B Keogh
Dados Biográficos
| ID | 39400 |
|---|---|
| NOME | B Keogh |
| PRENOMES | B |
| SOBRENOME | Keogh |
| ASSINATURA | KEOGH B |
| AFILIAÇÕES | Queensland University of Technology |
| ORCID | 0000-0003-4565-4641 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 21 |
| TOTAL DE CITAÇÕES | 15 |
| TOTAL COMO AUTOR | 21 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1981 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2024 |
| ÍNDICE H | 3 |
Global Localities of Game Production
Accounts of digital game production are increasingly at the forefront of how we document and theorize conditions and transformations of how cultural media are produced, regulated, distributed, marketed, and consumed. These accounts have typically examined games as a global industry that coexists with and contributes to the formation of national industries, including publisher and studio formations, geopolitics, tax breaks and credits, regional re…
Challenges and opportunities for collective action and unionization in local games industries
The games industry has seen a burst of new interest in the prospect of unionization. The efforts of organizations like Game Workers Unite have attracted much favorable coverage in the enthusiast and trade industry press, increasing awareness amongst videogame audiences of the difficult working conditions facing professional game developers. However, often missing from these discussions is an articulation of what unionization would look like for t…
Creative, Technical, Entrepreneurial
Higher education (HE) has become a common pathway into game development careers. Previous research with students and educators has shown how game development HE exemplifies a “creative industries” approach that seemingly marries technical and creative skills, professionalism and passion, and individualistic entrepreneurism and interdisciplinary collaboration. However, little research has considered the varied institutional contexts such students …
The videogame industry
This chapter provides a history and analysis of videogame production in Australia. We trace the Australian videogames industry from its emergence out of the hobbyist scenes of the 1980s, through the work-for-hire years of the 1990s and 2000s, to a precarious and aspirational position in the wake of the Global Financial Crisis. We show how the Australian games industry has been shaped and reshaped by the flows of global capital, from the overseas …
The Videogame Industry Does Not Exist
The precarious reality of videogame production beyond the corporate blockbuster studios of North America. The videogame industry, we're invariably told, is a multibillion-dollar, high-tech business conducted by large corporations in North America, Europe, and East Asia. But, in reality, most videogames today are made by small clusters of people working on shoestring budgets, relying on existing, freely available software platforms, and hoping, of…
An Iranian Videogame Industry? Localizing Videogame Production Beyond The “Global” Videogame Industry
Videogame researchers have long considered the role videogames play in different cultural, social, and political contexts around the world. However, when it comes to researching videogame production, literature on the nominally global videogame industry has primarily focused on the dominant sites of North America, Western Europe, and East Asia. In this article, we argue that entrenched conceptualizations of the global videogame industry risk appl…
Situating the videogame maker’s agency through craft
It is now widely accepted that videogames are a cultural form, and that they generate cultural meaning through the possibilities and constraints through which they shape players’ experiences and choices. However, the cultural processes through which videogames are themselves produced remain understudied and too-straightforwardly imagined. The videogame maker does not simply conceive of a videogame idea and then execute it. Instead, the videogame …
The Cultural Field of Video Game Production in Australia
Beyond the blockbuster studios and multinational publishers of North America, Western Europe, and Japan, videogame production happens in a range of contexts, at a variety of scales, and for a number of reasons. While “the videogame industry” as a sector of the economy accounts for the flow of capital between corporate actors and global markets, as a concept it is insufficient to account for the spectrum of cultural activities and identities that …
Platformisation in game development
This article draws on case studies of two software development platforms, Unity and Twine, to unpack how the game development process both adheres to and challenges understandings of ‘platformisation’
From aggressively formalised to intensely in/formalised
Beyond the dominant North American and Japanese console manufacturers and multinational publishers, the global videogame industry is fragmenting. New audiences, distribution platforms, and development tools are expanding the videogame industry into an ecosystem that is at once broadly global and intensely localised. Taking advantage of this nebulous environment are increasingly visible fringes of hobbyists, amateurs, students, and artists that ar…
The Unity Game Engine and the Circuits of Cultural Software
Dominant, damaged, disappeared
Like other pop-cultural forms, videogames commonly reify militarist representations of warfare as straightforward, precise, and moral by obscuring conflict's embodied messiness. But videogames do not just reflect militarist interests in their content; they are materially, symbiotically entangled with militarist interests. Recognising this intimate connection, and the phenomenon of virtuous warfare that results, this paper takes videogames serious…
A Play of Bodies
An investigation of the embodied engagement between the playing body and the videogame: how player and game incorporate each other. Our bodies engage with videogames in complex and fascinating ways. Through an entanglement of eyes-on-screens, ears-at-speakers, and muscles-against-interfaces, we experience games with our senses. But, as Brendan Keogh argues in A Play of Bodies, this corporal engagement goes both ways; as we touch the videogame, it…
Virtuous, virtual, but not visceral
