Van Looy, Jan
19-Apr-2006
Summary
"My dissertation deals with the question as to what extent a technological phenomenon such as the development of computer simulation and games can be described within a broader cultural frame. Traditionally, a radical distinction is made between socio-cultural and technological development, whereby the latter is often seen as an intruder trying to impose its laws upon human society from some vague outside. Since the 1980s, however, this so-called technologically deterministic perspective is being criticized by a predominantly European, constructivist school which emphasizes the socio-cultural shaping of technology by demonstrating that technological development is not an isolated phenomenon, but is shaped by the society by which it is pursued. My dissertation inscribes itself into this research tradition, whereby the central thesis is that computer simulation and games, both in their technological foundations and their content, form a reflexion of a number of cultural developments that have taken place in the second half of the twentieth century, most notably the growing emphasis on efficiency through competition and, concomitantly, on mathematical and quantitative analysis and description of reality. After a first, mainly methodological chapter in which the above is further explained, the dissertation follows a movement from form to function, from machine to man. The second chapter deals with the technological principles of mathematical modeling and the influence they have on the way in which physical and behavioral phenomena are represented. The third chapter explores the ontological status of modeled objects and phenomena, the so-called virtual, whereby the main thesis is that virtuality is a form of mimesis, of representation rather than a possible reality. The fourth chapter describes the role of the player, whereby it is noted that computer simulation and games distinguish themselves from other interactive forms such as hypertext literature and digital cinema by providing a fictional identity for the player who is, as it were, thrown into the virtual world (introjection). The fifth and final chapter deals with the question of why man likes to play so much, why he seemingly without a purpose immerses himself in a fictional environment. The main argument laid out here is the so-called 'coping'-theory which claims that man uses fictional representations in order to negotiate his place in reality both practically and emotionally so as to come to terms with his fears and desires. Computer games are seen as a virtualization of the social pressure to be successful, a way of dealing with the fear of failure."
Summary for the general public
"Despite the fact that computer games are almost half a century old and play an increasingly important role economically and as a driving force behind technological innovation, they are still regarded suspiciously or even treated with downright hostility by the public and the press. Recently in Ghent, for example, a petition was started against the so-called 'pestering'-game Bully, even before the game had come out and anyone could have played it. When you write a book about the experience of being bullied, you can be nominated for a literary prize (see for example Gregie De Maeyer's Juul, 1996), but if you make a game about that very same subject your work risks being forbidden. How can this be explained? How come that new forms of culture, particularly when they make use of new technology (think of jazz, pinball machines, television, rock music etc.) are treated with so much disdain by the establishment? One possible reason is that subconsciously we tend to make a radical distinction between society and technology, whereby the latter is seen as a dangerous intruder trying to impose its will upon human society. My research goes against this line of thought, however, and inquires into the underlying cultural motivations which have lead to the development of computer games. Thereby my main thesis is that they are not a purely technological phenomenon, but an intrinsically cultural response to a human desire. Technologically, a computer game is a quantitative model describing a phenomenon – driving a car for example – in mathematical functions which are then simulated by a computer. This form of representation is associated with the growing cultural emphasis on quantitative description of reality, just think of the increasingly important role of economy and statistics in present-day social debate. In this context, the game world or virtual environment is often depicted as a sort of semi-reality in which magical swords and virtual islands change hands for real cash. This in turn is linked with the growing significance of media and representation in our society. What distinguishes computer games from other forms of interactive media is the fact that they provide an active role for the player in the fictional world. Whereas the reader of a book or the spectator of a film (even when they are interactive) remains safely outside the fictional happenings, the player of a game is cast amongst them (introjection). Why people like to play so much, finally, can be explained as an urge to retire to a safe environment where they can freely experiment with thoughts and feelings so as to come to terms with fears and desires. From this perspective, the development and popularity of a game such as Bully can be explained as it being a way for the child to learn to deal with pestering in a safe, virtual environment so as to arm themselves psychologically against a reality experienced as hostile."
Table of Contents
"Contents
Acknowledgments
Introduction
I. Technology and Culture
1. Computer Games as Interactive Text
2. Computer Games as New Media
3. Computer Games as Cultural Form
II. Computer Simulation
1. Mathematical Modeling
2. Modeling Thought?
3. Message in a Throttle
4. Simulation and Culture
III. Virtual Ontology
1. What is the Virtual? Stating the Problem.
2. The Virtual as a Possible World
3. The Virtual as Mimesis
IV. Simulating a Self
1. Introjection
2. Playing God
3. Point of View
V.The Purpose of Play
1. Playing as Coping with Reality
2. Gaming as Coping with Competition
Media Cited
Publications Cited
Appendix: Full List of Contents"
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