This dissertation conducts a phenomenological analysis of Massively Multiplayer Online Games (MMOGs) – networked computer applications that thousands of people play simultaneously using avatars to interact with one another and with computer-controlled entities within a game-world typically rendered in 3D. Part 1 argues that existing studies of MMOGs often utilize concepts that, while presumed to be well understood, are often problematic in ways that conflict with the actual claims of the studies in which they play a central role. Three issues in particular are highlighted. It is argued, first, that common conceptions of virtual should not influence understanding of MMOGs; second, that there are prima facie problems with how existing studies frame the subject of avatars; and, third, that there are substantive problems with accounts of avatars that involve notions of representation or embodiment. Part 2 develops an interpretation of MMOGs that both extends understanding of these games, and reflexively unsettles the traditional phenomenological perspective that orients this interpretation itself. The analysis begins by arguing that MMOGs are worlds – understood as places of meaningful, fallen, thrown, collective conduct – and introduces the idea of conjuncture to account for how Dasein and avatars function together at an existential-ontological level. In so doing, the dissertation puts pressure on the fundamental-ontological distinction between Dasein and entities other than Dasein, the idea that Dasein alone discloses world, and the notion that whatever Dasein uses in its environment only obtains a place because of the de-severing and directionality of Dasein. By interpreting the virtuality of MMOGs as the creative repetition of ontological structures of existence, the dissertation provides insight into the phenomena of virtual death and time. This in turn draws into question the idea that quantifying time blocks access to original human temporality, and that the transcendence of Dasein uniquely involves self-overcoming.

This dissertation conducts a phenomenological analysis of Massively Multiplayer Online Games (MMOGs) – networked computer applications that thousands of people play simultaneously using avatars to interact with one another and with computer-controlled entities within a game-world typically rendered in 3D. Part 1 argues that existing studies of MMOGs often utilize concepts that, while presumed to be well understood, are often problematic in ways that conflict with the actual claims of the studies in which they play a central role. Three issues in particular are highlighted. It is argued, first, that common conceptions of virtual should not influence understanding of MMOGs; second, that there are prima facie problems with how existing studies frame the subject of avatars; and, third, that there are substantive problems with accounts of avatars that involve notions of representation or embodiment. Part 2 develops an interpretation of MMOGs that both extends understanding of these games, and reflexively unsettles the traditional phenomenological perspective that orients this interpretation itself. The analysis begins by arguing that MMOGs are worlds – understood as places of meaningful, fallen, thrown, collective conduct – and introduces the idea of conjuncture to account for how Dasein and avatars function together at an existential-ontological level. In so doing, the dissertation puts pressure on the fundamental-ontological distinction between Dasein and entities other than Dasein, the idea that Dasein alone discloses world, and the notion that whatever Dasein uses in its environment only obtains a place because of the de-severing and directionality of Dasein. By interpreting the virtuality of MMOGs as the creative repetition of ontological structures of existence, the dissertation provides insight into the phenomena of virtual death and time. This in turn draws into question the idea that quantifying time blocks access to original human temporality, and that the transcendence of Dasein uniquely involves self-overcoming.

This thesis examines single-player video gaming. It is an analysis of video game play: what it is, how it functions, and what it means. It is an account of how players learn to play. This is done through a set of close readings of significant video games and key academic texts. My focus is on the mechanisms and forces that shape gameplay practices. Building on the existing fields of ludology and media-studies video-game analysis, I outline a model of video game play as a cultural construction which builds upon the player's existing knowledge of real world and fictional objects, scenarios and conventions. I argue that the relationship between the video game player and the software is best understood as embodying a precise configuration of power. I demonstrate that the single-player video game is in fact what Michel Foucault terms a 'disciplinary apparatus'. It functions to shape players' subjectivities in order to have them behave in easily predicted and managed ways. To do this, video games reuse and repurpose conventions from existing media forms and everyday practices. By this mobilisation of familiar elements, which already have established practices of use, and by a careful process of surveillance, examination and the correction of play practices, video games encourage players to take on and perform the logics of the game system. This relationship between organic player and technological game, I suggest, is best understood through the theoretical figure of the 'Cyborg'. It is a point of intersection between human and computer logics. Far from the ludological assumption that play and culture are separate and that play is shaped entirely by rules, I show video game play to be produced by an array of complex cultural and technological forces that act upon the player. My model of video game play differs from others currently in circulation in that it foregrounds the role of culture in play, while not denying the technological specificity of the video gaming apparatus. My central focus on power and the construction of player subjectivities offers a way to move beyond the simplistic reliance on the notion that rules are the primary shaping mechanism of play that has, to date, dominated much of video game studies.

Bibliography: p. 273-300. / xiii, 320 p. : ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Psychology, 2000?

Master of Visual Arts / Digital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.

Children are becoming more inactive and are spending a significant proportion of their time participating in screen-time sedentary behaviours. New generation active video games may provide an opportunity to convert traditional sedentary screen-time into active screen-time. The aims of this thesis were to: 1) determine the metabolic costs of different activities; 2) determine whether experience and fitness influence the metabolic costs of active video games; and 3) determine children's enjoyment of active video games. Accordingly, this thesis is presented as two papers. Twenty-six boys' (11.4 ± 0.8 yr) participated in the study. Each performed sedentary activities (resting, watching television and sedentary gaming), active video games (Nintendo® Wii Bowling, Boxing, Tennis, Skiing and Step Aerobics), traditional physical activities (walking and running) and a maximal fitness test. During all activities oxygen uptake and heart rate were measured and energy expenditure (EE) calculated. The active video games resulted in a significantly higher EE compared to rest (63-190%, p<0.05). No significant differences in EE were found between the most active video games (Wii Boxing and Wii Step) and walking. The intensities of the active video games were low (≤ 3 METSmeas). There was no evidence to suggest that gaming experience or aerobic fitness influenced EE during active video game play. Using the same sample, the aim was to determine the participants' enjoyment of active video games sedentary activities and physical activities. Participants' enjoyment was measured using the Physical Activity Enjoyment Scale immediately after the activities. The percentages of children that enjoyed each activity were: walking (39%), television (58%), running (60%), PS3 (73%), Wii Boxing (88%), Wii Tennis (77%), Wii Fit (75%) and Wii Bowling (89%). The active video games were the most enjoyable activities irrespective of participants' weight status, fitness and experience. The metabolic costs of active video games suggest that they may be suitable for future interventions which are aimed at decreasing time spent in sedentary behaviour. However, as they are low intensity activities, active video game play time should not be accumulated as part of the 60-minutes of daily moderate to vigorous physical activity that is currently recommended for children.

Thesis (Ph.D.)--Baylor University, 2007. / Includes bibliographical references (p. 90-93).

Thesis (M.F.A.)--Rochester Institute of Technology, 1992. / Typescript. Includes bibliographical references (leaf 36).

Thesis (M.S.)--University of Nevada, Reno, 2008. / "May, 2008." Includes bibliographical references (leaves 53-54). Online version available on the World Wide Web.

Thesis (M.S.)--West Virginia University, 2008. / Title from document title page. Document formatted into pages; contains viii, 141 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 116-123).