Skip to main content

Expanded Game Art and Neurointerfaces as Means of Produsage

  • Chapter
  • First Online:
  • 182 Accesses

Part of the book series: Perspektiven der Game Studies ((PEGAST))

Abstract

In the center of the following inquiry stands the structural coupling of play and prosume in very actual forms of Augmented Realities, AR and neurogames. The term prosumer is a portemonteau of the terms production and consumption and finds a correspondence in the technological features of augmentation in a mixed reality, where real world and virtual world elements converge. In Augmented reality games codes call up virtual information, which is usual displayed on everyday mobile technologies as smart phones or tablets. The very latest addition to this already established technosphere of mobile devices and play worlds are biometrical interfaces. Such interfaces, like wristbands, clocks or counters and sensors are embedded or extensions to the mobile gadgetry and ubiquitous computing devices of everyday use. The most spectacular kind of such interfaces are those that claim to measure the states of our very inner selves, brain interfaces. The convergence of play principles and neurointerfaces takes place in a multi layered world of virtual information superimposed to the everyday processes of self-measurement for health improvement and self-optimization. The augmented virtual worlds in health Apps are gamifying life routines, from eating, walking to sleeping. The corresponding interfaces, like wrist bands containing Gyro sensors for movement detection and EEG take our actual personal conditions into account, when productivity and consumer potential is measured. Most directly the required information is gained through the form of consumer neurointerfaces, which are entering the end user market since the last few years, offered by companies with poetically promising names such as Emotiv EPOC and Neurosky. The epistemic promise these interfaces give is to enhance life through better control of the self in playful ways—far beyond gamification play principles are deeply embedded into the use of such tools as social feature. This is crucial to spot here a new form of play produsage: the final product is the healthy and better self. Art games allow a controlled shaping of investigations as artistic research—in sciences.

This is a preview of subscription content, log in via an institution.

Buying options

Chapter
USD   29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD   39.99
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD   54.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Learn about institutional subscriptions

Notes

  1. 1.

    Equally a scientific interest was met, as the installation appeared as more natural environment than a laboratory setting. Such closeness to real life is an aim to life science research. The public performance provided a more natural test situation―while the game mechanic still allowed to create a controlled environment.

  2. 2.

    For a general introduction to the concepts of gamification see McGonigal (2011). For a critical re-examination and reflection of gamification see the volume Rethinking Gamification by Mathias Fuchs et al. (2014). For a critique of gamification using Geertz’s concept of Deep Play see Jahrmann (2018).

  3. 3.

    http://heranet.info/projects/hera-2009-humanities-as-a-source-of-creativity-and-innovation/technology-exchange-and-flow-artistic-media-practices-commerical-application/. Accessed: 15.04.2019.

  4. 4.

    The AAA Profiler installation introduces new AR codes to call up hidden messages, apply Cut-Up methods on Twitter feeds, recombines them with images, which can be taken anywhere in the world. It broadcasts a new combination of images, tweet fragments and hidden messages as new Twitter messages of the day and shows them live in the Muqua installation and webstream. This hybrid reality installation was developed by Margarete Jahrmann with Brigitte Felderer, Fares Kayali and Josef Schuh, http://ludic.priv.at/AAA/AAA_Profiler/a.html. Accessed: 15.04.2019.

  5. 5.

    cybathlon.ethz.ch. Accessed: 15.04.2019.

  6. 6.

    http://www.neuroflow.games

  7. 7.

    http://neuro-space.net. Accessed: 15.04.2019.

References

  • Bruns, Axel. 2007. Produsage: Towards a broader framework for user-led content creation. In Proceedings Creativity & Cognition 6, eds. Ben Shneiderman, Gerhard Fischer, Elisa Giaccardi, and Mike Eisenberg, 99–106. Washington: Association for Computing Machinery.

    Google Scholar 

  • Chevalier, Cecile, and Chris Kiefer. 2019. What does augmented reality mean as a medium of expression for computational artists? Leonardo Journal 24 (1): 1–9.

