User:Berna Bereit Master Thesis: Difference between revisions
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=== Why? (two sentences) === | === Why? (two sentences) === | ||
Exploring (video) games as tools. | |||
=== Workflow (two or three sentences) === | === Workflow (two or three sentences) === |
Revision as of 14:23, 19 September 2024
Notes
Context
- find a context for your thesis
- try to get out of the XPUB bubble
- who are people/collectives/institutions that are working on a similar topic
Format of Thesis
- project proposal (1500 words)
- thesis (7000 - 8000 words)
01 Project that may or may not be made
What? (two sentences)
"I wonder if it is not time for game design to start being a spatial exercise tool through which we, protesters, can practice and acquire urban tactics that stand against the state’s oppression?"
[Bashady, Hamza (2022). A Passive Mob: How Video Games Silence Dissent. Online. URL: https://futuress.org/stories/a-passive-mob]
Why? (two sentences)
Exploring (video) games as tools.
Workflow (two or three sentences)
Timetable (Sept*)
Relation to previous practice (two sentences, draw on Text on Practice)
Choices made (two sentences)
02 Project that may or may not be made
What? (two sentences)
Club Stahlbad takes a stab at the dysfunctionality of the established spaces of entertainment, where “fun” is obligatory as a ritualized counterpart to “labor” - subordinating both work and “free time” to the logics of capital accumulation. [Total Refusal (2023). Club Stahlbad. Online. URL: https://totalrefusal.com/home/club-stahlbad]
NPCs are digital Sisyphus machines that have no perspective of breaking out of their activity loops. In the moments when the algorithm shows inconsistencies, the NPCs break out of the logic of total normality, and appear touchingly human. [Total Refusal (2022). Hardly Working. Online. URL: https://totalrefusal.com/home/hardly-working]
An observation on female labour in video games.
Why? (two sentences)
hyper-realistic aesthetics – play reality – society projected in fictional games