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EN
Visions created by enthusiasts and critics of transhumanism represent both utopian possibilities and dystopian consequences entailed by creation of new humans. Narratives representing various ways of human evolution appear in many kinds of media, the text, however, concentrates on computer games whose form is eminently interesting in this respect. In computer games, the player becomes a cyborg, to some extent, as he/ she controls activities of the virtual avatar being aware, at the same time, of his/ her own corporeality.The aim of the article is to trace two main ways in which the effects of the transhuman evolution into the post-human are represented in chosen games. On the one hand, the ultimate post-human becomes a biological entity degenerated into a condition which is worse than contemporary homo sapiens, and on the other hand, it becomes a technological entity turned into a being of superhuman abilities. The article explores their role and their form in both the structure of the game and the virtual world itself. The material of this study comes from games in which the player controls a single avatar: Bioshock series, Deus Ex series, System Shock 2 and Prototype.
EN
Digital games are a medium of constantly growing socio-cultural significance, which strengthens and expands their potential to influence players. Participation in digital games, however, is indirect and thus accomplished through an avatar – a hero, an object or a more abstract structure that allows the player to impose his will in the game world. At the same time, male avatars embody a specific type of masculinity, symbolically affecting the user. This mutual interaction can be of particular importance in shaping the ideas and views around one’s masculinity or its patterns in the cultural and social dimension. In this sense, players learn from games how to be a man. This article constitutes an attempt at capturing the leading types of masculinity among the main protagonists of the most popular digital games. The study shows that many popular games reproduce the stereotypical narratives of dominant masculinity as understood by Zbyszko Melosik. The article contains an attempt at indicating the reasons for this state of affairs and the possible consequences for the players.
PL
Digital games are a medium of constantly growing socio-cultural significance, which strengthens and expands their potential to influence players. Participation in digital games, however, is indirect and thus accomplished through an avatar – a hero, an object or a more abstract structure that allows the player to impose his will in the game world. At the same time, male avatars embody a specific type of masculinity, symbolically affecting the user. This mutual interaction can be of particular importance in shaping the ideas and views around one’s masculinity or its patterns in the cultural and social dimension. In this sense, players learn from games how to be a man. This article constitutes an attempt at capturing the leading types of masculinity among the main protagonists of the most popular digital games. The study shows that many popular games reproduce the stereotypical narratives of dominant masculinity as understood by Zbyszko Melosik. The article contains an attempt at indicating the reasons for this state of affairs and the possible consequences for the players.
EN
This paper discusses the aesthetic relevance of divergences between player and avatar memories in the context of digital gameplay. Drawing from a Waltonian framework and the notion of the virtual subject, we discern three kinds of memory that are involved in digital gameplay: the avatar’s represented memory, the player’s actual memory, and the memory about the gameworld the player pretends to have when taking on the avatar’s position within the gameworld. Many gameplay situations cause these different kinds of memories to diverge and misalign with one another. When players die and must repeat parts of games, for example, they have memories about the gameworld that are rooted in their previous playthrough, but to which their avatar cannot or should not have access. Several game scholars have noted how such divergences cause narrative conflicts, create inconsistencies within the fictional world, or can even have detrimental effects on players’ enjoyment of the game. In this paper, however, we draw from gameplay examples to show how the unique structure of memory in play can also engender unique and valuable narrative experiences. Indeed, we argue that discrepancies between player and avatar memory can be, and often are, used in games as unique narrative devices to create suspense, surprise, or other aesthetically relevant effects.
PL
Artykuł przedstawia historię Academia Electronica – wirtualnej części Uniwersytetu Jagiellońskiego, działającej od 2007 w Second Life. Zaprezentowano przemiany jakim Academia podlegała oraz zarysowano problematykę, która była poruszana w niej na przestrzeni 14 lat. Wyszczególniono trzy wątki analizy, z których pierwszy dotyczy filozofii rzeczywistości wirtualnej, drugi prowadzenia dydaktyki w środowisku graficznym 3d oraz trzeci, związany ze społecznym znaczeniem otwartego uniwersytetu. Tekst jest autobiograficzny, w tym znaczeniu zawiera krótkie wspomnienia dotyczące szeregu zdarzeń, tak związanych z rozwojem Academia Electronica jako uniwersytetu, jak również osobistych refleksji wynikających z długotrwałego przebywania w świecie Second Life.
EN
The paper shows the history of the Academia Electronica – a virtual department of the Jagiellonian University, which has been in operation since 2007 in Second Life 3D graphic environment. The contributor focused on the transformation it underwent and problems which have been addressed for 14 years. Three aspects of the analysis have been identified with the first one concerning the philosophy of virtuality, the second – teaching in the 3D graphic environment, and the third one revealing the social importance of an open university. This text is autobiographic, which means that it includes short memories on a number of events related to the development of the Academia Electronica as a university alongside the contributor’s personal reflections based on his long staying in the Second Life world.
