Bog, McG



McGonigal

177 – gaming communities – their purposes are “collaboration, creation, and contribution to a larger goal” – is this not what societies are for? Maybe not. Why are we living in societies in the first place? Evolutionary, biological “instinct”… and what do games have to do with this?

159 – the “power song” re: Nike+ … how powerful is music? Should we let our lives be determined by the affective influence of music? Have we downgraded music by giving it the position of something that can cheer us up, motivate us to work out… ?

124 “wholehearted participation” – could we use this for composition pedagogy? Why aren’t we involved in our own education? is it because we’re too accutely aware of the rewards of the end, a higher paycheck?

108- “audio environments” – what does this mean? can we take something from Katz, here? What’s the meaning of a “song” vs. a “soundtrack” or “audio” and what is music even?

106- development of societies through building them… are we stuck now with nothing to do ---based on this theory—after we built up our infrastructure? Is it ideological to assume that we must be always employed, always busy?

24- “flow” – how does this relate to play?

270 – might shared intentionality be problematic? The way McGonigal describes it sounds like something bordering on nationalism. Is nationalism dangerous? --- the collective killings of the Halo community – how far away are we from the mass genocide of the European Jews during the 1940s? Not just “playing” devil’s advocate here. I’m serious.

De-humanization… is capitalism the ultimate game? The final game to control us all?

I’m not prepared to accept games as the saving grace for humanity. Just because of some anecodate from sketchy Grecian history…

271- children and games… do the children in this study actually want to teach their ‘peers’ the rules or are they afraid of the punishment if they (and their peer) don’t play along. Althusserian ISA at an early age?

277- “superpowers” and embodied rhetoric… I take a positive note here. Maybe creation is the greatest superpower?

What is “play”? Why do we say that we “play music”? esp. when most of it is emulation?

reality may be better, but aren’t games part of reality?... just because they occupy our senses temporalily doesn’t mean they aren’t part of our immediate existence. They might be even more immediate than “work” or socialization or the other stupid things we do everyday.

Bogost

13- Does Bogost discredit aurality for procedurality? And what might that mean?

35- A bad Zizek reference. What should we do with this. Laugh?

47- form and universality

61- can games help us re-determine the “rules by which we should live?” – I mentioned this in my abstract. Or do they just indoctrinate us into the rules by which we already live?

81 – synesthesia

87- Culture industry. Adorno. It does matter. and (93) Harvest Moon. Music changes with each season. As do our lives. Or do they?

117- “real” lives… again, why our games not part of our “real” lives?

131- being “catchy” – catchiness in games and in songs… relation?

Questions at large

What can rhetoric do to help us understand video game music? Or what can we do with rhetoric, here?

What is video game music? Is it too broad a … thing?

What should be the methodology for analyzing game music?

Form and rhetoric?

Play?

Invention? Cicero?

Universality, reality, experience, embodiment, ethos?

Where do we go now?

Carl Sagan and the Golden Record.