000			03521nam a2200481 i 4500
001			8555220
003			IEEE
005			20220712204925.0
006			m o d
007			cr |n|||||||||
008			181218s2018 mau ob 001 eng d
020			_a9780262345439 _qelectronic bk.
020			_z9780262037631 _qprint
035			_a(CaBNVSL)mat08555220
035			_a(IDAMS)0b000064888bbd1d
040			_aCaBNVSL _beng _erda _cCaBNVSL _dCaBNVSL
050		4	_aGV1469.34.P79 _bK46 2018eb
082	0	4	_a794.8 _223
100	1		_aKeogh, Brendan, _eauthor. _925438
245	1	2	_aA play of bodies : _bhow we perceive videogames / _cBrendan Keogh.
264		1	_aCambridge : _bThe MIT Press, _c2018
264		2	_a[Piscataqay, New Jersey] : _bIEEE Xplore, _c[2018]
300			_a1 PDF (248 pages).
336			_atext _2rdacontent
337			_aelectronic _2isbdmedia
338			_aonline resource _2rdacarrier
504			_aIncludes bibliographical references and index.
506			_aRestricted to subscribers or individual electronic text purchasers.
520			_aAn 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 touches back, augmenting the very senses with which we perceive. Keogh investigates this merging of actual and virtual bodies and worlds, asking how our embodied sense of perception constitutes, and becomes constituted by, the phenomenon of videogame play. In short, how do we perceive videogames? Keogh works toward formulating a phenomenology of videogame experience, focusing on what happens in the embodied engagement between the playing body and the videogame, and anchoring his analysis in an eclectic series of games that range from mainstream to niche titles. Considering smartphone videogames, he proposes a notion of co-attentiveness to understand how players can feel present in a virtual world without forgetting that they are touching a screen in the actual world. He discusses the somatic basis of videogame play, whether games involve vigorous physical movement or quietly sitting on a couch with a controller; the sometimes overlooked visual and audible pleasures of videogame experience; and modes of temporality represented by character death, failure, and repetition. Finally, he considers two metaphorical characters: the "hacker," representing the hegemonic, masculine gamers concerned with control and configuration; and the "cyborg," less concerned with control than with embodiment and incorporation.
530			_aAlso available in print.
538			_aMode of access: World Wide Web
588	0		_aPrint version record.
650		0	_aVideo games _xPsychological aspects. _925439
650		0	_aVideo games _xDesign. _94792
650		0	_aVideo games _xPhilosophy. _921463
650		7	_aVideo games _xDesign. _2fast _94792
650		7	_aVideo games _xPsychological aspects. _2fast _925439
655		4	_aElectronic books. _93294
710	2		_aIEEE Xplore (Online Service), _edistributor. _925440
710	2		_aMIT Press, _epublisher. _925441
856	4	2	_3Abstract with links to resource _uhttps://ieeexplore.ieee.org/xpl/bkabstractplus.jsp?bkn=8555220
942			_cEBK
999			_c73560 _d73560