000			03979cam a2200445 i 4500
005			20221101230653.0
008			100712s2006 mnua b s001 0 eng d
010			_a 2006003428
011			_aBIB MATCHES WORLDCAT
020			_a0816648506 _qalk. paper
020			_a9780816648504 _qalk. paper
020			_a0816648514 _qpbk. (alk. paper)
020			_a9780816648511 _qpbk. (alk. paper)
035			_a(ATU)b11723920
035			_a(OCoLC)63744446
040			_aDLC _beng _erda _cDLC _dBAKER _dUKM _dC#P _dWIQ _dCOO _dYUS _dYDXCP _dPUL _dBTCTA _dYBM _dMUQ _dSTF _dNLGGC _dTTU _dOCLCQ _dIG# _dDEBBG _dOCL _dATU
042			_apcc
050	0	0	_aGV1469.34.S63 _bG35 2006
082	0	0	_a794.8 _222
100	1		_aGalloway, Alexander R., _d1974- _eauthor. _91079573
245	1	0	_aGaming : _bessays on algorithmic culture / _cAlexander R. Galloway.
264		1	_aMinneapolis : _bUniversity of Minnesota Press, _c[2006]
264		4	_c©2006
300			_axiii, 143 pages : _billustrations ; _c22 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
490	1		_aElectronic mediations ; _v18
504			_aIncludes bibliographical references (pages 127-136) and index.
505	0		_aGamic action, four moments -- Origins of the first-person shooter -- Social realism -- Allegories of control -- Countergaming.
520			_a"Video games have been a central feature of the cultural landscape for over twenty years and now rival older media like movies, television, and music in popularity and cultural influence. Yet there have been relatively few attempts to understand the video game as an independent medium. Most such efforts focus on the earliest generation of text-based adventures (Zork, for example) and have little to say about such visually and conceptually sophisticated games as Final Fantasy X, Shenmue, Grand Theft Auto, Halo, and The Sims, in which players inhabit elaborately detailed worlds and manipulate digital avatars with a vast--and in some cases, almost unlimited--array of actions and choices. In Gaming, Alexander Galloway instead considers the video game as a distinct cultural form that demands a new and unique interpretive framework. Drawing on a wide range of disciplines, particularly critical theory and media studies, he analyzes video games as something to be played rather than as texts to be read, and traces in five concise chapters how the "algorithmic culture" created by video games intersects with theories of visuality, realism, allegory, and the avant-garde. If photographs are images and films are moving images, then, Galloway asserts, video games are best defined as actions. Using examples from more than fifty video games, Galloway constructs a classification system of action in video games, incorporating standard elements of gameplay as well as software crashes, network lags, and the use of cheats and game hacks. In subsequent chapters, he explores the overlap between the conventions of film and video games, the political and cultural implications of gaming practices, the visual environment of video games, and the status of games as an emerging cultural form. Together, these essays offer a new conception of gaming and, more broadly, of electronic culture as a whole, one that celebrates and does not lament the qualities of the digital age. Alexander R. Galloway is assistant professor of culture and communication at New York University and author of Protocol: How Control Exists after Decentralization."--Publisher description.
588			_aMachine converted from AACR2 source record.
650		0	_aVideo games _xSocial aspects _9631798
650		0	_aVideo games _xPhilosophy _9763888
830		0	_aElectronic mediations ; _v18. _91039679
907			_a.b11723920 _b26-03-18 _c27-10-15
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