Digitized by Kansas Correctional Industries

Thesis (M.S. in Modeling, Virtual Environments and Simulation (MOVES))--Naval Postgraduate School, September 2009. / Thesis Advisor(s): Blais, Curtis ; Appleget, Jeff. "September 2009." Description based on title screen as viewed on 5 November 2009. Author(s) subject terms: Genetic algorithms, military decision making process, mission planning, course of action, wargaming, battle simulation. Includes bibliographical references (p. 97-98). Also available in print.

The field of video game studies is young and requires innovation in its approach to its object of study. Despite the large number of Japanese games and game developers, most scholars in the West approach video games from a point of view that emphasizes Western thought and that is concerned with either very recent video games or the medium as a whole. The Legend of Zelda: Majora’s Mask defies Western interpretations as its inspiration and aesthetics are steeped in a Japanese theatrical tradition that dates to the early Middle Ages, namely Noh theater. The game’s emphasis on masks and possession provides unique commentary on the experience of playing a video game while the structure of the game harkens back to traditional Noh cycles, tying in pre-modern ideas with a modern medium in order to comment on video games and the people who play them. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

The process of reading a modernist poem is just as much a process of deconstructing it: the language is designed to make meaning through inefficient means, like the aforementioned fragmentation and assemblage. The reader must decode the text. This is what I want to extract as a point of entry to my videogame analysis. The process of reading is not unlike the process of playing. Instead of linguistic structures, a player must navigate a game‟s internal rule system. The pleasure for both the reader and player comes from decoding the poem and game, respectively. I am not making claims that relationships between modernist poetry and videogames are inherent or innate. Similarly, I am not providing a framework to apply one medium to the other. Instead I want to investigate how each medium uses its affordances to take advantage of its potential for creative expression. I do not consider poetry or literature to be superior to videogames, nor am I invoking the argument that videogames should imitate earlier media. My goal is to compare specific modernist poems and videogames to see how each medium makes meaning through its respective processes.

Orientador: Inaicyra Falcão dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T00:50:37Z (GMT). No. of bitstreams: 1 Conceicao_OsvaniltondeJesus_M.pdf: 3712527 bytes, checksum: 76592042d7645f30362592aafb390f59 (MD5) Previous issue date: 2011 / Resumo: Essa pesquisa consiste na elaboração de uma proposta de treinamento popular para atores a partir da junção dos elementos musicais e movimentações presentes no Jongo desenvolvido no Quilombo São José da Serra, situado no Município de Valença no Estado do Rio de Janeiro, com aspectos metodológicos e teatrais presentes no sistema de jogos teatrais desenvolvido pela arte-educadora norte-americana Viola Spolin (1906 - 1994). Com a realização dessa proposta, visamos criar ambientes favoráveis para o desenvolvimento do potencial criativo, o alargamento da expressividade corporal e o aprimoramento vocal de atores, utilizando como parâmetro teatral os aspectos comuns ao teatro de rua brasileiro / Abstract: This research project aims at working up a proposal of popular training for actors by the junction of the musical and movement elements presented in the Jongo developed in the Quilombo São José da Serra, located in Valença, Rio de Janeiro, with the methodological and theatrical aspects presented in the system of the games developed by Viola Spolin (1906 - 1994).We aim at generating a propitious space for the development of the creative potential, the improvement of the body expression and the vocal enhancement of actors. In order to achieve this goal, we will use as a theatrical parameter the common aspects found in the Brazilian Street Theater / Mestrado / Artes Cenicas / Mestre em Artes

