Matthew Spokes – författare

This book offers an ethnographic exploration of three sites of infamous atrocity and their differing memorialization. ‘Dark tourism’ research has studied the consumerization of spaces associated with death and barbarity, whilst ‘difficult heritage’ has looked at politicized, national debates that surround the preservation of death. This book contributes to these debates by applying spatial theory on a scalar level, particularly through the work of Henri Lefebvre. It uses escalating case studies to situate memorialization, and the multifarious demands of politics, consumption and community, within a framework that rearticulates ‘lived’, ‘perceived’ and ‘conceived’ aspects of deviant spaces ranging from the small (a bench) to the very large (a city). The first case study, the Tyburn gallows site in York, uses Lefebvre’s notion of ‘theatrical space’ to contextualize the role of performativity in memorialization. The second, Number 25 Cromwell Street in Gloucester, builds on this by exploring the absence of memorialization through Lefebvre’s concept of ‘contradictory space’ and the impact this has on consumption. The third expands to consider the city as a problematic memorial, here focusing on the political subjectivities of Dresden – rebuilt following the devastation of the Second World War – and its contemporary associations with neo-Nazi and anti-fascist protests. Ultimately, by examining the issue of scale in heritage, the book seeks to develop a new way of unpacking and understanding the heteroglossic nature of deviant space and memorialization.

This book offers an ethnographic exploration of three sites of infamous atrocity and their differing memorialization. ‘Dark tourism’ research has studied the consumerization of spaces associated with death and barbarity, whilst ‘difficult heritage’ has looked at politicized, national debates that surround the preservation of death. This book contributes to these debates by applying spatial theory on a scalar level, particularly through the work of Henri Lefebvre. It uses escalating case studies to situate memorialization, and the multifarious demands of politics, consumption and community, within a framework that rearticulates ‘lived’, ‘perceived’ and ‘conceived’ aspects of deviant spaces ranging from the small (a bench) to the very large (a city). The first case study, the Tyburn gallows site in York, uses Lefebvre’s notion of ‘theatrical space’ to contextualize the role of performativity in memorialization. The second, Number 25 Cromwell Street in Gloucester, builds on this by exploring the absence of memorialization through Lefebvre’s concept of ‘contradictory space’ and the impact this has on consumption. The third expands to consider the city as a problematic memorial, here focusing on the political subjectivities of Dresden – rebuilt following the devastation of the Second World War – and its contemporary associations with neo-Nazi and anti-fascist protests. Ultimately, by examining the issue of scale in heritage, the book seeks to develop a new way of unpacking and understanding the heteroglossic nature of deviant space and memorialization.

This book offers an ethnographic exploration of three sites of infamous atrocity and their differing memorialization. ‘Dark tourism’ research has studied the consumerization of spaces associated with death and barbarity, whilst ‘difficult heritage’ has looked at politicized, national debates that surround the preservation of death. This book contributes to these debates by applying spatial theory on a scalar level, particularly through the work of Henri Lefebvre. It uses escalating case studies to situate memorialization, and the multifarious demands of politics, consumption and community, within a framework that rearticulates ‘lived’, ‘perceived’ and ‘conceived’ aspects of deviant spaces ranging from the small (a bench) to the very large (a city). The first case study, the Tyburn gallows site in York, uses Lefebvre’s notion of ‘theatrical space’ to contextualize the role of performativity in memorialization. The second, Number 25 Cromwell Street in Gloucester, builds on this by exploring the absence of memorialization through Lefebvre’s concept of ‘contradictory space’ and the impact this has on consumption. The third expands to consider the city as a problematic memorial, here focusing on the political subjectivities of Dresden – rebuilt following the devastation of the Second World War – and its contemporary associations with neo-Nazi and anti-fascist protests. Ultimately, by examining the issue of scale in heritage, the book seeks to develop a new way of unpacking and understanding the heteroglossic nature of deviant space and memorialization.

Can you have a transformative experience as a result of falling through a programming error in the latest triple-A title? Does looking out across a vast virtual vista of undulating mountains and tumultuous seas edge you closer to the sublime? In an effort to answer these sorts of questions, Gaming and the Virtual Sublime considers the ''virtual sublime'' as a conceptual toolbox for understanding our affective engagement with contemporary interactive entertainment. Through a detailed examination of the history of the sublime, from pseudo-Longinus'' jigsaw puzzle of the sublime in rhetoric, through the eighteenth-century obsession with beauty and terror, past the Kantian mathematical and dynamical sublime, all the way to Lyotard''s ''unpresentable event'' and Deleuze''s work on chaos and rhythm, this book road-tests these differing components in a far-reaching exploration of how video games - as virtual spaces of affect - might reshape our opportunities for sublime experience. Using playthroughs, developer diaries, forums discussions and contemporaneous reviews, and games ranging from the heartbreak of That Dragon: Cancer through to the abject body-horror of Outlast (with a dash of Tetris in-between) are discussed in terms the experience(s) of play, their design and their co-creation with gamers with a specific focus on rhetoric and narrative; awe; fear and terror; death and boredom. Written in an engaging and accessible style, this book is a must-read for philosophers, scholars, and those interested in games and popular culture more broadly.

Can you have a transformative experience as a result of falling through a programming error in the latest triple-A title? Does looking out across a vast virtual vista of undulating mountains and tumultuous seas edge you closer to the sublime? In an effort to answer these sorts of questions, Gaming and the Virtual Sublime considers the 'virtual sublime' as a conceptual toolbox for understanding our affective engagement with contemporary interactive entertainment. Through a detailed examination of the history of the sublime, from pseudo-Longinus' jigsaw puzzle of the sublime in rhetoric, through the eighteenth-century obsession with beauty and terror, past the Kantian mathematical and dynamical sublime, all the way to Lyotard's 'unpresentable event' and Deleuze's work on chaos and rhythm, this book road-tests these differing components in a far-reaching exploration of how video games - as virtual spaces of affect - might reshape our opportunities for sublime experience. Using playthroughs, developer diaries, forums discussions and contemporaneous reviews, and games ranging from the heartbreak of That Dragon: Cancer through to the abject body-horror of Outlast (with a dash of Tetris in-between) are discussed in terms the experience(s) of play, their design and their co-creation with gamers with a specific focus on rhetoric and narrative; awe; fear and terror; death and boredom. Written in an engaging and accessible style, this book is a must-read for philosophers, scholars, and those interested in games and popular culture more broadly.