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Electronic Visualisation and the Arts (EVA 2015) - Index

Profile image of Nick LambertNick Lambert

2015

https://doi.org/10.14236/EWIC/EVA2015.0
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Abstract

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Figures (4)
Figure 1. Screenshot from the Creative Game about Ordsall Hall.
Figure 1. Screenshot from the Creative Game about Ordsall Hall.
The concept of computer-aided knowledge spaces is related to techniques of Mnemosyne, used by Greek ‘singers’ (Simonides of Cheos) and philosophers as well as Renaissance scholars [7]. This form of mnemotechnique, called loci or place method, was widely used by orators to memorize complete speeches. The orator selected a building and learned every nook and cranny very intensely until he was able to move about the building in his memory. As a preparation for the speech a plethora of items of different complexity and amount of detail could be placed in the memorized rooms, e.g. a scale for justice, etc. While delivering the speech the orator wandered from room to room and collected the hints to each point he wished to make. In the case of the digital Ordsall Hall knowledge space, a number of objects were carefully selected to work as key objects for the historic references. The game cannot be regarded as realistic as it concentrates on certain objects and leaves out others. Erik Malcolm Champion stated in Evaluating Cultural Learning in Virtual Environments that “if'we wish to understand how such ancient people as the Mayans of Lakam-Ha at Palenqué thought, believed and acted, we need non-realistic worlds” [8]. The objects chosen lead to stories or micro-narratives about various aspects of daily life in Tudor times and introduce architectonic, social, political or military background facts.
The concept of computer-aided knowledge spaces is related to techniques of Mnemosyne, used by Greek ‘singers’ (Simonides of Cheos) and philosophers as well as Renaissance scholars [7]. This form of mnemotechnique, called loci or place method, was widely used by orators to memorize complete speeches. The orator selected a building and learned every nook and cranny very intensely until he was able to move about the building in his memory. As a preparation for the speech a plethora of items of different complexity and amount of detail could be placed in the memorized rooms, e.g. a scale for justice, etc. While delivering the speech the orator wandered from room to room and collected the hints to each point he wished to make. In the case of the digital Ordsall Hall knowledge space, a number of objects were carefully selected to work as key objects for the historic references. The game cannot be regarded as realistic as it concentrates on certain objects and leaves out others. Erik Malcolm Champion stated in Evaluating Cultural Learning in Virtual Environments that “if'we wish to understand how such ancient people as the Mayans of Lakam-Ha at Palenqué thought, believed and acted, we need non-realistic worlds” [8]. The objects chosen lead to stories or micro-narratives about various aspects of daily life in Tudor times and introduce architectonic, social, political or military background facts.
2. The project teams experimented with first person view as opposed to behind view settings. It turned out that the most convincing implementation offered first person and non-first person views as an alternative that could be chosen by the player. The historic costume in which the player pawns were dressed made it possible to counterbalance gaming stereotypes. We observed that the interest and care taken in guiding a historically attired pawn through the gamescape added an enormous amount of pseudo- responsibility to the virtual environment. Philip Muwanga, the designer of one of the evels built for Ordsall Hall animated the guide/pawn to turn to the player and produce a polite bow at gamestart. The effect seems to have been that players identified hemselves with the pawn much more than when only having seen the character from behind. Figures 4,5. Player pawn and real actors in historic costumes
2. The project teams experimented with first person view as opposed to behind view settings. It turned out that the most convincing implementation offered first person and non-first person views as an alternative that could be chosen by the player. The historic costume in which the player pawns were dressed made it possible to counterbalance gaming stereotypes. We observed that the interest and care taken in guiding a historically attired pawn through the gamescape added an enormous amount of pseudo- responsibility to the virtual environment. Philip Muwanga, the designer of one of the evels built for Ordsall Hall animated the guide/pawn to turn to the player and produce a polite bow at gamestart. The effect seems to have been that players identified hemselves with the pawn much more than when only having seen the character from behind. Figures 4,5. Player pawn and real actors in historic costumes

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References (10)

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  2. AARSETH, Espen. Genre trouble : narrativism and the art of simulation. In: First Person. Edited by Harrigan & Wardrip-Fruin. Cambridge : The MIT Press, 2002.
  3. JUUL, Jesper. Half-Real. Video games between real rules and fictional worlds. Cambridge : MIT Press, 2005.
  4. JENKINS, Henry. Convergence culture : where old and new media collide. New York : New York University Press, 2006.
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  9. FUCHS, Mathias and ECKERMANN, Sylvia. From "First Person Shooter" to multi-user knowledge spaces. In : Proceedings of the COSIGN2001 conference. Amsterdam : 2001.
  10. FASSLER, Manfred and HALBACH, Wulf R.Cyber-Moderne : Digitale Ferne und die Renaissance der Nahwelt. Muenchen : 1994.

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