienza ludica particolarmente avvincente, spesso esclama: "Wow, è veramente divertente!". Eppure designer, giornalisti e accademici raramente utilizzano il termine “divertimento” per riferisi ai videogiochi. Questo sostantivo è così vago e generico che persino chi sviluppa o scrive di videogiochi tende a ignorarlo. Beninteso, il fenomeno non riguarda solo game design, giornalismo e game studies, ma la cultura in quanto tale. In un avvincente excursus che attinge a piene mani dalla psicologia cognitiva, dall'antropologia, dalla teoria culturale, dalla filosofia dell'arte e alla sociologia - Sharp esplora il potenziale del divertimento per ripensare l’attività del giocare.
John Sharp è un designer, storico dell'arte, curatore ed educatore con trent'anni di esperienza nello sviluppo e nello studio dell'arte e del design. La sua ricerca si concentra sui videogiochi culturali, artistici e analogici, con particolare attenzione all'estetica videoludica, i processi creativi e le intersezioni tra estetica ed etica. Professore Associato alla Scuola di Arte, Media e Tecnologia della Parsons School of Design (New School), è l’autore di Works of Game: On the Aesthetics of Games and Art (MIT Press) e coautore (con Colleen Macklin) di Iterate.Ten Lessons in Design and Failure e (con David Thomas) Fun, Taste, Taste, & Games: An Aesthetics of the Idle, Unproductive, and Otherwise Playful (MIT Press). Sharp e Macklin sono i direttori del PETLab (Prototyping Education and Technology Lab) alla Parsons School of Design. Ha curato numerose mostre tra cui Spacewar!: Videogames Blast Off (2012) e A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games (2018, insieme a Jason Eppink) al Museum of the Moving Image. Ha co-curato XYZ: Alternative Voices in Game Design (2013) al Museum of Design-Atlanta. Come designer, ha realizzato The Metagame (2015) and Losswords (2019).
John Sharp is a designer, art
JUNE 4 2019/4 GIUGNO 2019
18:00 - 19:00
Room 135/Aula 135 (terzo piano)
Università IULM (IULM 1)
Via Carlo Bo, 1
20143 Milan
gamedesign.university
7 1/2 OBSERVATIONS ABOUT THE SHORTEST FOUR-LETTER WORD IN GAMES
LANGUAGE: ENGLISH
When players enjoy a game, they say, “That was fun!” When designers make, journalists review, or academics theorize about a game, the word fun rarely comes up. A word so commonplace as to sound meaningless and typically ignored, “fun" remains unmentioned by those who make and write about games. This talk looks beyond game development, game journalism and game studies for ideas to help us better understand the role of fun in games and beyond. Drawing on fields as diverse as cognitive psychology, anthropology, cultural theory, the philosophy of art, and sociology, Sharp explores the power and potential of fun as useful concept and tool for experiencing, thinking about, and understanding play.
historian, curator and educator with thirty years of involvement in the creation and study of art and design. John's current design work focuses on cultural games, artgames and non-digital games. His current research addresses game aesthetics, the processes of creativity, and the intersections of aesthetics and ethics. Sharp is Associate Professor in the School of Art, Media, and Technology at Parsons School of Design at the New School. He is the author of Works of Game: On the Aesthetics of Games and Art (MIT Press) and coauthor (with Colleen Macklin) of Iterate.Ten Lessons in Design and Failure and (with David Thomas) Fun, Taste, & Games: An Aesthetics of the Idle, Unproductive, and Otherwise Playful (MIT Press). Sharp and Macklin are Codirectors of the PETLab (Prototyping Education and Technology Lab) at Parsons. John was the curator of Spacewar!: Videogames Blast Off (2012) and A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games (2018, co-curator Jason Eppink) at the Museum of the Moving Image and co-curator of XYZ: Alternative Voices in Game Design (2013) at the Museum of Design-Atlanta. John’s Games include The Metagame (2015) and Losswords (2019).
