By Kiri Miller
Playable our bodies indicates how dance games paintings as engines of humor, social chance, and intimacy, urging gamers to bounce like nobody's watching-while being tracked by way of motion-sensing interfaces of their residing rooms. writer Kiri Miller appears at video game layout and participant reviews throughout media systems, featuring a brand new idea of ""intimate media.""
summary: Playable our bodies indicates how dance games paintings as engines of humor, social danger, and intimacy, urging gamers to bounce like nobody's watching-while being tracked through motion-sensing interfaces of their dwelling rooms. writer Kiri Miller seems to be at video game layout and participant reviews throughout media structures, featuring a brand new conception of ""intimate media.""
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Additional info for Playable bodies : dance games and intimate media
Sample text
Moreover, that work of representation can extend into domains far removed from the play space framed by game software and hardware. Human players can take a dance game’s kinesthetic repertoire with them wherever they go. PLAYABLE THEORIES: METHODS AND FRAMEWORKS The arguments in this book are grounded in qualitative ethnographic research that gives equal attention to interface affordances, game design, player experiences, and game-related discourse. My work on dance games grew out of a series of previous projects on forms of play, performance, and embodied practice that bridge virtual and visceral experience by engaging participants in “playing along” with interactive media (Miller 2012).
It might be incredulous and tinged with admiration: You must have “balls of steel,” fat guy tearing it up to “Single Ladies” (Bench 2013:147). It might have a bitter note of dispossession: That’s my dance, what makes you think you have the right to do it? It might be uneasy: That dance is too sexy for a 9-year-old. It might come with the pinched wince and whimper of empathy: I’d look funny doing that dance, too. The laugh might be anxious: What if my hips moved that way? Could my body betray me like that?
It is not about accounting for how my story affects how I tell your story, though that is surely an important endeavor. Rather, it is an effort to write us both into the same story, or even better, the same virtual world. In this virtual world our experiences are not identical, but we work with common narrative logics, performance conventions, and structural constraints. So, when I ask other people why they play video games or sing Sacred Harp songs, if they reply, “Because it’s fun,” or “I like the challenge,” or “It’s just a social thing,” or “It’s how I relax,” perhaps the next step is realizing they’re saying they do it because of how it feels—and that I have to do it to find out.