Atari Design: Impressions on Coin-Operated Video Game Machines: Cultural Histories of Design
Autor Prof Raiford Guinsen Limba Engleză Paperback – 11 noi 2020
| Toate formatele și edițiile | Preț | Express |
|---|---|---|
| Paperback (1) | 164.37 lei 3-5 săpt. | +38.47 lei 6-12 zile |
| Bloomsbury Publishing – 11 noi 2020 | 164.37 lei 3-5 săpt. | +38.47 lei 6-12 zile |
| Hardback (1) | 551.62 lei 3-5 săpt. | +28.77 lei 6-12 zile |
| Bloomsbury Publishing – 11 noi 2020 | 551.62 lei 3-5 săpt. | +28.77 lei 6-12 zile |
Preț: 164.37 lei
Preț vechi: 176.69 lei
-7% Nou
Puncte Express: 247
Preț estimativ în valută:
31.46€ • 33.19$ • 26.22£
31.46€ • 33.19$ • 26.22£
Carte disponibilă
Livrare economică 12-26 decembrie
Livrare express 27 noiembrie-03 decembrie pentru 48.46 lei
Preluare comenzi: 021 569.72.76
Specificații
ISBN-13: 9781474284554
ISBN-10: 1474284558
Pagini: 280
Ilustrații: 120 bw illus with 16 page colour plate section
Dimensiuni: 189 x 246 x 9 mm
Greutate: 0.64 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Seria Cultural Histories of Design
Locul publicării:London, United Kingdom
ISBN-10: 1474284558
Pagini: 280
Ilustrații: 120 bw illus with 16 page colour plate section
Dimensiuni: 189 x 246 x 9 mm
Greutate: 0.64 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Seria Cultural Histories of Design
Locul publicării:London, United Kingdom
Caracteristici
Includes over 120 original images from the archives of Stanford University and the Strong National Museum of Play
Notă biografică
Raiford Guins is Professor of Cinema and Media Studies in the Media School and Adjunct Professor of Informatics at Indiana University, USA. He has authored Game After: A Cultural Study of Video Game Afterlife (2014) and Edited Clean Version: Technology and the Culture of Control (2009) and co-edited several collections including The Object Reader with Fiona Candlin (2009) and Debugging Game History: A Critical Lexicon with Henry Lowood (2016). Guins serves as co-editor of MIT Press's Game Histories book series with Lowood and is a founding editor of ROMchip: A Journal of Game Histories also with Lowood and Laine Nooney. His writings on game history appear in the following journals and magazines: American Journal of Play, The Atlantic, Cabinet, Design and Culture, Design Issues, Digital Culture & Education, Game Studies, Journal of Design History, Journal of Visual Culture, and Reconstruction: Studies in Contemporary Culture.
Cuprins
List of ImagesList of PlatesPrologue: Not on DisplayAcknowledgementsIgnition: Advanced Electronics and StylingZero to 60 in 25¢Design History of Video Games1. Game Design is Inadequate2. Platform Studies Doesn't Scratch These Surfaces3. Coin-op Video Games Machines are Complex Artifacts4. Cabinet Design is DesignTaking Anonymous History for a SpinChapter I: Start With a Clean Piece of PaperMan, that thing needs some helpBEAUTIFUL SPACE-AGE CABINET: A Plasticine MomentLow Key Cabinet, Suitable for Sophisticated Locations: The Veneer of Game HistoryNever Leave Well Enough Alone.Chapter II: Come and Play MeFar OutMore Than a BoxIndependent Functionality, or Designing "Atari Style"2 Game Module, or On the Importance of Not Shitting in the PunchbowlProject Development, or Everything You Wanted to Know About Video Pinball (But Never Thought to Ask an Industrial Designer) Chapter III: Happy StuffUncabinet Good Design is Good for (the Coin-Op) BusinessCabinets as Graphically Design Products Chapter IV: A Kinesthetic World of Shapes and ColorBold ImpactAs you get Excited you Start to Hug the GameEnvironmental CommunicationCommunicative EnvironmentsChapter V: Shifting GearsParking Brake: Look Beyond Finished Form
Recenzii
Atari Design is an original and inspiring monograph reminding us that histories of video games (and computing) should not be reduced to programs and electronics only; they should also address design in its traditional sense.
Guins manages to break through the glitz and noise and find a fresh, innovative approach toward the history of gaming and design. What is extraordinary about Atari Design is the provocative way he argues that we should pay more attention to the material apparatus of early video game designs, notably the cabinetry of these products designed for amusement. He provides a unique and enlightening examination of the interior - and exterior - of these designs. Historians and many nonspecialists will find this book not only enjoyable but also enlightening.
