Games, The New Lively Art by Henry Jenkins Flashcards
A Recent Shift
A recent shift in perception has been observed, with the games industry facing increased scrutiny from the public, frequently being characterised as detrimental and lacking artistic value. However, the recognition of games as a legitimate art form has led to a revised discourse, with a focus on their potential value rather than outright dismissal.
Roger Ebert’s Criticism
Film Critic Roger Ebert’s stance on the distinction between art forms garnered considerable attention. His assertion that video games do not qualify as art, first vocalized in 2005, was motivated by several factors. In criticizing Doom, Ebert underscored the lack of character development and his disinterest in video game narratives. His contention that video games are akin to a child operating a computer but prohibiting interaction was highly contentious.
Four Conceptual Dimensions
The text identifies four conceptual domains that warrant consideration in this discussion: the utilitarian-inspirational domain (governed by the relationship between game developers and traditional artists), the practical-consensual domain (the way in which games are site-specifically situated within museums), the juridical-political domain (the legal status afforded to games as art), and the theoretical-conceptual domain (examining topics such as authorship, interactivity, and commercialism related to games).
Definition of Philosophical Aesthetics
Philosophical aesthetics is being explained as a discipline that endeavours to comprehend the conceptual frameworks associated with art and beauty, thereby distinguishing itself from aesthetics particularising within specific art forms or nature, and empirical aesthetics encompassing cognitive psychology. Central to philosophical inquiry is the endeavour to clarify pivotal concepts facilitating an elucidation of human existence and the broader world.
Scrutinizing Art, as Coined by Daniel Fiege
The concept of art will be scrutinised in three discrete stages: firstly, its ontological status, or the nature of what art actually is, which is inextricably tied to human practices rather than an isolated inquiry. The second stage addresses the historical and cultural role of art, conceding that disparate artworks can prompt diverse interpretation and evaluation without necessitating a uniform normative stance.
Gilbert Seldes’ Dichotomy
Seldes posited that popular culture forms like cinema and jazz are indispensable for revitalising art and rendering diverse experiences, thus equipping the “lively arts” with immediacy. His dichotomy between the “great arts,” premised on timeless value, and the “lively arts,” centred on immediacy, underscores the capacity of games to evoke strong emotions and stimulate engagement, contributing to their enduring popularity.
Seldes’ Critique of Bogus Art
Seldes’ critique of overly ornate yet vacuous art (“bogus arts”) is relevant, illustrating the precarious boundary between genuine artistic expression and frivolous pretence. Consistent with his stance, Seldes believed that an evolving society like America necessitates constant re-evaluation of art’s value criteria, thereby highlighting the intersecting planes of everyday culture and artistic innovation. He also contended that genuine artistic expression can be developed by artists engaging with these popular culture mediums, as a means to form their own artistic voice suitable to modern times.
Triggered Emotions
Games prompt several crucially artistic connotations. As the first emergence, in relation to cinema, Seldes posited that its artistic value extends beyond superior storytelling techniques, rather residing in its capacity to express movement and emotion. He cautioned against conflating technological advancements with artistic depth, drawing attention to cinema’s strength in creating immersive, world-building experiences. Similarly, in the context of video games, critics initially disregarded the medium’s potential for evoking emotional responses, citing characters’ digital nature as a limiting factor.
Memorable Moments
The seminal concept of “memorable moments” in gaming, proposed by Gilbert Seldes, underscores the significance of emotive game design wherein gameplay instils powerful responses through logical interaction and player agency. This contrasts with superficial emphasis on visual splendour, thereby augmenting the kinetic potential of video games.
Expressive Amplification
Bordwell’s concept of ‘expressive amplification’ has profound implications for the formal properties of both games and films, where the strategic application of visual and aural elements serves to intensify the emotional impact of the on-screen actions. By intermingling the aesthetics of performance and film with interactive media, a more comprehensive understanding of their shared formal properties and dynamic elements may be acquired. The shared potency of immersive narrative, sensory engagement, and dynamic interactivity between games and performance narratives is the salient conclusion to emerge from the exploration of this nexus.
Play as Performance
Contemporary games conflate gameplay with performance, necessitating bodily engagement from the participants, thereby creating experiences that oscillate between the properties of engaging performances and immersive gameplay. The convergence of physical interaction and immediacy of feedback within rhythm games exemplifies this synergy, wherein the player assimilates into the music, fostering an immersive interaction with the game’s rhythm. “Frequency” and “Rez” epitomise this phenomenon through the conflation of visual and musical elements, encouraging players to intuitively synchronise their movements with the rhythm.
Parallel with Silent Cinema
Both mediums convey meaning through visual narratives, with silent films employing darkness and spatial relationships, whereas video games create immersive environments that encourage exploration and interaction.
Jenkins’ Adoption Inference
Finally, the author advocates for the adoption of experimentation and innovation in game design, aligning with the pioneering spirit of early filmmakers who continued to advance theatrical techniques despite studio interference. However, the homogenising influence of market pressures often prioritises commercially viable concepts over original, artistic expression.
Fostering Innovation
To foster innovation within the gaming industry, critical evaluation is pivotal. A comprehensive critique of video games must consider both technical and aesthetic aspects, as was the case with film criticism in the early 20th century. This conceptualisation encourages novel and daring creations that promote artistic growth and debate.
Maturing Art of Games, as implied by Jenkins
“As the art of games matures, progress will be driven by the most creative and forward thinking minds in the industry, those who know that games can be more than they have been, those who recognize the potential of reaching a broader public, of having a greater cultural impact, of generating more diverse and ethically responsible content and of creating richer and more emotionally engaging content. But without the support of an informed public and the perspective of thoughtful critics, game developers may never realize that potential.”
