game as an object for way-finding or information behavior

summary for the conference paper; Place Space & Monkey Brains: Cognitive Mapping in Games & Other Media

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1 keyword
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1.1 embodiment

1.2 affordance

1.3 game design as a amusement park design

1.4 p.6
lack of embodiment

1.5 p.6
a sequential cognitive mapping of the represented place.

1.6 p.6
sense of embodiment and embeddedness.

1.7 p.6
search area;
cognitive maps and mapping

1.8 Cognitive Science

1.9 brain scanning tech

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2 answer for the following question; Why is navigation so important to the design of virtual environment?
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3 paper.Place Space & Monkey Brains; Cognitive Mapping in Games & Other Media [PDF] cf. direct link to the PDF file
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3.1 people

3.1.1 Villem Flusser; philosopher

3.1.1.1 도시는 문명의 거대한 외부기억장치이다.

3.1.2 Schelling; philosopher

3.1.3 Lynch

3.1.4 Solini

3.2 quotations

3.2.1 p.3

3.2.1.1 Elvins seems to see wayfinding as a type of Ability: “the ability to find a way to a particular location in an expedient manner and to recognize the destination when reached”

3.2.1.2 Architectects have used allegories and perceptual afforrdances to help inform navigate and orient people for thousands of years

3.2.1.3 There is more to navigation than locomotion and wayfindging: the distinction between “…practical space (i.e.,acting in space) and conceptual space (i.e., representing space)”

3.2.1.4 The crucial thing missing from the traditional geographies is the failure to appreciate how environments are conceived by people as opposed to simply perceived by people

3.2.2 p.4

3.2.2.1 People do not glance around in a virtual environment as much as they do in ral-life, and hence navigation and positioning of major landmarks and navigational goals ia a crucial component of virtual environment design.

3.2.3 p.5

3.2.3.1 computer games can help improve not just hand-eye coordination, but also spatial memory.

3.2.3.2 what irritates me when I play interactive fiction (such as “Future Boy!”) is that I don’t remember th position of the spaces I have been to.

3.2.3.3 ability to visualize in three dimensions from two dimensional media

3.2.3.4 My suspicion is that I need to have some feeling for being able to move through the space, in order to remember which room belings where.

3.2.3.5 I am convinced that we use different parts of our mind when we interactively navigate through a three-dimensional virtual environment as opposed to visualizing from a film or from a book or even from interactive fiction games.

3.2.3.6 공간적으로 재구성하는능력이 부재

3.2.3.7 A camera may race us through opening doors and adjoining spaces, but we never rest on or in a threshold (even if the scene is framed) because our bodies are not required to even recognize what a threshold is. A film is a virtual form of two-dimensional eternal space, but we only recall it episodically.

3.2.4 p. 6

3.2.4.1 As most people struggle to visualize the actual environment from the two-dimensional representation of it, they cannot ‘place’ themselves in the map. And this lack of embodiment means that even if they are shown pictures in the book that relate to the map, given that they cannot look around and move through the scene, they do not develop a sequential cognitive mapping of the represented place.

3.2.4.2 for three-dimensional adventure/ shooter games rely on evoking not just engaging our perception, but also our sense of embodiment and embeddedness.

3.2.4.3 In terms of embeddedness, a game often allows us to interact with and personalize the surrounds. We have to actively make sense of our ‘surrounds’, and engage our wayfinding abilities.

3.2.4.4 Billinghurst and Weghorst… Their research indicates that that accuracy in sketching the virtual environment after the experience is directly related to engagement in the virtual environment.

3.2.4.5 Research in this area relies on the notion of cognitive maps and mapping. There is confusion in the literature over whether a cognitive map is the process by which people store navigational knowledge, or whether it is the instantaneous product of cognitive mapping, i.e. a cognitive map is formed in the mind on demand from cognitive mapping processes. Lagoudakis, for example, seems to define a cognitive map as the former [11]; but Solini defines it as the latter, “a product of this [cognitive mapping] process at any point in time” [8].

3.2.4.5.1 need to be summarized

3.2.4.6 space is represented in the mind not once but multiple times

3.2.5 p.7

3.2.5.1 Thus, the way we access these cognitive maps is typically not just via quantitative estimates and measurements but also in relations to personal attachments and perceptions.

3.2.5.1.1

3.2.6 p.8

3.2.6.1 CONCLUSION

If this experimental design is successful, we may be able to not merely say three-dimensional games have special properties not easily and immediately explained by conventional narrative theory; we may also be able to improve the spatial presence of digital environments, and perhaps even improve the spatial recognition and navigation capabilities of users. The significance of successful results would indicate whether our spatial recall from three-dimensional games differs from that in film and literature, and it may help researchers and educationalists to use these computer games to improve the spatial memory of students, spatial designers, or virtual travelers.

3.3 other references

3.3.1 Jenkins, H. Game Design as narrative Architecture in Electronic Book Review, 2001

3.3.2 Billinghurst, M., and Weghorst, S. “The use of sketch maps to measure cognitive maps of virtual Computer Society, Washington DC, USA 1995). p.40-47.

3.3.3 Wang, H., Johnson, T.R., and Zhang, J. “The mind’s views of space,” in Proceedings of the Third International Conference of Cognitive Science, (Beijing China, 2001), pp.191-198.

3.4 outer data

3.4.1 DIGRA 2005 conference; Changing Views – Worlds in Play