Język Polski
|
2013
|
vol. 93
|
issue 5
353-355
PL
Artykuł poświęcony jest wpływowi rzeczywistości elektronicznej na zachowania językowe współczesnych Polaków. Generuje ona stylistyczne pomysły zupełnie niemożliwe jeszcze 20–25 lat temu. W odczuciu autora są te zjawiska najbardziej fascynującym obszarem badawczym stylistyki i kultury języka.
EN
The subject of the article is the influence of the electronic reality on the linguistic behavior of contemporary Poles. It gives rise to stylistic ideas which were impossible still 20 or 25 years ago. The author feels these phenomena are the most fascinating research field of stylistics and language use.
PL
Artykuł koncentruje się na trójwymiarowych środowiskach wirtualnych i ich funkcjonalności edukacyjnej na przykładzie świata Second Life. Wbrew opiniom pojawiającym się od czasu do czasu w literaturze przedmiotu światy wirtualne 3D nie odchodzą w przeszłość, przynajmniej nie w sektorze edukacyjnym. Autorzy artykułu próbują to wykazać, przedstawiając różne aspekty Second Life w zastosowaniach dydaktycznych, naukowych, a także kulturowo-poznawczych. Tytułem wprowadzenia została przedstawiona konstrukcja logiczna światów wirtualnych. Następnie zostały przybliżone wybrane aspekty infrastruktury i nawigacji w świecie wirtualnym. Odrębna część poświęcona jest wątkowi polskiemu, a mianowicie polskim wyspom, co zostało poparte krótką analizą statystyczną z perspektywy użytkownika. W kolejnej części zostały omówione afordancje świata wirtualnego 3D na przykładzie nauki języków obcych. Jest tam mowa o edukacji językowej na przykładach zarówno nieformalnych i okazjonalnych, jak i zinstytucjonalizowanych i sformalizowanych. Autorzy zwracają też uwagę na wirtualne realizacje obiektów i miejsc o charakterze kulturalnym lub turystycznym. Artykuł wieńczy krótka analiza opinii na temat światów wirtualnych typu Second Life oparta na literaturze przedmiotu.
EN
The article focuses on three-dimensional virtual environments and their educational functionality, on the example of Second Life. As opposed to some opinions raised in the literature recently, 3D virtual worlds are not passe yet, at least in the educational sector. The authors of the article attempt to support the thesis above and present different aspects of Second Life in educational, scientific, cultural and cognitional applications. To begin with, a logical construction of virtual worlds is given. Then, some infrastructural and navigational characteristics is presented. The next part of the article is devoted to Polish spots in Second Life, which is supported with some statistics and user analysis. Then, some affordances of 3D virtual worlds are discussed with reference to foreign language learning. Some examples are given of informal and occasional language learning as well as formalized an institutionalized language education. The following part is devoted to virtual tourism and popular spots to visit in Second Life. Finally, general opinions on the values and limitations of 3D worlds are compiled, based on the literature.
EN
The paper looks at how Joshua Ferris’s To Rise Again at a Decent Hour reflects the increasing importance of virtuality in shaping human identity. It argues that in the age of ubiquitous computing, facilitated by wearable technology, the virtual has become an intrinsic part of human phenotype. Consequently, the self can be construed as a construct relying both on the real and the virtual for creating identity, which is a dynamic entity undergoing unceasing modifications. Additionally, due to the transparency and omnipresence of wearable technology the process appears to be unconscious to an individual and, therefore, inevitable and irreversible.
PL
W artykule poddano analizie sposób, w jaki powieść Joshuy Ferrisa Wstać znowu o ludzkiej porze odzwierciedla coraz większą rolę odgrywaną przez wirtualność w kształtowaniu ludzkiej świadomości. Artykuł podejmuje próbę dowiedzenia, że w dobie zjawiska przetwarzania rozpowszechnionego, możliwego dzięki technologii komputerów ubieranych, wirtualność staje się nieodłącznym elementem fenotypu człowieka. W efekcie self może być rozumiane jako twór polegający zarówno na rzeczywistości fizycznej, jak i wirtualnej w celu tworzenia świadomości, która jest tworem dynamicznym, podlegającym nieustannym modyfikacjom. Ponadto, wskutek transparentności oraz wszechobecności technologii komputerów ubieranych proces ten wydaje się być nieświadomym dla jednostki, a więc również nieuniknionym i nieodwracalnym.
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