Today arrived
Nico Frijda, The Emotions, 1986
John LeDoux, The Emotional Brain, 1998
abril 14, 2004
I’ll present a paper about emotion and virtual illusion, next week, day 21 of April at University of Covilhã, Portugal.
"Emotion Elements in Virtual Interactive Entertainment"
abstract: The convergence of narrative forms and directing/editing techniques between videogames and film are becoming a reality. Although the emotion intensity created by film is far superior to videogames. This paper presents a specification of emotion elements in interactive entertainment captured through neuroscience, cognitive science and film theory areas of knowledge...
it will be presented in the conference LUSOCOM 2004 (http://www.lusocom2004.ubi.pt)
"Emotion Elements in Virtual Interactive Entertainment"
abstract: The convergence of narrative forms and directing/editing techniques between videogames and film are becoming a reality. Although the emotion intensity created by film is far superior to videogames. This paper presents a specification of emotion elements in interactive entertainment captured through neuroscience, cognitive science and film theory areas of knowledge...
it will be presented in the conference LUSOCOM 2004 (http://www.lusocom2004.ubi.pt)
fevereiro 28, 2004
John Barlow about cyberspace
«. diversity is as essential to healthy community as it is to healthy ecosystems... I believe that the principal reason for the almost universal failure of the intentional communities ... is lack of diversity in their members.
It's rare a commune with people fundamentally out of philosophical agreement with the majority.»
«Like Frankenstein... is the usual problem when we try to build something which can only be grown.»
«. Cyberspace missing elements
a) absence of alternatives
b) sense of genuine adversity, generally shared» [we don't have this at movies also]
«. diversity is as essential to healthy community as it is to healthy ecosystems... I believe that the principal reason for the almost universal failure of the intentional communities ... is lack of diversity in their members.
It's rare a commune with people fundamentally out of philosophical agreement with the majority.»
«Like Frankenstein... is the usual problem when we try to build something which can only be grown.»
«. Cyberspace missing elements
a) absence of alternatives
b) sense of genuine adversity, generally shared» [we don't have this at movies also]
fevereiro 02, 2004
The Philosophy of Horror, by Noel Carroll
Image and Mind : Film, Philosophy and Cognitive Science, by Gregory Currie
Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations (Lea's Communication Series) eds. Peter Vorderer
Affective Interactions: Toward a New Generation of Computer Interfaces (Lecture Notes in Computer Science, 1814.) eds. Ana Paiva
The Nature of Emotion: Fundamental Questions (Series in Affective Science)
eds. Paul Ekman, Richard J. Davidson, Davidson Ekman
Image and Mind : Film, Philosophy and Cognitive Science, by Gregory Currie
Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations (Lea's Communication Series) eds. Peter Vorderer
Affective Interactions: Toward a New Generation of Computer Interfaces (Lecture Notes in Computer Science, 1814.) eds. Ana Paiva
The Nature of Emotion: Fundamental Questions (Series in Affective Science)
eds. Paul Ekman, Richard J. Davidson, Davidson Ekman
janeiro 17, 2004
MelbourneDAC, the 5th International Digital Arts and Culture Conference.
May 19 - 23, 2003
Ph. D. Panel Session
The main advice from the experienced Doctorate Candidates:
. don't mess up your life just before you submit the thesis. (keep your boyfriend or husband around until after you have submitted.)
. write about something you like.
. spend time on preparing your work.
. focus on theory - whether you want to use it or develop it.
. write, write, write, present and publish.
. get a good supervisor.
May 19 - 23, 2003
Ph. D. Panel Session
The main advice from the experienced Doctorate Candidates:
. don't mess up your life just before you submit the thesis. (keep your boyfriend or husband around until after you have submitted.)
. write about something you like.
. spend time on preparing your work.
. focus on theory - whether you want to use it or develop it.
. write, write, write, present and publish.
. get a good supervisor.
dezembro 18, 2003
EMOTION and FILM
. Film Structure and the Emotion System by Greg M. Smith
. Passionate Views: Film, Cognition, and Emotion by Carl Plantinga (Editor), Greg M. Smith (Editor)
. Emotion and the Structure of Narrative Film: Film as an Emotion Machine by Ed S. Tan
. Engaging characters : fiction, emotion, and the cinema by Murray Smith
. The Photoplay a Psychological Study by Hugo Munsterberg
. Understanding Cinema: A Psychological Theory of Moving Imagery by Per Persson
. The Reality of Illusion: An Ecological Approach to Cognitive Film Theory by Joseph D. Anderson
INTERACTIVE CINEMA RESEARCH CENTERS WORLD WIDE
[USA] Interactive Cinema Group - http://ic.media.mit.edu/
[AU] Centre for Interactive Cinema Research - http://www.icinema.unsw.edu.au/
[NORWAY] Nordic Interactive Cinema Network - http://www.intermedia.uib.no/nicn/
[GERMANY] Future Cinema - http://www.zkm.de/futurecinema/index_e.html
[IRELAND] Media Lab Europe - STORYNETWORKS - http://storynetworks.mle.ie/
dezembro 09, 2003
More Than a Game: The Computer Game as Fictional Form by Barry Atkins
«The author suggests to use the term "fantastic realism", which is meant to signify the game-world's internal coherence as the crucial factor in the player's suspension of disbelief»
"The text we read watches us over time, it presents the illusion of 'knowing' us as we come to 'know' it, of 'reading's us as we 'read' it" (147).
«Atkins even goes so far as to suggest that interactivity re-invests the work of art with something that it has lost, according to Walter Benjamin, in the age of its mechanical reproduction: its aura. Since players can change the text through their playing, the game becomes unique for each player and is not reproducible in this form.»
review at http://www.game-research.com/art_rev_atkins.asp
«The author suggests to use the term "fantastic realism", which is meant to signify the game-world's internal coherence as the crucial factor in the player's suspension of disbelief»
"The text we read watches us over time, it presents the illusion of 'knowing' us as we come to 'know' it, of 'reading's us as we 'read' it" (147).
«Atkins even goes so far as to suggest that interactivity re-invests the work of art with something that it has lost, according to Walter Benjamin, in the age of its mechanical reproduction: its aura. Since players can change the text through their playing, the game becomes unique for each player and is not reproducible in this form.»
review at http://www.game-research.com/art_rev_atkins.asp
novembro 28, 2003
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