    Google Scholar 

  • Csikszentmihalyi, Mihal. 1990. Flow: The psychology of optimal experience. New York: Harper Perennial.

    Google Scholar 

  • Debord, Guy, and Gils Wolman. 1956. Mode D’Emploi Du Détournement. Les Lèvres Nues 8: n. p.

    Google Scholar 

  • Debord, Guy. 1958. Contribution to a Situationist Definition of Play. In Internationale Situationniste #1, ed. K. Reuben. Archived at Situationist International Online. http://www.cddc.vt.edu/sionline/si/play.html. Accessed 28 February 2019.

  • Fuchs, Mathias, Sonia Fizek, Paolo Ruffino, and Niklas Schrape. 2014. Rethinking gamification. Lüneburg: Meson Press.

    Google Scholar 

  • Jahrmann, Margarete. 2018. Constant beyond gamification. Deep play in political activism. In Playful disruption of digital media, ed. D. Cermak-Sassenrath, 193–213. New York: Springer Nature.

    Chapter  Google Scholar 

  • Jahrmann, Margarete, and Brigitte Felderer. 2013. Play & Prosume. Schleichender Kommerz und Schnelle Avantgarde. Nürnberg: Verlag Moderne Kunst.

    Google Scholar 

  • Jenkins, Henry. 2006. Convergence culture: Where old and new media collide. New York: University Press.

    Google Scholar 

  • Manuela, Leeker, Immanuel Schipper, and M. Beyer (eds.). 2016. Performing the digital. transcript: Bielefeld.

    Google Scholar 

  • Lutters, Bart, and Peter Koehler. 2016. Brainwaves in concert: the 20th century sonification of the electroencephalogram. Brain. https://doi.org/10.1093/brain/aww207.

    Article  Google Scholar 

  • McGonigal, Jane. 2011. Reality is broken: Why games make us better and how they can change the world. New York: Penguin Books.

    Google Scholar 

  • Shi, M., X. Liu, and C. Zhou, et al. 2018. Towards portable ssvep-based brain-computer interface using emotiv epoc and mobile phone. In Tenth International Conference on Advanced Computational Intelligence (ICACI), 249–253. Xiamen.

    Google Scholar 

  • Stober, Jens. 2013. Ride Your Mind. In Context matters! Proceedings of the Vienna games conference 2013: Exploring and reframing games and play in context, n. p. Vienna: New Academic Press.

    Google Scholar 

  • Stoll, J., S. Kohlbecher, S. Marx, E. Schneider, and W. Einhäuser. 2011. Mobile Three Dimensional Gaze Tracking. Studies in Health Technology and Informatics 163: 616–622.

    Google Scholar 

  • Toffler, Alvin. 1980. The third wave. New York: Bantam Books.

    Google Scholar 

  • Wootton, James. 2016. A playful approach to quantum computing. https://www.unibas.ch/en/News-Events/News/Uni-Research/A-playful-approach-to-quantum-computing.html. Accessed 28 February 2019.

  • Zalasiewicz, J., et al. 2016. Scale and diversity of the physical technosphere: A geological perspective. The Anthropocene Review 4 (I): 9–22.

    Google Scholar 

Download references

Author information

Authors and Affiliations

Authors

Corresponding author

Correspondence to Margarete Jahrmann .

Editor information

Editors and Affiliations

Rights and permissions

Reprints and permissions

Copyright information

© 2020 Springer Fachmedien Wiesbaden GmbH, part of Springer Nature

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Jahrmann, M. (2020). Expanded Game Art and Neurointerfaces as Means of Produsage. In: Abend, P., Beil, B., Ossa, V. (eds) Playful Participatory Practices. Perspektiven der Game Studies. Springer VS, Wiesbaden. https://doi.org/10.1007/978-3-658-28619-4_8

Download citation

Publish with us

Policies and ethics