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T21:42:29Z No. of bitstreams: 2 ELEMENTOS PRETEXTUAIS_final revisado 15abr2013.pdf: 151459 bytes, checksum: 7f22b52092feb4cceafb79049b5abace (MD5) A PARTITURA DE AÇÕES COMO DISPOSITIVO_Dissertação Final Revisada 15abr2013.pdf: 1269922 bytes, checksum: d53bdc1fe1690436b4a4f77e19325aca (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-28T19:00:20Z (GMT) No. of bitstreams: 2 ELEMENTOS PRETEXTUAIS_final revisado 15abr2013.pdf: 151459 bytes, checksum: 7f22b52092feb4cceafb79049b5abace (MD5) A PARTITURA DE AÇÕES COMO DISPOSITIVO_Dissertação Final Revisada 15abr2013.pdf: 1269922 bytes, checksum: d53bdc1fe1690436b4a4f77e19325aca (MD5) / Made available in DSpace on 2018-08-28T19:00:20Z (GMT). No. of bitstreams: 2 ELEMENTOS PRETEXTUAIS_final revisado 15abr2013.pdf: 151459 bytes, checksum: 7f22b52092feb4cceafb79049b5abace (MD5) A PARTITURA DE AÇÕES COMO DISPOSITIVO_Dissertação Final Revisada 15abr2013.pdf: 1269922 bytes, checksum: d53bdc1fe1690436b4a4f77e19325aca (MD5) / Esta dissertação se inscreve no campo das artes cênicas, debruçando-se sobre o trabalho do ator por meio da análise de Partituras de Ações, aqui consideradas como dispositivo de criação e composição. A pesquisa descreve e analisa um processo no qual a pesquisadora está inserida como atriz, portanto, não se faz de maneira distanciada e impessoal, embora mantenha o rigor acadêmico necessário à sua realização. Para tanto, foi realizado um estudo de caso, tomando o espetáculo Dorotéia do grupo Panacéia Delirante sob direção de Hebe Alves, obra que tem como um de seus pilares o desempenho cênico das atrizes por intermédio desse dispositivo. Duas unidades de análise foram utilizadas visando demonstrar como o dispositivo Partitura age no desempenho das atrizes no espetáculo: a Corporalidade posta em evidência no espetáculo e o Estado de Jogo que se estabelece entre as atrizes em cena. Além disso, foram analisados registros em fotografia e vídeo do espetáculo, bem como depoimentos concedidos pelo elenco de Dorotéia. Entrecruzando esse material com aspectos conceituais da pesquisa, pretendeu-se chegar a respostas para as perguntas Como o jogo e a corporalidade servem à estruturação da partitura entendida como um dispositivo? e De que maneira esses dois elementos são articulados na composição de desempenho das atrizes?. O objetivo da pesquisa foi analisar o espetáculo sob a lente do dispositivo – com suas linhas de força e curvas de visibilidade, tal como apresentado por Michel Foucault e desenvolvido por Gilles Deleuze. Este esforço se justifica na medida em que uma compreensão não-cartesiana, rizomática e que, portanto, evita a rigidez de conceitos preestabelecidos é importante ferramenta para compreender a práxis do artista, no caso, o artista cênico. Desse modo, torna-se possível abrir novas leituras que incluam os aspectos de risco, improvisação, tensão, prazer, interatividade, imaginação e subjetividade, sem cair em formulações baseadas apenas no senso comum ou amparadas numa concepção de partitura entendida como puramente instrumental. Dentre os resultados alcançados destacam-se a compreensão da corporalidade e do estado de jogo como curvas de visibilidade e linhas de força do dispositivo, responsáveis por possibilitar a ação dos processos de sobredeterminação funcional e preenchimento estratégico que ocorrem na partitura; e o entendimento de que, por meio da ótica do dispositivo, a partitura pode ser discutida de maneira mais rigorosa e sistematizada em estudos sobre o desempenho do artista cênico. / This work falls within the field of performing arts, leaning over the actor's work by analyzing Action Scores, considered here as a device for creation and composition. The research describes and analyzes a process in which the researcher is insertedas an actress. Therefore, it is not a distanced and unbiased one, but still maintains the necessary academic rigour for their production. To this end, we conducted a case study, using the play Dorotéia, by the Panacéia Delirante group, under the direction of Hebe Alves, a work that has, as one of its pillars, the scenic performance of the actresses through this device. Two analysis units were used in order to demonstrate how the Score device works regarding the performance of the actresses in the show: the Corporality evidenced in the show, and the Game State established between the actresses on scene. In addition, we analyzed the play’s photo and video recordings, as well as testimonies given by the cast of Dorotéia. By combining this material with the research’s conceptual aspects, we intended to answer the questions: How do the game and corporality serve to structure the Score as a device? and How are these two elements articulated in the composition of the actresses’ performance?. The objective of the research was to analyze the performance under the scope of the device – with its lines of powerand curves of visibility, as presented by Michel Foucault and developed by Gilles Deleuze. This effort is so far justified as a non-Cartesian, rhizomatic understanding – that therefore escapes the rigidity of pre-established concepts. Such is an important tool for understanding the artist's (in this case, the scenic artist’s) praxis. Thus, it becomes possible to open new interpretations to include the aspects of risk, improvisation, tension, pleasure, interactivity, imagination and subjectivity without falling into formulations solely based on common sense or supported by a concept of an Action Score understood as purely instrumental. Among the achieved results, the understanding of corporality and the game state as visibility curves and power lines of the device stand out. They are responsible for possibilitating the action of the processes of functional overdetermination and strategic filling that occur in the Action Score. Another conclusion that can be taken from this case study is the understanding that, through the optical device, the Action Score can be discussed in a more rigorous and systematized method regarding the scenic artist’s performance.

