Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-09-19T12:02:51Z No. of bitstreams: 1 marcelorodriguesdearaujo.pdf: 1149448 bytes, checksum: 0ecacd0cf91787c339336e7f50a975a3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-04T15:38:02Z (GMT) No. of bitstreams: 1 marcelorodriguesdearaujo.pdf: 1149448 bytes, checksum: 0ecacd0cf91787c339336e7f50a975a3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-04T15:38:13Z (GMT) No. of bitstreams: 1 marcelorodriguesdearaujo.pdf: 1149448 bytes, checksum: 0ecacd0cf91787c339336e7f50a975a3 (MD5) / Made available in DSpace on 2016-10-04T15:38:14Z (GMT). No. of bitstreams: 1 marcelorodriguesdearaujo.pdf: 1149448 bytes, checksum: 0ecacd0cf91787c339336e7f50a975a3 (MD5) Previous issue date: 2010-12-16 / A tese de mestrado intitulada “FIFA 2009: o jogo como representação do real” se baseia na relação entre o jogo de videogame FIFA SOCCER 2009, da Eletronic Arts, a arte em alguns períodos da história, a comunicação e informação inerentes ao objeto artístico e a semiótica. Procuramos estabelecer ligações entre estes elementos e características que os unem na confecção e fruição do jogo. Para proceder a uma análise destas características, “desconstruímos” o jogo a partir de elementos importantes na sua criação e apreciação por parte de designers e jogadores virtuais. Estes elementos são a cor, a forma e o espaço. Eles são dispostos na ligação que possuem com a visualização do jogo, os elementos tecnológicos, históricos e estéticos inerentes a esta forma atual de entretenimento. Consideramos o jogo eletrônico para além do lazer e do aspecto lúdico simplesmente, respeitando-o como uma obra representativa da arte contemporânea. Para isso, contextualizamos o ambiente pós-moderno e a noção de que a conceitualização da arte de hoje expandiu mais do que nunca os limites de interpretação e aceitação do que ela representa. Verificamos na história da arte e filosofia que toda arte é representativa de seu tempo e os elementos componentes de um videogame corroboram esta assertiva, pois possuem características comuns a qualquer obra de arte, como criação, engenho, valor econômico e social, além da técnica e do conhecimento teórico. A possibilidade de leitura de obras de arte através da Semiótica não é uma novidade, mas procuramos mostrar que, se o jogo eletrônico pode ser considerado uma obra de arte, sua interpretação também pode se dar através de pressupostos semióticos. / The a master‟s thesis entitled "FIFA 2009: the game as a representation of the real" is based on the relationship between the game of video games FIFA SOCCER 2009, by Electronic Arts, the art in some periods of history, the communication and information inherent to the object artistic and Semiotics. We establish links between these elements and characteristics wich unite them in confection and fruition of the game. To carry out an analysis of these characteristics, we "desconstructed" the game from important elements in its creation and assessment on the part of designers and players virtual. These elements are the color, shape and space. They are arranged in liaison with the visualization of the game, the elements technological, historical and aesthetic inherent in this current form of entertainment. We believe the video game is beyond the leisure and appearance ludic simply, respecting him as a representative work of contemporary art. To do this, contextualized the post-modern environment and the notion that the conceptualization of art expanded today more than ever the limits of interpretation and acceptance of it represents. In the history of art and philosophy that all artwork is representative of their time and the elements components of videogames corroborate this assertion, because they have characteristics common to any work of art, such as creating, ingenuity, social and economic value, in addition to the technical and theoretical knowledge. The possibility of reading of works of art through Semiotics is not a novelty, but we sought to show that, if the game can be considered a work of art, its interpretation may also be given through assumptions semiotic.