Atari Design is a major contribution to design history and to our understanding of the phenomenal culture of video game history. It is scrupulously researched and breezily erudite. It is a tale free of design heroics which instead brings alive the distributed labours of designers who until now have remained anonymous. It is also a supercharged ride of a book. Who knew that a history of arcade game cabinets could be this much fun?
By merging the words Atari and Design in his book's title, Raiford Guins throws down the gauntlet for future historians, curators, and interpreters of interactive media. His lucidly argued and meticulously researched history of Atari arcade games demonstrates why an electronic game is not just the sum of its hardware, code base, motion graphics, interfaces, or modes of interaction, but also encompasses the housings that stage interactive media in the built environment, transform games into objects of experience, and weave them into the design of interiors from bars to galleries to homes.
Atari Design rescues the coin-operated arcade game from 1970s nostalgia, decoupling the wood veneer of Pong and the supergraphic panels and semi-immersive cabinet of Tempest from the jellybean styling of the AMC Pacer automobile and the avocado green and burnt orange kitchens of the era. Instead, author Raiford Guins cross-pollinates design history with game studies, reminding us that software is always grounded in hardware. Featuring interviews with pioneering if little recognized designers from a range of disciplines, Atari Design offers an expansive sense of what arcade games meant and how they operated in the world. By interrogating what he terms "the material factors constitutive of interactability," Guins conjures an apparatus theory for the 21st Century.
More than a decade before Apple conceived of "the computer for the rest of us," Atari was the first Silicon Valley technology company to direct its efforts toward the general population. If it was to capture-indeed, to define-a broad market for its coin-operating gaming machines, Atari needed an approach in which cabinets and graphics were as important as circuits and screens. By demonstrating that industrial and graphic design was as important to Atari's success as engineering and programming, Raiford Guins' detailed, densely researched history represents a contribution to design history generally and to the history of game design in particular, which has tended to focus on narrative and visual effects and to dismiss the physical enclosures of the early games as a cosmetic afterthought. To the contrary, "The coin-op cabinet did not simply contain. It was a medium of communication."
Guins manages to break through the glitz and noise and find a fresh, innovative approach toward the history of gaming and design. What is extraordinary about Atari Design is the provocative way he argues that we should pay more attention to the material apparatus of early video game designs, notably the cabinetry of these products designed for amusement. He provides a unique and enlightening examination of the interior - and exterior - of these designs. Historians and many nonspecialists will find this book not only enjoyable but also enlightening.
Atari Design is a major contribution to design history and to our understanding of the phenomenal culture of video game history. It is scrupulously researched and breezily erudite. It is a tale free of design heroics which instead brings alive the distributed labours of designers who until now have remained anonymous. It is also a supercharged ride of a book. Who knew that a history of arcade game cabinets could be this much fun?
By merging the words Atari and Design in his book's title, Raiford Guins throws down the gauntlet for future historians, curators, and interpreters of interactive media. His lucidly argued and meticulously researched history of Atari arcade games demonstrates why an electronic game is not just the sum of its hardware, code base, motion graphics, interfaces, or modes of interaction, but also encompasses the housings that stage interactive media in the built environment, transform games into objects of experience, and weave them into the design of interiors from bars to galleries to homes.
Atari Design rescues the coin-operated arcade game from 1970s nostalgia, decoupling the wood veneer of Pong and the supergraphic panels and semi-immersive cabinet of Tempest from the jellybean styling of the AMC Pacer automobile and the avocado green and burnt orange kitchens of the era. Instead, author Raiford Guins cross-pollinates design history with game studies, reminding us that software is always grounded in hardware. Featuring interviews with pioneering if little recognized designers from a range of disciplines, Atari Design offers an expansive sense of what arcade games meant and how they operated in the world. By interrogating what he terms "the material factors constitutive of interactability," Guins conjures an apparatus theory for the 21st Century.
More than a decade before Apple conceived of "the computer for the rest of us," Atari was the first Silicon Valley technology company to direct its efforts toward the general population. If it was to capture-indeed, to define-a broad market for its coin-operating gaming machines, Atari needed an approach in which cabinets and graphics were as important as circuits and screens. By demonstrating that industrial and graphic design was as important to Atari's success as engineering and programming, Raiford Guins' detailed, densely researched history represents a contribution to design history generally and to the history of game design in particular, which has tended to focus on narrative and visual effects and to dismiss the physical enclosures of the early games as a cosmetic afterthought. To the contrary, "The coin-op cabinet did not simply contain. It was a medium of communication."