Geography is in the midst of a digital turn. This turn is reflected in both geographic scholarship and praxis across sub-disciplines. We advance a threefold categorization of the intensifying relationship between geography and the digital, documenting geographies produced through, produced by, and of the digital. Instead of promoting a single theoretical framework for making sense of the digital or proclaiming the advent of we conclude by suggesting conceptual, -disciplines.
This paper examines geography's engagements with phenomenology. Tracing phenomenology's influence, from early humanist reflections on the lifeworld to non-representational theories of practice, the paper identifies the emergence of a distinct post-phenomenological way of thinking. However, there is currently no clear articulation of what differentiates post-phenomenology from phenomenology as a set of theories or ideas, nor is there a clear set of trajectories along which such difference can be pursued further. In response to this, the paper outlines three key elements that differentiate phenomenology from post-phenomenology and that require further exploration. First is a rethinking of intentionality as an emergent relation with the world, rather than an a priori condition of experience. Second is a recognition that objects have an autonomous existence outside of the ways they appear to or are used by human beings. Third is a reconsideration of our relations with alterity, taking this as central to the constitution of phenomenological experience given our irreducible being-with the world. Unpacking these differences the paper offers some suggestions as to how post-phenomenology contributes to the broader discipline of human geography.
This paper examines the process of designing and testing multiplayer levels for a large, commercially released videogame. In doing so, it argues that videogame designers work to create the potential for positively affective encounters to occur—a complex and elusive outcome that is key to creating critically and commercially successful multiplayer videogames. By unpacking various examples from this process, the paper attends to debates regarding the distribution and transmission of media affects. Instead of acting to deterministically shape action, I suggest that processes of videogame design are predicated on producing contingency, albeit a contingency that designers attempt to manage and control. In this case, positively affective outcomes can only be understood as a relation between the code space of the game and the embodied techniques users generate in response to these environments.
This article examines the industrial art of videogame design and production as an exemplar of what could be termed affective design. In doing so, the article theorizes the relationship between affect and attention as part of what Bernard Stiegler calls a ‘retentional economy’ of human and technical memory. Through the examination of a range of different videogames, the article argues that videogame designers utilize techniques of what I term ‘affective amplification’ that seek to modulate affect, which is central to the commercial success of these games. The article considers how the concepts of amplification, modulation and bandwidth, developed through this example, inform and expand understandings of this retentional economy by analysing the ways in which affective design attempts to transmit and translate the potential for affect through a range of technical systems and environments.
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The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. products accessed via digital interfaces and devices to examine practices of interface design and the operation of digitally mediated power. Utilising interviews with HCSTC website designers and users of these products, the paper shows how these interfaces are designed and tested to manage frictions: practical, affective or emotional blocks that interrupt or stop users from applying for these products and entering into credit and debt. We suggest that the key role of interface design is to manage these frictions by guiding action in such a way to minimise intentional or propositional thought and negative affective states at key thresholds of the application process. The management of friction is enabled by practices of data driven design, where the contingency of human response is engineered through analytics in order to increase rates of application. Working through the example of HCSTC, the paper complicates a notion of control as a smooth or automatic operation of power, instead emphasising the necessity of both continuity and discontinuity as key to modulating action in a digital age. To understand the specificity of interface interactions and move beyond existing work on control, we offer a vocabulary of friction, thresholds, and transitions.
In this paper I develop a nonrepresentational spatiality of screened images, in which space does not refer to the way space is represented in images or the spaces in which images exist. Instead it focuses on the spaces that images themselves produce. Drawing upon the technology of the screen as a contemporary site at which images are experienced, I argue for a dual conception of the ‘space’ of screened images: an existential space constructed through the background context of a user's relation with an image; and an ecological space constructed through the expressive relationship between body and screen. I use video games as an exemplar of these spaces to show how screened images reconfigure the relationship between touch and vision and how this alters users' spatial awareness of the world.
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