7 OSSERVAZIONI E 1/2 SULLA PAROLA DI QUATTRO LETTERE PIÙ CORTA NEI GIOCHI
Quando un giocatore s’imbatte in un’esperienza ludica particolarmente avvincente, spesso esclama: "Wow, è veramente divertente!". Eppure designer, giornalisti e accademici raramente utilizzano il termine “divertimento” per riferisi ai videogiochi. Questo sostantivo è così vago e generico che persino chi sviluppa o scrive di videogiochi tende a ignorarlo. Beninteso, il fenomeno non riguarda solo game design, giornalismo e game studies, ma la cultura in quanto tale. In un avvincente excursus che attinge a piene mani dalla psicologia cognitiva, dall'antropologia, dalla teoria culturale, dalla filosofia dell'arte e alla sociologia - Sharp esplora il potenziale del divertimento per ripensare l’attività del giocare.
John Sharp è un designer, storico dell'arte, curatore ed educatore con trent'anni di esperienza nello sviluppo e nello studio dell'arte e del design. La sua ricerca si concentra sui videogiochi culturali, artistici e analogici, con particolare attenzione all'estetica videoludica, i processi creativi e le intersezioni tra estetica ed etica. Professore Associato alla Scuola di Arte, Media e Tecnologia della Parsons School of Design (New School), è l’autore di Works of Game: On the Aesthetics of Games and Art (MIT Press) e coautore (con Colleen Macklin) di Iterate.Ten Lessons in Design and Failure e (con David Thomas) Fun, Taste, Taste, & Games: An Aesthetics of the Idle, Unproductive, and Otherwise Playful (MIT Press). Sharp e Macklin sono i direttori del PETLab (Prototyping Education and Technology Lab) alla Parsons School of Design. Ha curato numerose mostre tra cui Spacewar!: Videogames Blast Off (2012) e A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games (2018, insieme a Jason Eppink) al Museum of the Moving Image. Ha co-curato XYZ: Alternative Voices in Game Design (2013) al Museum of Design-Atlanta. Come designer, ha realizzato The Metagame (2015) and Losswords (2019).
John Sharp is a designer, art
Game Design Workshop for Middle Schoolers
Saturday, February 7, 2015
5th Ave at 89th Street
New York City
This Game Design Workshop for children ages 11–14 was a free one-day workshop with a Guggenheim educator and a video game industry professional that investigated game design principles and architectural concepts. Just as architect Frank Lloyd Wright was challenged to create a dynamic visitor experience in his design for the Guggenheim, participants explored how to create fun experiences for players through hands-on and digital projects. Created in collaboration with the 2014–2015 STEM Challenge, The Institute of Museum and Library Services, The Joan Ganz Cooney Center, and E-Line Media.
To learn more, visit www.guggenheim.org/education.
Knox College students in the Interactive Design course create their own games using randomly assigned objects. The course draws on faculty from computer science, graphic design and theatre. Photo by Peter Bailley.
Dave Warfield, Head of VFS Game Design, talks about the day’s events at the Game Design Open House.
Learn about Game Design Expo at gamedesignexpo.com.
Find out more about VFS's one-year Game Design program at vfs.com/gamedesign
JUNE 4 2019/4 GIUGNO 2019
18:00 - 19:00
Room 135/Aula 135 (terzo piano)
Università IULM (IULM 1)
Via Carlo Bo, 1
20143 Milan
gamedesign.university
7 1/2 OBSERVATIONS ABOUT THE SHORTEST FOUR-LETTER WORD IN GAMES
LANGUAGE: ENGLISH
When players enjoy a game, they say, “That was fun!” When designers make, journalists review, or academics theorize about a game, the word fun rarely comes up. A word so commonplace as to sound meaningless and typically ignored, “fun" remains unmentioned by those who make and write about games. This talk looks beyond game development, game journalism and game studies for ideas to help us better understand the role of fun in games and beyond. Drawing on fields as diverse as cognitive psychology, anthropology, cultural theory, the philosophy of art, and sociology, Sharp explores the power and potential of fun as useful concept and tool for experiencing, thinking about, and understanding play.