GAYME is a transmedia story-telling world that I have created to conceptually explore the dynamics of queering game design through the development of varying game prototypes. The final iteration of GAYME is @deadquarewalking'. It is a documentary game and a performance art installation that documents a carless, gay/queer/quare man's journey on Halloween to get to and from one of Orlando's most well-known gay clubs - the Parliament House Resort. "The art of cruising" city streets to seek out queer/quare companionship particularly amongst gay, male culture(s) is well-documented in densely, populated cities like New York, San Francisco and London, but not so much in car-centric, urban environments like Orlando that are less oriented towards pedestrians. Cruising has been and continues to be risky even in pedestrian-friendly cities but in Orlando cruising takes on a whole other dimension of danger. In 2011-2012, The Advocate magazine named Orlando one of the gayest cities in America (Breen, 2012). Transportation for America (2011) also named the Orlando metropolitan region the most dangerous city in the country for pedestrians. Living in Orlando without a car can be deadly as well as a significant barrier to connecting with other people, especially queer/quare people, because of Orlando's car-centric design. In Orlando, cars are sexy. At the same time, the increasing prevalence in gay, male culture(s) of geo-social, mobile phone applications using Global Positioning Systems (GPS) and location aware services, such as Grindr (Grindr, LLC., 2009) and even FourSquare (Crowley and Selvadurai, 2009) and Instagram (Systrom and Krieger, 2010), is shifting the way gay/queer/quare Orlandoans co-create social and sexual networks both online and offline. Urban and sub-urban landscapes have transformed into hybrid "techno-scapes" overlaying "the electronic, the emotional and the social with the geographic and the physical" (Hjorth, 2011). With or without a car, gay men can still geo-socially cruise Orlando's car-centric, street life with mobile devices. As such emerging media has become more pervasive, it has created new opportunities to quarely visualize Orlando's "technoscape" through phone photography and hashtag metadata while also blurring lines between the artist and the curator, the player and the game designer. This project particularly has evolved to employ game design as an exhibition tool for the visualization of geo-social photography through hashtag play. Using hashtags as a game mechanic generates metadata that potentially identifies patterns of play and "ways of seeing" across player experiences as they attempt to make meaning of the images they encounter in the game. @deadquarewalking also demonstrates the potential of game design and geo-social, photo-sharing applications to illuminate new ways of documenting and witnessing the urban landscapes that we both collectively and uniquely inhabit. 'In Irish culture, "quare" can mean "very" or "extremely" or it can be a spelling of the rural or Southern pronunciation of the word "queer." Living in the American Southeast, I personally relate more to the term "quare" versus "queer." Cultural theorist E. Patrick Johnson (2001) also argues for "quareness" as a way to question the subjective bias of whiteness in queer studies that risks discounting the lived experiences and material realities of people of color. Though I do not identify as a person of color and would be categorized as white or European American, "quareness" has an important critical application for considering how Orlando's urban design is intersectionally racialized, gendered and classed.