Submitted by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-06T16:25:17Z No. of bitstreams: 1 Dissertação de Mestrado Romero.pdf: 4539740 bytes, checksum: 4a701f0744a51ca361bafc7ffad288eb (MD5) / Made available in DSpace on 2017-03-06T16:25:18Z (GMT). No. of bitstreams: 1 Dissertação de Mestrado Romero.pdf: 4539740 bytes, checksum: 4a701f0744a51ca361bafc7ffad288eb (MD5) / Esta pesquisa objetiva aproximar a Teoria Semiótica Francesa dos estudos do videogame, através de um modelo de análise interdisciplinar. Consideramos o videogame um paradigma atualizado nas trocas interativas da contemporaneidade, com poder de penetração em diversas camadas sociais e que pode, inclusive, ser utilizado como formador de opinião e divulgador de ideologias. A interdisciplinaridade caracteriza-se pela aplicação da metodologia semiótica, pelos conceitos “sincretismo” e “graus de intimidade” de Hjelmslev, pela abordagem tensiva, segundo o modelo “intensidade/extensidade” proposto por Zilberberg, e pelos estudos dos videogames, sistematizados por Jesper Juul. Demonstramos articulações entre os níveis fundamental, narrativo e discursivo e o conceito “regras” e abordamos encaminhamentos implicativos/concessivos na classificação de componentes “reais” e “ficcionais” do videogame (cf. JUUL, 2005). Investigamos, ainda, como tais direcionamentos são articulados para maximizar ou minimizar componentes sensíveis e inteligíveis capazes de garantir o engajamento e a fidelização do jogador. / This research aims to bring together the French Semiotics theory to the videogame studies, through an interdisciplinary model of analysis. We consider the videogame an updated paradigm in contemporary interactions, with the power to influence different social strata what can even be used to reinforce ideologies and to influence opinions. The interdisciplinary approach is characterized by the application of the semiotic methodology, with concepts as "syncretism" and "degrees of intimacy", presented by Hjelmslev, the tensive approach, in accordance to the “intensive/extensive" model proposed by Zilberberg, and the videogame studies, systematized by Jesper Juul. We demonstrate links between basic, narrative and discursive levels and the concept of "rules". We also discuss the concepts of implication/concession in relation to the classification of videogames "real" and "fictional" components. At last, we investigate how such trends are articulated to maximize or to minimize sensitive and intelligible components of the videogame, which are responsible to ensure the engagement and loyalty of the player.

This thesis contributes to the field of academic game studies by reworking and updating the established theories of Espen Aarseth, Janet Murray and Marie-Laure Ryan in understanding the path in videogames. It also draws upon the more recent theoretical discussions of figures such as Jesper Juul, Lev Manovich, Frans Mäyrä and James Newman in order to explore the player’s experience along these paths in the gameworld. By defining a vocabulary of routes through space, the thesis uses the maze in particular as a way of understanding the paths of videogames. The research starts by examining our cultural understanding of the maze within videogames. Various mazes around the UK were walked in order to understand their design and how this may translate into the virtual world of the videogame. The thesis examines the uses of real world mazes through the work of Penelope Doob, and Herman Kern to discuss how the videogame may rework our cultural understanding of the maze due to its increasingly ubiquitous nature. This enables a discussion of maze-paths found within many videogames that are not necessarily categorised by what is often discussed as the maze genre of games. A morphology of maze-paths is devised through comparing the mazes of the real world and the virtual mazes of the videogame. This is achieved by breaking down the maze into separate path types and shows how these paths may link to one another. The thesis argues that the paths of the videogame are generated by the player’s actions. Therefore the focus of this thesis is on the player’s experience along these paths and the objects found at points on them. In acknowledging how to overcome obstacles along the path it is also possible to understand the role of the path in the player’s learning and mastery of the gameworld. This leads to discussions of different types of play experienced by the player in the videogame. Play is separated into what I term purposeful play, being the activities intended by the designer, and appropriated play which is the play formed out of the player’s exploration of the game system. These two terms help to understand player’s incentives for playing along the ruled paths of the gameworld as well as exploring the game’s system further to find new types of play outside of the pre-determined rules. As this thesis is concerned with videogames involving the player’s avatar having a direct relationship with the path, the research also investigates what happens when certain devices break these paths. It was discovered that warp devices reconstruct both temporal and narrative elements within the gamespace, and cause the player’s avatar to temporarily move on tracks through the gameworld. In defining a vocabulary of movement through space on a fixed track, as opposed to a player-determined path, there is a further understanding of the player experience related to each type of route taken in the game. Through an understanding of the maze and defining a vocabulary of maze-paths, tracks and objects found along them, this thesis adds a new contribution to knowledge. It also acknowledges the importance of different types of play within videogames and how these can shape the player experience along the paths of the game.