The dominant visual representation strategies of warfare through the virtual bodies of military-themed first-person shooter videogames obscures the corporeal embodied experiences of warzones. These games typically reinforce certain representational schema in which only certain kinds of bodies are visible. This article argues that the multi-million dollar videogame industry is intimately connected to institutional practices of war-making in the gl…
The Routledge Companion to Digital Ethnography
Waiting to play
Mobile smartphone devices have seen the rise and proliferation of a variety of new modes of digital play. In particular, the short and sporadic modes of engagement that define mobile screen practices have seen the smartphone become home to a range of ‘casual’ game genres that promote quick and flexible engagements, in stark contrast to the enduring and committed engagements demanded by home consoles and desktop computer games. People frequently p…
Farmland habitat diversity in Ireland
Pokémon Go , the novelty of nostalgia, and the ubiquity of the smartphone
None of the elements that contribute to the phenomenon of Pokémon Go are particularly new. Augmented-reality and location-based games, artworks, and marketing campaigns have existed for well over a decade. Meanwhile, the Pokémon franchise of videogames, trading cards, comic books, and anime has existed for more than two. Even the data that Pokémon Go is built from is generated by players of Niantic’s earlier locative game, Ingress. If there is no…
Paying Attention to Angry Birds
Playing for Fun, Training for War
In the cultural controversy surrounding “violent video games,” the manufacturers and players of games often insist that computer games are a form of harmless entertainment that is unlikely to influence the real-world activities of players. Yet games and military simulations are used by military organizations across the world to teach the modern arts of war, from how to shoot a gun to teamwork, leadership skills, military values, and cultural sens…
The interaction of RNA polymerase and DNA Effects on the helix-coil transition and light scattering
To characterize the interactions of RNA polymerase with DNA, we have investigated the thermal transition of poly[d(A-T] bound to RNA polymerase from Escherichia coli and the aggregation properties of the enzyme with DNA. The melting curve of the DNA-enzyme complex demonstrates a sharply lowered melting temperature for part of the DNA, whereas for another fraction the double helix is stabilized. This indicates that the DNA-binding site of RNA poly…
Virtuous, virtual, but not visceral
The dominant visual representation strategies of warfare through the virtual bodies of military-themed first-person shooter videogames obscures the corporeal embodied experiences of warzones. These games typically reinforce certain representational schema in which only certain kinds of bodies are visible. This article argues that the multi-million dollar videogame industry is intimately connected to institutional practices of war-making in the gl…
Waiting to play
Mobile smartphone devices have seen the rise and proliferation of a variety of new modes of digital play. In particular, the short and sporadic modes of engagement that define mobile screen practices have seen the smartphone become home to a range of ‘casual’ game genres that promote quick and flexible engagements, in stark contrast to the enduring and committed engagements demanded by home consoles and desktop computer games. People frequently p…
Farmland habitat diversity in Ireland
Pokémon Go , the novelty of nostalgia, and the ubiquity of the smartphone
None of the elements that contribute to the phenomenon of Pokémon Go are particularly new. Augmented-reality and location-based games, artworks, and marketing campaigns have existed for well over a decade. Meanwhile, the Pokémon franchise of videogames, trading cards, comic books, and anime has existed for more than two. Even the data that Pokémon Go is built from is generated by players of Niantic’s earlier locative game, Ingress. If there is no…
The interaction of RNA polymerase and DNA Effects on the helix-coil transition and light scattering
To characterize the interactions of RNA polymerase with DNA, we have investigated the thermal transition of poly[d(A-T] bound to RNA polymerase from Escherichia coli and the aggregation properties of the enzyme with DNA. The melting curve of the DNA-enzyme complex demonstrates a sharply lowered melting temperature for part of the DNA, whereas for another fraction the double helix is stabilized. This indicates that the DNA-binding site of RNA poly…
Paying Attention to Angry Birds
Playing for Fun, Training for War
In the cultural controversy surrounding “violent video games,” the manufacturers and players of games often insist that computer games are a form of harmless entertainment that is unlikely to influence the real-world activities of players. Yet games and military simulations are used by military organizations across the world to teach the modern arts of war, from how to shoot a gun to teamwork, leadership skills, military values, and cultural sens…
Pokémon Go , the novelty of nostalgia, and the ubiquity of the smartphone
None of the elements that contribute to the phenomenon of Pokémon Go are particularly new. Augmented-reality and location-based games, artworks, and marketing campaigns have existed for well over a decade. Meanwhile, the Pokémon franchise of videogames, trading cards, comic books, and anime has existed for more than two. Even the data that Pokémon Go is built from is generated by players of Niantic’s earlier locative game, Ingress. If there is no…
The Routledge Companion to Digital Ethnography
Waiting to play
Mobile smartphone devices have seen the rise and proliferation of a variety of new modes of digital play. In particular, the short and sporadic modes of engagement that define mobile screen practices have seen the smartphone become home to a range of ‘casual’ game genres that promote quick and flexible engagements, in stark contrast to the enduring and committed engagements demanded by home consoles and desktop computer games. People frequently p…
Farmland habitat diversity in Ireland
A Play of Bodies
