“Playing in public is a political act.” –the Oaqui
Adeline Koh’s The Political Power of Play is a “ peer-reviewed article was simultaneously prepared as a keynote address for Re:Humanities 2014, a peer-reviewed undergraduate digital humanities conference held by the TriCollege Digital Humanities Initiative (Haverford, Bryn Mawr and Swarthmore). The slides for the keynote are here.“
“Play,” she writes, double-negatively,
“is not only not frivolous, but capable of producing serious intellectual work and an activity that possesses deep political power. Contrary to our commonplace understandings of play, I argue that a thoughtful analysis of the political power of play is potentially one of the most fruitful areas for those of us who are interested in furthering Paulo Freire’s “critical pedagogy” — a type of pedagogy that involves teaching both the oppressed and the oppressor of the structural mechanics that create these oppressions.”
“To play is to imagine; to imagine is political because it allows us to envision a different order, a different system, a different way to separate economic resources and power. In this light, games are potentially extremely powerful because they go further in terms of forms of identification.”
The paper goes deeper, exploring and exemplifying the political uses of play, playfulness, and games. But before you go deeper into the paper, I, perforce, needs must remind you that, in addition to all that, playing in public, playing anything in public – as in playing in such a way that people can actually see you playing – is, by your very willingness to bring play out of hiding into the light of the public square (or circle or sidewalk or lawn), political. It is a demonstration of freedom, of the ability to step outside of the norm, outside of politeness and predictability, and just, freely, without purpose or message, play.
"Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question of what to do with the feelings that have been aroused, the knowledge that has been communicated. If one feels that there is nothing ‘we’ can do — but who is that ‘we’? — and nothing ‘they’ can do either — and who are ‘they’ — then one starts to get bored, cynical, apathetic."
Susan Sontag, Regarding the Pain of Others (via 1109-83)
 “Not I” (Samuel Beckett) (by marinchr)
Stage models for Macbeth, by Ming Cho Lee.
(via The scenic route)
A 1964 Public Theatre production of “Electra,” which Mr. [Ming Cho] Lee described as his first “completely nonliteral abstract design.”
Been looking at stage design as references for a game on insomnia I’m in the early stages of making.
(via A Game That Helped Me Cope With A Family Member’s Dementia)
This gave me chills. I’d definitely play Ether One.
"1. Realtime 3D is a medium for artistic expression.
2. Be an author.
3. Create a total experience.
4. Embed the user in the environment.
5. Reject dehumanisation: tell stories.
6. Interactivity wants to be free.
7. Don’t make modern art.
8. Reject conceptualism.
9. Embrace technology.
10. Develop a punk economy."
From Tale of Tale’s Real-Time Art Manifesto