When parents are expecting, the child is usually awaited with hope and plans and reflections on how to share the life and future with this new child. As such the child opens the parents' perspective to a new future, a span of time or potentiality, a certain narrative-that is, being parents, raising a child. When a child is stillborn or dies at a very young age, this event not only turns off all hopes for this particular child, but also all good things envisioned for the child and his or her family, the world itself changes radically. At the Danish website Mindet. dk, parents engage in ritualizations through which they resituate themselves in the world through performing their grief and loss, re-relating themselves to others and renewing their acquaintance with themselves and the world. These ritualizations are carried out through narratives and performances dealing with different aspects of the loss and are not about "translating" the everyday experience into, for instance, a religious realm. Rather "the work of ritual … involves developing repertoires that operate in complex interplay with the world of everyday experience" and, eventually, through time and repetition, lead to re-experiencing life.
The primary mode of reception in computer games is play. This implies that the agency performed by computer players does not limit itself to the process of reading, but is constituted by a creative enactment of the structures of interactive actions and events inherent in the game. As such, gameplay may be regarded as a kind of (unpaid) immaterial labour, implying players' socialization, creativity, and a general intellect, that is, the ability to appropriate and rework the computer game as a work of culture. This article investigates the immaterial labour of computer players and discusses how this is being put to work by the game industry at different levels -as a means of producing fascinating game experiences and by means of including player agency as a productive force in gamedesign processes -thus connecting it to the economy of computer-game production.The purpose of this article is to investigate the medium of the computer game not only as a cultural artefact, but also as an economic institution. Along with other observers like De Peuter and Dyer-Withford (2005) and Kline et al. (2003), we argue that the computer game provides a paradigmatic manifestation of the logic of contemporary media-saturated informational capital. This paradigmatic status derives chiefly from the fact that the value of a computer game builds primarily on its ability to appropriate and capture various forms of immaterial labour. As it has been developed by various thinkers over the recent decade such as Lazzarato (1997), Hardt andNegri (2004), andGorz (2003), the term 'immaterial labour' has come to refer to those productive activities that rely primarily on an activation of linguistic, communicative and affective skills (Lazzarato 1997;Hardt and Negri 2004;Gorz 2003). It is a matter of putting to work the human capacity to create a common world by means of language (cf. Arendt 1958), as this capacity has been enhanced and shaped by various media technologies. As De Peuter and Dyer-Withford (2005) have shown, the production of computer games provides an almost ideal example of the position of paid immaterial labour within the informational economy.Computer-game production is transnational and it relies on selfregulating productive networks. Labour is motivated by an ethic of enforced creativity and disciplinary freedom (in the sense that if you do not employ your freedom to be creative you have no career) and the end
talking with tv shows: simultaneous conversations between users and producers in the second-screen television production Voice abstract User interaction with radio and television programmes is not a new thing. However, with new cross-media production concepts such as X Factor and Voice, this is changing dramatically. The second-screen logic of these productions encourages viewers, along with TV's traditional one-way communication mode, to communicate on interactive (dialogue-enabling) devices such as laptops, smartphones and tablets. Using the TV show Voice as our example, this article shows how the technological and situational set-up of the production invites viewers to engage in new ways of interaction and communication. More specifically, the article demonstrates how online comments posted on the day of Voice's 2012 season finale can be grouped into four basic action types: (1) Invitation to consume content, (2) Request for participation, (3) Request for collaboration and (4) Online commenting. These action types express on the one hand the way in which Voice addresses its audience (i.e. through KeyworDs second-screen cross-media communication social TV participation collaboration Facebook social media
Computer games play an important role in the cultural daily life of children, teenagers and adults. This has led to arguments both in the EU and the Nordic countries that computer games should be included in the culture political strategies for financial funding as well as the development of talents for the game industry. Still this has yet to result in culture political efforts and progressive strategies on a larger scale. On the contrary the political initiatives tend to result in restrictions more than efforts being made to encourage and develop the game industry. This article draws a picture of the current culture political situation and criticizes the media skeptical debate for making a poor starting point for formulating a progressive political strategy. It would be more fruitful to have a closer look at the specific characteristics of computer games and how computer games are being played and the role they are playing in the social life of different groups of player. The article outlines ananalytical apparatus for evaluation of quality in computer games.
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