SMF - Just Installed!
Started by droqen, November 06, 2022, 04:26:37 AM
QuoteIn his critique of "metaphysical" systems that make a claim to essential knowledge of things, Kant argues that, with respect to such theories, "the proud name of ontology[the branch of metaphysics dealing with the nature of being], which presumes to offer synthetic a priori[in a way based on theoretical deduction rather than empirical observation] cognitions of things in general [..] must give way to the more modest title of a transcendental analytic"(2004, 1247/B304) [i do not know what these numbers mean]. In other words: systems of thought which claim to provide an account of things-in-the-world as they are in themselves, independently of their appearance against the horizon of our experience, in fact do no such thing: they are 'merely' proposing what Kant terms a "transcendental analytic". We cannot have unmediated access to things-in-themselves: what we have are our sensory intuitions of objects, acted upon by the faculty of the understanding. This means that for any understanding of the world-- even those which claim to transcend the domain of appearances-- the ground of knowledge is always the appearance, or phenomenon: the object as perceived. Such projects, Kant suggests, make the mistake of confusing the phenomenon with the noumenon: the ideal object that exists independently of its being perceived. Though the latter may be posited, it is only the phenomenon which is available to the perceiving subject as an object-of-thought.
QuoteThe primary objection to the proceduralist perspective[..] In presenting the logically-constructed cosmos as the objective game system in itself, proceduralist approaches short-circuit the gap between the objective game in itself [the noumenon, which as stated is not available to the perceiving subject], as a computational materiality existing independently of the player's experience of it, and the game-as-cosmos that is the result of the player's analytical attempt [a mere attempt!] at imposing rule-based, conceptual coherence upon her experience of the game.
QuoteThe player, then, remains aware of an essential, and unbridgeable, gap, between her experience of the game, her understanding of the game as system, and her awareness of an underlying implied game object: as I shall argue, it is in this gap that we can locate the operations of the ludic sublime.
Quote[..]the process of ludic engagement can be framed as a drive towards mastery — defined, more specifically, as the capacity to frame a complete understanding of the game system[..]
QuoteThe drive towards mastery, of course, can only operate as long as the game object offers some form of resistance — some element of mystery that resists incorporation into the cosmic map.
Quote[The aesthetic mechanisms of games/videogames] differs radically from the aesthetic mechanisms set in motion by artworks in other media. In gazing upon a painting, no matter how drastically the viewer's conceptions might shift [..] in reading a novel, allowing for the operations of Iser's "moving viewpoint," [the viewer/reader] can still be reasonably certain, upon finishing a novel, that she has received a phenomenal intuition of the work as a whole.[..] the player is aware of playing the same game object, but never exhaustively, and thus, they cannot claim complete knowledge about an ideal game object, only that such knowledge may in principle exist.This grants the game object a sense of fundamental unknowability[.]
QuoteAs Aarseth writes: ...the player cannot access a general play session (unlike watching a movie or reading a novel) but only particular ones [...]
QuoteThe drive towards mastery, of course, can only operate as long as the game object offers some form of resistance [..] The player is driven onwards by the expectation of the perfectly-ordered, rule-bound cosmos that proceduralism locates in games, but, faced with the impossibility of obtaining [it,] is constantly drawn to confront [the ludic sublime].
QuoteThis sense of a totality that cannot be perceived, that can, in fact, hardly even be conceived in its entirety, finds an echo in the category of aesthetic judgment that Kant identifies as the sublime.
Quote from: @droqeni want to experience a game like i experience a painting, all at once. gameplay doesn't have to exist in four dimensions. trapped behind walls, behind time, behind gates, behind locked doors. gameplay could be free[..]the magic door opens on its own. like magic. it's an automatic door. when you approach a door in a game it should open for you. now that would really be magic.if a door doesn't open automatically, if it's not magic, then it doesn't belong in your game.[..]also i *do* still feel like i'm missing something when i play Rooftop Cop but it's not because i was lacking in skills or dedication or reading comprehension. it's because i can't interpret the fucking gameplay. but it certainly is all there. it's all there. i can play it all.[..]i don't want a story, i don't want puzzles, i don't want achievements, i don't want rewards, i don't want resources, i don't want content, i don't want difficulty options, i don't want systems, i don't want gameplayjust give me a big important machine and permission to break it
Quote[..] it is time to move from a theorization of a ludic sublime aesthetic to an examination of its poetics.
QuoteIt is certainly possible to argue that the feeling of the sublime is transient, and will subside as soon as the player achieves a reasonably stable cosmic understanding of the game — [.. However,] I have argued the 'black box' nature of the computer's upholding of the game system precludes the player from direct knowledge of the game system. [..] at no point can the player assert with complete certainty that the phenomenal cosmos she has arrived at is a perfect reflection of the game system. Even after extended play has resulted in mastery of the game, there remains at least an opening for the possibility of surprise and further revelation[..] the player's cosmic understanding of the game[..] can never be finally closed, and must, by the very formal nature of digital game play, retain the status of a hypothesis.