{"id":1445,"date":"2017-01-17T19:13:43","date_gmt":"2017-01-17T19:13:43","guid":{"rendered":"http:\/\/www.gpgrieve.org\/?page_id=1445"},"modified":"2017-03-11T21:59:06","modified_gmt":"2017-03-11T21:59:06","slug":"conceptual-tool-box","status":"publish","type":"page","link":"https:\/\/www.gpgrieve.org\/index.php\/conceptual-tool-box\/","title":{"rendered":"Conceptual Tool Box"},"content":{"rendered":"

Fan Fiction: <\/strong>A fiction that utilizes characters or settings from popular culture. Rarely authorized by the original publisher, \u201cfan fic\u201d often infringes on copyright. As Henry Jenkins writes, in \u201cStar Trek<\/em> Rerun, Reread, Rewritten,\u201d \u201cLike cultural scavengers, fans refuse to read by the imposed upon them by the schoolmasters. For fans, reading becomes a type of play, responsive only to its own loosely structured rules and generating its own type of pleasure\u201d (p. 471).<\/p>\n

Gamenvironment: <\/strong>In their article, \u201cVideo Gaming, Let\u2019s Play, and Religion,\u201d Kerstin Radde-Antweiler, Michael Waltemathe, Xenia Zeiler, define \u201cgamevironments\u201d as \u201can analytical concept based on the actor-centered approach, which integrates the analysis of the game narratives with a view to combining the narrative and the ludic approaches.\u201d (p. 14) {The article} For these researchers, the \u201cmedia practices\u201d from which game environments emerge are composed of two conceptual levels: the technical side of the hardware and software, and the aura of cultural discourses that surround and contextualize game play.<\/p>\n

Magic Circle: <\/strong> As theorized in Johan Huizinga\u2019s Homo Ludens {}, <\/em>the magic circle is a social membrane that separates and shields the fantasy and role play in the gamenvironment from the real world of everyday life. Huizinga writes, \u201cjust as there is no formal difference between play and ritual, so the \u2018consecrated spot\u2019 cannot be formally distinguished from the play-ground. The arena, the card-table, the magic circle, the temple, the state, the screen, the tennis court, the court of justice, etc., all are in form and function play-grounds, i.e. forbidden spots, isolated, hedged round, hallowed, within which special rules obtain.\u201d (p. 10). The magic circle is not simply a concept that takes place in players\u2019 minds, however, but is a set of concrete imaginings comprised of very real media practices. Accordingly, as Huizinga reminds the reader, \u201cthe consciousness of play being \u2018only pretend\u2019 does not by any means prevent it from proceeding with the utmost seriousness\u201d (p. 8).<\/div>\n

(http:\/\/gamingconceptz.blogspot.com\/2012\/10\/huizingas-magic-circle.html)<\/strong><\/p>\n

Media Practice<\/strong>: Greg Grieve, in CyberZen<\/em>, defines media practices as activities \u201csuch as reading a book; watching television or film; listening to the radio; or screening a computer, smart phone, or other digital device. Media practices do not merely transmit content but rather are the performance of embodied social activities that users execute with varying degrees of regularity, dexterity, and flair. Media practices emerge from a relationship between possible human action, on one hand, and systems of communication, on the other, and describe how social beings, with their diverse motives and their diverse intentions, tactically use the technologies of communication at hand to make and transform the realities in which they live.\u201d (p. ). {}<\/p>\n

Real world: <\/strong>Actual life as opposed to the \u201cmagic circle\u201d of \u201cgame environments.\u201d Game environments could not exist if not for the pragmatic social practices out of which emerges \u201ceveryday life.\u201d As the English anthropologist and cyberneticist Gregory Bateson writes in \u201cA Theory of Play and Fantasy,\u201d \u201cIt appears that play is a phenomenon in which the actions of \u2018play\u2019 are related to, or denote, other actions of \u2018not play.\u2019 We therefore meet in play an instance of signals standing for other events, and it appears, therefore, that the evolution of play may have been an important step in the evolution of communication\u201d (p. 181) {}. Game environments and the real world emerge, however, like a Mobius strip, where the boundary between real and fantasy, play and everyday life, is ultimately just a human-made fiction emerging from a social reality composed of \u201cmedia practices.\u201d<\/div>\n

\u00a0<\/strong><\/p>\n

Vanilla: <\/strong>The standard regular version with no special or extra customized features.<\/p>\n","protected":false},"excerpt":{"rendered":"

Fan Fiction: A fiction that utilizes characters or settings from popular culture. Rarely authorized by the original publisher, \u201cfan fic\u201d often infringes on copyright. As Henry Jenkins writes, in \u201cStar Trek Rerun, Reread, Rewritten,\u201d \u201cLike cultural scavengers, fans refuse to … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.gpgrieve.org\/index.php\/wp-json\/wp\/v2\/pages\/1445"}],"collection":[{"href":"https:\/\/www.gpgrieve.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gpgrieve.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gpgrieve.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gpgrieve.org\/index.php\/wp-json\/wp\/v2\/comments?post=1445"}],"version-history":[{"count":9,"href":"https:\/\/www.gpgrieve.org\/index.php\/wp-json\/wp\/v2\/pages\/1445\/revisions"}],"predecessor-version":[{"id":1813,"href":"https:\/\/www.gpgrieve.org\/index.php\/wp-json\/wp\/v2\/pages\/1445\/revisions\/1813"}],"wp:attachment":[{"href":"https:\/\/www.gpgrieve.org\/index.php\/wp-json\/wp\/v2\/media?parent=1445"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}