Videogames são um prolífico negócio no dias de hoje, rivalizando diretamente em cifras com indústrias muito mais antigas, como Hollywood. Tamanha aceitação do público é um indicio de que videogames não podem mais ser julgados como meros joguinhos, mas sim um novo meio comunicativo, com sua própria estética e linguagem. Neste trabalho, será explorado brevemente como se caracteriza a linguagem dos videogames, sua evolução em relação a dos jogos e sua atual formatação. Parte essencial da linguagem contemporânea dos jogos digital diz respeito a sua dependência na interação do jogador e, assim sendo, partiremos para o principal estudo deste trabalho: a análise dos elementos de design que mediam esta interação. Observouse a existência de seis elementos mais recorrentes e explica-se, em mais detalhes, quais suas características e seu funcionamento. Estes elementos são: objetivos claros, feedback, nível de dificuldade, interação e sensação de controle, narrativa e estética, e socialização e imagem pessoal. / Videogames are a prolific business nowadays, catching up and even surpassing figures with much more traditional industries, as Hollywood. Such a public renown is a clear evidence that videogames are not to be judged anymore as silly games, but as a new communicative media, equipped with its own aesthetics and language. In this research, there is a brief exploration on videogames language, its evolution and its contemporary format. As an essential part of videogames language is intimately connected to player\'s interaction, the elements behind such interaction are outlined and studied as the main corpus of this research. Six elements marked themselves more recurring on the studied literature and, as so, were analyzed on more details both their composition and functionality. This elements are: clear goals, feedback, difficulty level, interaction and sensation of empowerment, narrative and aesthetics, and socialization and self image.

Em O Discurso da Narrativa Gerrard Genette faz uma análise de À La Recherche du Temps Perdu de Proust, destrinchando a poética narrativa e fornecendo elementos eficazes para a compreensão e estudo de qualquer outra obra narrativa. Genette sugere a análise através de 3 chaves: Tempo (que pode ser subdividido em Ordem, Duração e Freqüência), Modos de Narrativa e Voz. A narrativa é cada vez mais presente nos videogames e para compreender as congruências e diferenças entre a narrativa literária e a narrativa que permite interação, própria dos jogos eletrônicos, o jogo de aventura Full Throttle , de Tim Schafer, foi observado sob a ótica de O Discurso da Narrativa. A partir dos elementos fornecidos pelo estudo, esse trabalho propõe a criação de uma obra: LIMBO, um jogo eletrônico com a aplicação objetiva dos recursos narrativos observados. O documento de produção do jogo, é apresentado de forma completa, procurando abordar o maior número de características que deverão ser implementadas através dos seguintes tópicos: visão geral, sinopse, descrição dos personagens, descrição do universo onde se passa a história, argumento, descrição do funcionamento do jogo, mecânica do jogo, descrição progressiva fase a fase, descrição do espaço e descrição da direção de arte. / In Narrative Discourse Gérrard Genette makes an analyze of À La Recherche du Temps Perdu by Proust, breaking apart the poetic narrative and bringing new effective elements to comprehend and study any other kind of narrative. Genette suggests that this analyze should be taken by three basic keys: Time (could be divided in Order, Duration and Frequency), Mode and Voice. The narrative have been more and more common in the videogames and to comprehend the congruencies and differences between the literature narrative and a narrative that allows interaction, of the electronic games, the adventure Full Throttle from 1994, by Tim Schafer, was observed by the eye of Narrative Discourse. Using the elements found in this study, this work consists on the creation of a new product: LIMBO, an electronic game with the objective application of this narrative features observed. The Game Document is presented in a completed way, trying to approach the biggest number of characteristics that will be implemented by the topics: overview, synopsis, characters description, description of the universe where the story happens, argument, game play, level design and concept arts.

This paper was developed from my reflections on an interdisciplinary critical making experiment in which I, visual artists, and computer programmers wrote, designed, and made a videogame, entitled Anathema, and a "Complete Companion" for the game that served as its booklet. I argue for the importance and continuing relevance of booklets and other textual objects accompanying videogames as there is no established scholarship on the topic and no ongoing debate or dialogue on the issue within the field of game studies. I demonstrate the ways that multiple modes of media, i.e. the game and its external objects, allow the narrative to break free of the individual media's constraints and overcome the perceived binary between mechanics-oriented and narrative-oriented videogames. I examine the evolution of booklets' roles in videogames by looking at key examples from early, millennial, and contemporary examples, including F-Zero, Diablo II, and the Mass Effect series. I also compare examples across genres, markets, and distribution methods, including independently produced and digitally distributed games. Finally, I draw on my own work on Anathema, the relationship between form and content within that project, and the role of the booklet therein to demonstrate the narrative and mechanical advantages of a multi-modal videogame. I conclude that while innovative mechanics can contribute to a multi-modal narrative in-game, the incorporation of both analogue and digital textual objects facilitates a more complete interaction with the art form.