An investigation of the embodied engagement between the playing body and the videogame: how player and game incorporate each other. Our bodies engage with videogames in complex and fascinating ways. Through an entanglement of eyes-on-screens, ears-at-speakers, and muscles-against-interfaces, we experience games with our senses. But, as Brendan Keogh argues in A Play of Bodies, this corporal engagement goes both ways; as we touch the videogame, it…
Virtuous, virtual, but not visceral
The dominant visual representation strategies of warfare through the virtual bodies of military-themed first-person shooter videogames obscures the corporeal embodied experiences of warzones. These games typically reinforce certain representational schema in which only certain kinds of bodies are visible. This article argues that the multi-million dollar videogame industry is intimately connected to institutional practices of war-making in the gl…
From aggressively formalised to intensely in/formalised
Beyond the dominant North American and Japanese console manufacturers and multinational publishers, the global videogame industry is fragmenting. New audiences, distribution platforms, and development tools are expanding the videogame industry into an ecosystem that is at once broadly global and intensely localised. Taking advantage of this nebulous environment are increasingly visible fringes of hobbyists, amateurs, students, and artists that ar…
The Unity Game Engine and the Circuits of Cultural Software
Dominant, damaged, disappeared
Like other pop-cultural forms, videogames commonly reify militarist representations of warfare as straightforward, precise, and moral by obscuring conflict's embodied messiness. But videogames do not just reflect militarist interests in their content; they are materially, symbiotically entangled with militarist interests. Recognising this intimate connection, and the phenomenon of virtuous warfare that results, this paper takes videogames serious…
Platformisation in game development
This article draws on case studies of two software development platforms, Unity and Twine, to unpack how the game development process both adheres to and challenges understandings of ‘platformisation’
The Cultural Field of Video Game Production in Australia
Beyond the blockbuster studios and multinational publishers of North America, Western Europe, and Japan, videogame production happens in a range of contexts, at a variety of scales, and for a number of reasons. While “the videogame industry” as a sector of the economy accounts for the flow of capital between corporate actors and global markets, as a concept it is insufficient to account for the spectrum of cultural activities and identities that …
An Iranian Videogame Industry? Localizing Videogame Production Beyond The “Global” Videogame Industry
Videogame researchers have long considered the role videogames play in different cultural, social, and political contexts around the world. However, when it comes to researching videogame production, literature on the nominally global videogame industry has primarily focused on the dominant sites of North America, Western Europe, and East Asia. In this article, we argue that entrenched conceptualizations of the global videogame industry risk appl…
Situating the videogame maker’s agency through craft
It is now widely accepted that videogames are a cultural form, and that they generate cultural meaning through the possibilities and constraints through which they shape players’ experiences and choices. However, the cultural processes through which videogames are themselves produced remain understudied and too-straightforwardly imagined. The videogame maker does not simply conceive of a videogame idea and then execute it. Instead, the videogame …
The videogame industry
This chapter provides a history and analysis of videogame production in Australia. We trace the Australian videogames industry from its emergence out of the hobbyist scenes of the 1980s, through the work-for-hire years of the 1990s and 2000s, to a precarious and aspirational position in the wake of the Global Financial Crisis. We show how the Australian games industry has been shaped and reshaped by the flows of global capital, from the overseas …
The Videogame Industry Does Not Exist
The precarious reality of videogame production beyond the corporate blockbuster studios of North America. The videogame industry, we're invariably told, is a multibillion-dollar, high-tech business conducted by large corporations in North America, Europe, and East Asia. But, in reality, most videogames today are made by small clusters of people working on shoestring budgets, relying on existing, freely available software platforms, and hoping, of…
Global Localities of Game Production
Accounts of digital game production are increasingly at the forefront of how we document and theorize conditions and transformations of how cultural media are produced, regulated, distributed, marketed, and consumed. These accounts have typically examined games as a global industry that coexists with and contributes to the formation of national industries, including publisher and studio formations, geopolitics, tax breaks and credits, regional re…
Challenges and opportunities for collective action and unionization in local games industries
The games industry has seen a burst of new interest in the prospect of unionization. The efforts of organizations like Game Workers Unite have attracted much favorable coverage in the enthusiast and trade industry press, increasing awareness amongst videogame audiences of the difficult working conditions facing professional game developers. However, often missing from these discussions is an articulation of what unionization would look like for t…
Creative, Technical, Entrepreneurial
Higher education (HE) has become a common pathway into game development careers. Previous research with students and educators has shown how game development HE exemplifies a “creative industries” approach that seemingly marries technical and creative skills, professionalism and passion, and individualistic entrepreneurism and interdisciplinary collaboration. However, little research has considered the varied institutional contexts such students …
Digital Games and Media (16 obras) · Sociology (16 obras) · Computer Science (11 obras) · Political science (11 obras) · Art (10 obras) · Psychology (9 obras) · Aesthetics (8 obras) · Business (7 obras) · Economics (7 obras) · Cultural Industries and Urban Development (6 obras)