Communication & Culture, Joint Program with Toronto Metropolitan University
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Browsing Communication & Culture, Joint Program with Toronto Metropolitan University by Subject "Actor-network theory"
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Item Open Access Me, Myself, and Interface: The Role of Affordances in Digital Visual Self-Representational Practices(2015-08-28) McArthur, Victoria Marie; Jenson, Jennifer, Dr.A growing number of digital games and virtual worlds allow users to create a virtual self, commonly referred to as an ‘avatar.’ Essentially, the avatar is a digital entity which is controlled by the user to attain agency within the virtual world. Avatars are visually customized by users via interfaces, referred to within the body of this work as Character Creation Interfaces (CCIs). CCIs are often framed as tools that are utilized by players to create a desired avatar. In other words, the popular approach is one that is anthropocentric in nature and neglects to take into account the ways in which interface affordances - the action possibilities afforded by an artifact - potentially constrain our interactions with them. In my dissertation, I argue that CCIs co-construct avatars with players. I mobilize Actor-Network Theory in order to re-position these interfaces as actors, rather than benign tools in digital-visual self-representational practices. In order to investigate the interface-as-actor I present an analytical framework: the Avatar Affordances Framework, and apply this framework to 20 CCIs in order to systematically study their affordances. In the second phase of this investigation, I present data on two user studies: the first, a within-subjects study investigating self-representational practices in the Massively-Multiplayer-Onlne-Game (MMOG) Rift (n = 39), the other, a between-subjects study of self-representational practices on the Nintendo WiiU console's MiiCreator (n = 24). Results of these two studies are presented alongside analytical data derived from both interfaces via the Avatar Affordances Framework in order to illustrate how interface affordances are negotiated by players. A final study, an autoethnographic chapter, situates myself within the dissertation as both a researcher and user of the technology, addressing how my own experiences with these games, and my own self-representational practices, have come to shape this research. Data from the aforementioned studies was then utilized in order to generate a list of best practices for game developers. To date, such documentation is absent from game design literature. It is my hope that the practices outlined herein help developers make design choices that invite opportunities for identity play without simultaneously creating socially exclusive spaces.Item Open Access Visualization as Assemblage: How Modesty, Ethics, and Attachment Inform a Critical Design Practice(2016-11-25) Davila, Patricio; Marchessault, Janine MicheleVisualization is a form of design practice that deploys representational processes of enormous rhetorical and analytical power. What is often left out of the picture is the network of processes which it assembles and the non-visual effects it produces. This study asks how visualization can operate as a critical design practice that attends to the representational and performative processes it arranges. In order to contextualize this form of arrangement in design, the study undertakes a review of Bruno Latours interpretation of design as a form of modest restyling and arrangement. It also addresses this question through the use of a productive alignment between Latours development of actor-network theory and Deleuze and Guattaris assemblage theory which allows to both describe how things and processes mobilize knowledge and how human subjectivity emerges from human-nonhuman entanglements, respectively. The assemblage framework is applied to three case studies that offer distinct instances of critical visualization practices with each emphasizing a specific aspect. Liquid Traces (2014present), from Forensic Architecture (a research project based at Goldsmiths, University of London), is a project that condemns NATO forces for criminal negligence that led to the deaths of 63 refugees fleeing Libya by boat in 2011, and also reveals the ways a surface may assemble components and highlight its own form of construction. Anti-Eviction Mapping Project (2013present), from the San Francisco Tenants Union, advocates for housing justice by mobilizing maps, events, and site-specific installations, and illustrates how visualization is a process that exists beyond any one artifact. In The Air, Tonight (2013present), from the Public Visualization Studio, is my own research-creation project highlights the connection between housing and climate through an annual visualization event, and shows how design can operate through iteration, reworking, and connection to allied processes. What emerges from this study is an ethics of visualization that refocuses criticality on the potential of design to act modestly (Latour), to reveal its own construction, and to maintain the quality of attachments made.