In trying to provide access to videogame materials for scholars, collecting organizations must build standards for building and structuring collections, and in turn information professionals must assess the information needs of users. In order to begin the assessment, this paper presents a content analysis of scholarly videogame articles. The results of the analysis will provide the basis for structuring videogame archives, libraries, or databases. Metadata schemas are important to access, and to collecting. That metadata will aid patrons is widely accepted, but too often schemas and vocabularies are based on only experts’ opinions without taking into account patrons’ ideas of what is important. To address this dearth, the content analysis presented in this paper combines historical ideas of metadata standards from expert archivists with an analysis of what themes are important, common, and sought for in the literature of videogame scholars, who are the likely users of videogame collections. / text

A movement from the traditional to the modern in geoscience education occurs through piecemeal application of educational theory to geology teaching. This dissertation developed and examined four traditional and innovative geoscience skills-based learning activities through qualitative, quantitative and mixed-methods methods: A. Mineralogy laboratories were designed to improve learning gains (i.e., knowledge) and students’ perceptions of mineralogy topics, primarily using group work. Groups of sizes 3 and 4 were most effective (compared with pairs, and groups of 5 and 6) in improving student collaboration. B. An inquiry-style videogame was designed and tested in order to compare learning gains to that of a geological field trip. Though learning gains were slightly higher in the fieldtrip, some aspects of the videogame were more successful at increasing the depth and awareness of observation skills needed. C. Field notebooks were analysed for uniqueness and completeness to quantify differences among participants’ note-taking. We found that previous geologic experience, gender, and lecturer teaching styles all contributed to the students note taking abilities and perceptions of note-taking. D. The design research of the Volcanic Hazards Simulation resulted in identification of critical pedagogical variables that encourage students’ transferable skills: a) the pace of the simulation, b) the preparedness of the students, c) the role and team authenticity and d) communication best practices. Meaningful changes to the curriculum of labs, field and experiential teaching methods resulted in the improvement of content knowledge, perceptions and skills of geoscience students. Collectively, these results suggest practical and theory-based solutions grounded in Constructivist paradigms to provide improved geoscience teaching at Universities.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-07-31T14:12:16Z No. of bitstreams: 1 2017_FilipeHenriqueBezerraMatosdeAlencar.pdf: 5672661 bytes, checksum: 9bd8eebdda4155d14983007746a9fd85 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-09-15T15:56:15Z (GMT) No. of bitstreams: 1 2017_FilipeHenriqueBezerraMatosdeAlencar.pdf: 5672661 bytes, checksum: 9bd8eebdda4155d14983007746a9fd85 (MD5) / Made available in DSpace on 2017-09-15T15:56:15Z (GMT). No. of bitstreams: 1 2017_FilipeHenriqueBezerraMatosdeAlencar.pdf: 5672661 bytes, checksum: 9bd8eebdda4155d14983007746a9fd85 (MD5) Previous issue date: 2017-09-15 / Este trabalho apresenta reflexões a respeito dos recursos gráficos de videogames em Pixel Art e Low Poly Art, e os seus desdobramentos estéticos e poéticos. Nesse processo, levantam-se questões sobre a relação dessas imagens com o jogador e com o artista e desenvolvedor. As principais questões tratam do processo criativo e do sentimento de nostalgia que envolve essas imagens. Chega-se então, a partir de conceitos da psicologia cognitiva sobre criatividade e memória, e de informações disponibilizadas em entrevistas pelos artistas, aos termos Catalisação Criativa e Poética da Nostalgia. Expõe-se o percurso histórico das imagens em Pixel Art, desde a popularização de PONG, o primeiro videogame de grande sucesso comercial. Em seguida traça-se um paralelo histórico entre o fenômeno da Pixel Art e Low Poly Art. Com isso, procura-se aproximar as duas técnicas e discutir os processos de catalisação criativa e nostalgia que as envolve. A partir dessa linha do tempo e da análise das imagens de alguns jogos, percebe-se o efeito do avanço sobre uma obsolescência gráfica, levando ao descarte as imagens mais antigas dos videogames. Esse ciclo passa a ser questionado com a popularização dos Indie Games – também objeto de discussão desta pesquisa –, que retomam o uso de recursos gráficos considerados ultrapassados e os ressignificam. / This dissertation presents reflections on Pixel Art and Low Poly Art graphic resources and its poetics and aesthetics developments. In this process some concerns have been raised on the relation of the player, the artist and the developer to these images. The main issues refer to the creative process of these artists and the feeling of nostalgia that is about these images. From some concepts of cognitive psychology about creativity and memory, and from information gathered in interviews, the terms Creativity Catalysis and Poetics of Nostalgia are presented. The historical path of the Pixel Art images is exposed, since the popularization of PONG, the first great success commercial videogame. Then it is outlined an historical parallel between the Pixel Art and Low Poly Art graphics. Henceforth it is intended to approximate both techniques and discuss the creativity catalysis and nostalgia process that implicate them. From the presentation of this timeline and the analysis of some game images, it becomes clear the industry stimulus for a graphic obsolescence, leading the more antique videogame images to be discarded. The popularization of the Indie Games – also discussed in this research –questions that obsolescence cycle. They take up graphical resources considered out-of-date and give them a new meaning.