historian, curator and educator with thirty years of involvement in the creation and study of art and design. John's current design work focuses on cultural games, artgames and non-digital games. His current research addresses game aesthetics, the processes of creativity, and the intersections of aesthetics and ethics. Sharp is Associate Professor in the School of Art, Media, and Technology at Parsons School of Design at the New School. He is the author of Works of Game: On the Aesthetics of Games and Art (MIT Press) and coauthor (with Colleen Macklin) of Iterate.Ten Lessons in Design and Failure and (with David Thomas) Fun, Taste, & Games: An Aesthetics of the Idle, Unproductive, and Otherwise Playful (MIT Press). Sharp and Macklin are Codirectors of the PETLab (Prototyping Education and Technology Lab) at Parsons. John was the curator of Spacewar!: Videogames Blast Off (2012) and A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games (2018, co-curator Jason Eppink) at the Museum of the Moving Image and co-curator of XYZ: Alternative Voices in Game Design (2013) at the Museum of Design-Atlanta. John’s Games include The Metagame (2015) and Losswords (2019).
7 OSSERVAZIONI E 1/2 SULLA PAROLA DI QUATTRO LETTERE PIÙ CORTA NEI GIOCHI
Quando un giocatore s’imbatte in un’esperienza ludica particolarmente avvincente, spesso esclama: "Wow, è veramente divertente!". Eppure designer, giornalisti e accademici raramente utilizzano il termine “divertimento” per riferisi ai videogiochi. Questo sostantivo è così vago e generico che persino chi sviluppa o scrive di videogiochi tende a ignorarlo. Beninteso, il fenomeno non riguarda solo game design, giornalismo e game studies, ma la cultura in quanto tale. In un avvincente excursus che attinge a piene mani dalla psicologia cognitiva, dall'antropologia, dalla teoria culturale, dalla filosofia dell'arte e alla sociologia - Sharp esplora il potenziale del divertimento per ripensare l’attività del giocare.
John Sharp è un designer, storico dell'arte, curatore ed educatore con trent'anni di esperienza nello sviluppo e nello studio dell'arte e del design. La sua ricerca si concentra sui videogiochi culturali, artistici e analogici, con particolare attenzione all'estetica videoludica, i processi creativi e le intersezioni tra estetica ed etica. Professore Associato alla Scuola di Arte, Media e Tecnologia della Parsons School of Design (New School), è l’autore di Works of Game: On the Aesthetics of Games and Art (MIT Press) e coautore (con Colleen Macklin) di Iterate.Ten Lessons in Design and Failure e (con David Thomas) Fun, Taste, Taste, & Games: An Aesthetics of the Idle, Unproductive, and Otherwise Playful (MIT Press). Sharp e Macklin sono i direttori del PETLab (Prototyping Education and Technology Lab) alla Parsons School of Design. Ha curato numerose mostre tra cui Spacewar!: Videogames Blast Off (2012) e A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games (2018, insieme a Jason Eppink) al Museum of the Moving Image. Ha co-curato XYZ: Alternative Voices in Game Design (2013) al Museum of Design-Atlanta. Come designer, ha realizzato The Metagame (2015) and Losswords (2019).
John Sharp is a designer, art
MDDN 243, Introduction to Computer Game Design
Designers: Logan Willmott, Sebastian Sloan, David McLean, Matthew Mills, Shengying Cai, Matthew Fogarty
Dragon’s Lair gave the false impression that players could control the actions of a cartoon character.
Ferrara, John. 2012. Playful Design. New York: Rosenfeld Media. www.rosenfeldmedia.com/books/game-design/
Knox College students in the Interactive Design course create their own games using randomly assigned objects. The course draws on faculty from computer science, graphic design and theatre. Photo by Peter Bailley.
The theme is "making ends meet." We're limited to these supplies of paper, markers, playing cards, blocks & pegs, junk like that.
----
April Board Game Jam @ USC
(4/16/2010)
And a few moments relaxing beofre the presentation - Sheryl Hills - studio manager, Rory Cartwright - lead designer - producer, John Passfield - Passfield Games, Duncan Curtis and Marko Grgic (The 3 Blokes) and Adrian Cook (Wildfire Studios)
An intuitive user interface allows players to easily build their own racecourses and share them online in ModNation Racers.
Ferrara, John. 2012. Playful Design. New York: Rosenfeld Media. www.rosenfeldmedia.com/books/game-design/
Creator of Quake, Doom and Wolfenstein 3D speaks during the 2010 Art History of Games conference at the Woodruff Center's Rich Auditorium in Atlanta.
