Game Studies

Mission:

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The study of games and the game experience offers opportunities for the study of human communication that involve multidisciplinary approaches that merge the disciplines of conventional communication studies and research, arts and visual design, cognitive studies, computer sciences, cultural studies, engineering social sciences, health sciences, and information design.

Although the common ground for the division is digital and video games, the group encompasses a broad range of inquiry topics and methods. It serves as fertile meeting ground for the exchange of ideas among a very broad spectrum of disciplines.

Announcements:

PhD Studentship: ‘Digital Media, Computer Games and Cultural Memory’

A 4-year PhD position in Computer Game Studies at UiT Tromsø (Norway), on ‘Digital Media, Computer Games and Cultural Memory’, is now available. Application deadline is 11 September 2014.

Please forward this link to possible candidates you might be aware of:

http://www.jobbnorge.no/en/available-jobs/job/104376/phd-candidate-in-digital-media-computer-games-and-cultural-memory

Applicants do not have to speak/learn Norwegian to apply. English will do just fine.

Please direct any queries to Holger Pötzsch <holger.potzsch@uit.no>


 Call for Papers: June 2016

Hear The Music, Play The Game

Music And Game Design: Interplays And Perspectives

Edited by Hillegonda C. Rietveld and Marco Benoît Carbone

http://www.gamejournal.it/n-62016-hear-the-music-play-the-game-music-and-game-design-interplays-and-perspectives/#.VbCbv4cn91M

 

Music composition and sound design in video games are important dimensions in the experience of play, gaining increased acknowledgement and attention within the game industry. The growing relevance and success of several kinds of music-based games, and their codification in novel genres and sub-genres, illustrates one tendency in this shift of focus towards the aural in relation to the usually visual dominance of the medium. This calls for an attempt to reconsider the often-overlooked impact of music and its role in defining games. Arguably, a distinction can be made between games in which music functions in the background, and games in which music is an integral part of the game mechanics. For example, attention to game music demands a reconsideration of the importance of sonic content in past productions, and to look at practices like the revival of chip music, associated with early arcade, console, and home computer games. Meanwhile, the music industry has recognized the importance of game music, as demonstrated by the growing amount of releases of game sound tracks as well as occasional in-game music sales in and across new and different markets. Composers and sound designers have too often been regarded as contributors to the final phases of game development, despite the central affective power of music production in game design and the experience of play.

So far, academic research has focused mostly on general aspects of sound design. There seems to exist a vastly unexplored area of analysis for thinking about how technological change, market differentiations, and evolving social contexts of media consumption have affected game-music interactions over the past decades. With this call for papers, we encourage research on music as a multi-faceted creative and professional practice, of importance to the development and understanding of video games. Through a focus on music in relation to the overall game architecture we wish to emphasize the aural as a crucial dimension.

Encouraging contributions from video game and music scholars, including musicologists, semioticians and media researchers, we are interested in papers exploring the intersections, interaction, and growing reciprocal influences between these fields.

We are particularly interested in analyses that focus on aspects and issues at the intersection of game and music studies that include, but not are limited to, the following themes:

 

  • The general impact of music in game experience, on the acoustic space of games and on how a game is played within its sonic architecture.
  • Non-linear approaches to music in game making: interactive sonicscapes, audio environments, immersive experiences.
  • The impact of technologies in music creation: audio chips, storage devices, gaming systems and their relation with music design and musicians.
  • Music game genres, streams, prototypes and innovative programming and/or performance, seen in professional, audience, and cultural context.
  • Composers and music makers within game production teams or as game makers, seen through their specific background and contexts as composers, DJs, singers, voice actors, from different disciplinary perspectives.
  •  Game musicians as game personalities and their impact on defining leading franchises, brands, and gaming universes.

Authors are encouraged to submit an initial proposal of 500 words (excluding bibliography) by the 15 October 2015 as a word document or PDF to rietvehc@lsbu.ac.uk and marcobenoitcarbone@gmail.com. The proposal should describe the topic, outline the main aims and question or argument, and provide relevant references. Notification of acceptance to the issue will be communicated by the 5 of November 2015. Authors of successful proposals will then be asked to submit a full article of no more than 7,000 words by the 25 February 2016. Papers will undergo a double-blind peer review process. Accepted contributions will be published in a 2016 issue of GAME – Games as Art, Media, Entertainment.

 

Contacts:

Marco Benoît Carbone (London College of Communication) - marcobenoitcarbone@gmail.com

Prof Hillegonda C. Rietveld (London South Bank U) - rietvehc@lsbu.ac.uk

http://www.gamejournal.it/n-62016-hear-the-music-play-the-game-music-and-game-design-interplays-and-perspectives/#.VbCbv4cn91M

 

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