Os videogames, uma das mais fortes correntes da indústria do entretenimento, têm também influenciado a área da Educação Física através de novos artefatos digitais que possibilitam a interação corporal. O jogo de videogame Wii Fit, objeto desta pesquisa, é um dos jogos que tem como principal objetivo incentivar a prática de atividades físicas moderadas e promoção da saúde de maneira lúdica. Esta dissertação apresenta uma análise sobre como os usuários do jogo de videogame Wii Fit acionam sobre si mesmos, põem em circulação e compartilham os preceitos de vida saudável veiculados pelo jogo. O trabalho apresenta uma revisão de literatura sobre os videogames, mostrando como seus mecanismos de interação evoluíram até chegarmos ao estado atual, no qual os jogadores podem interagir com os jogos a partir de movimentos corporais amplos. Os referenciais teóricos sobre estilo de vida saudável também são apresentados, com o objetivo de melhor compreender de que modo o jogo Wii Fit se enquadra nestes preceitos. A pesquisa realizada se baseou na netnografia para analisar o jogo Wii Fit como um artefato cultural e avaliar como a sua utilização está influenciando a vida dos usuários frente às propostas de estilo de vida saudável. Três comunidades virtuais dentro da rede social Facebook foram pesquisadas, buscando relatos sobre as percepções dos usuários quanto à influência do jogo em suas práticas de atividade física e manutenção de hábitos salutares. As análises realizadas sobre estes relatos são aqui apresentadas, mostrando que o jogo Wii Fit não apenas promove a prática de atividades físicas regulares, mas também permite conscientizar seus usuários quanto à melhoria da qualidade de vida. A partir da realização desta pesquisa foi possível observar que o jogo de videogame Wii Fit se tornou um marco na evolução dos videogames e nas relações humano/máquina, firmando-se como uma sucursal em potencial do estilo de vida saudável. / Video games, one of the most powerful sectors to the entertainment industry, has also been influencing the area of Physical Education through new digital artifacts which enable body interaction. Wii Fit, subject of this research, is one of these games, having as its main goal to motivate users to practice physical activities and to promote health in a fun way. This dissertation presents an analysis on how the users of Wii Fit actionate on themselves, socialize and share the precepts of healthy life proposed by the game. This work presents a literature review about videogames, showing how their interaction mechanisms evolved to the point where we are nowadays, where players can interact with the games through their body movements. The theoretical background on healthy lifestyle is also presented, with the goal of better understanding how Wii Fit may be related to these concepts. The research carried out was based on a virtual ethnographic study to analyse the Wii Fit game as a cultural artifact and evaluate how its use has influenced its users’ lives, according to the proposals of healthy lifestyle. Three virtual communities in the social network Facebook were researched, looking for testimonies about the users’ perceptions about the games’ influence in their physical activity practice and healthy habits maintenance. The analyses made about these testimonies are presented here, showing that the game Wii Fit does not only promote the regular practice of physical activities, as it makes its users aware of their quality of life improvement. From this research it was observed that the Wii Fit game has become a landmark in the evolution of video games and in human/machine interaction, establishing itself as a potential branch of the healthy lifestyle.