JUNE 4 2019/4 GIUGNO 2019
18:00 - 19:00
Room 135/Aula 135 (terzo piano)
Università IULM (IULM 1)
Via Carlo Bo, 1
20143 Milan
gamedesign.university
7 1/2 OBSERVATIONS ABOUT THE SHORTEST FOUR-LETTER WORD IN GAMES
LANGUAGE: ENGLISH
When players enjoy a game, they say, “That was fun!” When designers make, journalists review, or academics theorize about a game, the word fun rarely comes up. A word so commonplace as to sound meaningless and typically ignored, “fun" remains unmentioned by those who make and write about games. This talk looks beyond game development, game journalism and game studies for ideas to help us better understand the role of fun in games and beyond. Drawing on fields as diverse as cognitive psychology, anthropology, cultural theory, the philosophy of art, and sociology, Sharp explores the power and potential of fun as useful concept and tool for experiencing, thinking about, and understanding play.
historian, curator and educator with thirty years of involvement in the creation and study of art and design. John's current design work focuses on cultural games, artgames and non-digital games. His current research addresses game aesthetics, the processes of creativity, and the intersections of aesthetics and ethics. Sharp is Associate Professor in the School of Art, Media, and Technology at Parsons School of Design at the New School. He is the author of Works of Game: On the Aesthetics of Games and Art (MIT Press) and coauthor (with Colleen Macklin) of Iterate.Ten Lessons in Design and Failure and (with David Thomas) Fun, Taste, & Games: An Aesthetics of the Idle, Unproductive, and Otherwise Playful (MIT Press). Sharp and Macklin are Codirectors of the PETLab (Prototyping Education and Technology Lab) at Parsons. John was the curator of Spacewar!: Videogames Blast Off (2012) and A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games (2018, co-curator Jason Eppink) at the Museum of the Moving Image and co-curator of XYZ: Alternative Voices in Game Design (2013) at the Museum of Design-Atlanta. John’s Games include The Metagame (2015) and Losswords (2019).
7 OSSERVAZIONI E 1/2 SULLA PAROLA DI QUATTRO LETTERE PIÙ CORTA NEI GIOCHI
Quando un giocatore s’imbatte in un’esperienza ludica particolarmente avvincente, spesso esclama: "Wow, è veramente divertente!". Eppure designer, giornalisti e accademici raramente utilizzano il termine “divertimento” per riferisi ai videogiochi. Questo sostantivo è così vago e generico che persino chi sviluppa o scrive di videogiochi tende a ignorarlo. Beninteso, il fenomeno non riguarda solo game design, giornalismo e game studies, ma la cultura in quanto tale. In un avvincente excursus che attinge a piene mani dalla psicologia cognitiva, dall'antropologia, dalla teoria culturale, dalla filosofia dell'arte e alla sociologia - Sharp esplora il potenziale del divertimento per ripensare l’attività del giocare.
John Sharp è un designer, storico dell'arte, curatore ed educatore con trent'anni di esperienza nello sviluppo e nello studio dell'arte e del design. La sua ricerca si concentra sui videogiochi culturali, artistici e analogici, con particolare attenzione all'estetica videoludica, i processi creativi e le intersezioni tra estetica ed etica. Professore Associato alla Scuola di Arte, Media e Tecnologia della Parsons School of Design (New School), è l’autore di Works of Game: On the Aesthetics of Games and Art (MIT Press) e coautore (con Colleen Macklin) di Iterate.Ten Lessons in Design and Failure e (con David Thomas) Fun, Taste, Taste, & Games: An Aesthetics of the Idle, Unproductive, and Otherwise Playful (MIT Press). Sharp e Macklin sono i direttori del PETLab (Prototyping Education and Technology Lab) alla Parsons School of Design. Ha curato numerose mostre tra cui Spacewar!: Videogames Blast Off (2012) e A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games (2018, insieme a Jason Eppink) al Museum of the Moving Image. Ha co-curato XYZ: Alternative Voices in Game Design (2013) al Museum of Design-Atlanta. Come designer, ha realizzato The Metagame (2015) and Losswords (2019).
John Sharp is a designer, art
JUNE 4 2019/4 GIUGNO 2019
18:00 - 19:00
Room 135/Aula 135 (terzo piano)
Università IULM (IULM 1)
Via Carlo Bo, 1
20143 Milan
gamedesign.university
7 1/2 OBSERVATIONS ABOUT THE SHORTEST FOUR-LETTER WORD IN GAMES
LANGUAGE: ENGLISH
When players enjoy a game, they say, “That was fun!” When designers make, journalists review, or academics theorize about a game, the word fun rarely comes up. A word so commonplace as to sound meaningless and typically ignored, “fun" remains unmentioned by those who make and write about games. This talk looks beyond game development, game journalism and game studies for ideas to help us better understand the role of fun in games and beyond. Drawing on fields as diverse as cognitive psychology, anthropology, cultural theory, the philosophy of art, and sociology, Sharp explores the power and potential of fun as useful concept and tool for experiencing, thinking about, and understanding play.
historian, curator and educator with thirty years of involvement in the creation and study of art and design. John's current design work focuses on cultural games, artgames and non-digital games. His current research addresses game aesthetics, the processes of creativity, and the intersections of aesthetics and ethics. Sharp is Associate Professor in the School of Art, Media, and Technology at Parsons School of Design at the New School. He is the author of Works of Game: On the Aesthetics of Games and Art (MIT Press) and coauthor (with Colleen Macklin) of Iterate.Ten Lessons in Design and Failure and (with David Thomas) Fun, Taste, & Games: An Aesthetics of the Idle, Unproductive, and Otherwise Playful (MIT Press). Sharp and Macklin are Codirectors of the PETLab (Prototyping Education and Technology Lab) at Parsons. John was the curator of Spacewar!: Videogames Blast Off (2012) and A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games (2018, co-curator Jason Eppink) at the Museum of the Moving Image and co-curator of XYZ: Alternative Voices in Game Design (2013) at the Museum of Design-Atlanta. John’s Games include The Metagame (2015) and Losswords (2019).
7 OSSERVAZIONI E 1/2 SULLA PAROLA DI QUATTRO LETTERE PIÙ CORTA NEI GIOCHI
Quando un giocatore s’imbatte in un’esperienza ludica particolarmente avvincente, spesso esclama: "Wow, è veramente divertente!". Eppure designer, giornalisti e accademici raramente utilizzano il termine “divertimento” per riferisi ai videogiochi. Questo sostantivo è così vago e generico che persino chi sviluppa o scrive di videogiochi tende a ignorarlo. Beninteso, il fenomeno non riguarda solo game design, giornalismo e game studies, ma la cultura in quanto tale. In un avvincente excursus che attinge a piene mani dalla psicologia cognitiva, dall'antropologia, dalla teoria culturale, dalla filosofia dell'arte e alla sociologia - Sharp esplora il potenziale del divertimento per ripensare l’attività del giocare.
John Sharp è un designer, storico dell'arte, curatore ed educatore con trent'anni di esperienza nello sviluppo e nello studio dell'arte e del design. La sua ricerca si concentra sui videogiochi culturali, artistici e analogici, con particolare attenzione all'estetica videoludica, i processi creativi e le intersezioni tra estetica ed etica. Professore Associato alla Scuola di Arte, Media e Tecnologia della Parsons School of Design (New School), è l’autore di Works of Game: On the Aesthetics of Games and Art (MIT Press) e coautore (con Colleen Macklin) di Iterate.Ten Lessons in Design and Failure e (con David Thomas) Fun, Taste, Taste, & Games: An Aesthetics of the Idle, Unproductive, and Otherwise Playful (MIT Press). Sharp e Macklin sono i direttori del PETLab (Prototyping Education and Technology Lab) alla Parsons School of Design. Ha curato numerose mostre tra cui Spacewar!: Videogames Blast Off (2012) e A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games (2018, insieme a Jason Eppink) al Museum of the Moving Image. Ha co-curato XYZ: Alternative Voices in Game Design (2013) al Museum of Design-Atlanta. Come designer, ha realizzato The Metagame (2015) and Losswords (2019).
John Sharp is a designer, art