Nintendo''s hugely popular and influential video game console system considered as technological device and social phenomenon.

The Nintendo Wii, introduced in 2006, helped usher in a moment of retro-reinvention in video game play. This hugely popular console system, codenamed Revolution during development, signaled a turn away from fully immersive, time-consuming MMORPGs or forty-hour FPS games and back toward family fun in the living room. Players using the wireless motion-sensitive controller (the Wii Remote, or “Wiimote”) play with their whole bodies, waving, swinging, swaying. The mimetic interface shifts attention from what''s on the screen to what''s happening in physical space. This book describes the Wii''s impact in technological, social, and cultural terms, examining the Wii as a system of interrelated hardware and software that was consciously designed to promote social play in physical space.

Each chapter of Codename Revolution focuses on a major component of the Wii as a platform: the console itself, designed to be low-powered and nimble; the iconic Wii Remote; Wii Fit Plus, and its controller, the Wii Balance Board; the Wii Channels interface and Nintendo''s distribution system; and the Wii as a social platform that not only affords multiplayer options but also encourages social interaction in shared physical space. Finally, the authors connect the Wii''s revolution in mimetic interface gaming—which eventually led to the release of Sony''s Move and Microsoft''s Kinect—to some of the economic and technological conditions that influence the possibility of making something new in this arena of computing and culture.

This book addresses the question of what it might mean today to be a Luddite--that is, to take a stand against technology. Steven Jones here explains the history of the Luddites, British textile works who, from around 1811, proclaimed themselves followers of "Ned Ludd" and smashed machinery they saw as threatening their trade. Against Technology is not a history of the Luddites, but a history of an idea: how the activities of a group of British workers in Yorkshire and Nottinghamshire came to stand for a global anti-technology philosophy, and how an anonymous collective movement came to be identified with an individualistic personal conviction. Angry textile workers in the early nineteenth century became romantic symbols of a desire for a simple life--certainly not the original goal of the actions for which they became famous. Against Technology is, in other words, a book about representations, about the image and the myth of the Luddites and how that myth was transformed over time into modern neo-Luddism.

This book addresses the question of what it might mean today to be a Luddite--that is, to take a stand against technology. Steven Jones here explains the history of the Luddites, British textile works who, from around 1811, proclaimed themselves followers of "Ned Ludd" and smashed machinery they saw as threatening their trade. Against Technology is not a history of the Luddites, but a history of an idea: how the activities of a group of British workers in Yorkshire and Nottinghamshire came to stand for a global anti-technology philosophy, and how an anonymous collective movement came to be identified with an individualistic personal conviction. Angry textile workers in the early nineteenth century became romantic symbols of a desire for a simple life--certainly not the original goal of the actions for which they became famous. Against Technology is, in other words, a book about representations, about the image and the myth of the Luddites and how that myth was transformed over time into modern neo-Luddism.

The Meaning of Video Games takes a textual studies approach to an increasingly important form of expression in today’s culture. It begins by assuming that video games are meaningful–not just as sociological or economic or cultural evidence, but in their own right, as cultural expressions worthy of scholarly attention. In this way, this book makes a contribution to the study of video games, but it also aims to enrich textual studies.

Early video game studies scholars were quick to point out that a game should never be reduced to merely its "story" or narrative content and they rightly insist on the importance of studying games as games. But here Steven E. Jones demonstrates that textual studies–which grows historically out of ancient questions of textual recension, multiple versions, production, reproduction, and reception–can fruitfully be applied to the study of video games. Citing specific examples such as Myst and Lost, Katamari Damacy, Halo, Façade, Nintendo’s Wii, and Will Wright’s Spore, the book explores the ways in which textual studies concepts–authorial intention, textual variability and performance, the paratext, publishing history and the social text–can shed light on video games as more than formal systems. It treats video games as cultural forms of expression that are received as they are played, out in the world, where their meanings get made.

The Meaning of Video Games takes a textual studies approach to an increasingly important form of expression in today’s culture. It begins by assuming that video games are meaningful–not just as sociological or economic or cultural evidence, but in their own right, as cultural expressions worthy of scholarly attention. In this way, this book makes a contribution to the study of video games, but it also aims to enrich textual studies.

Early video game studies scholars were quick to point out that a game should never be reduced to merely its "story" or narrative content and they rightly insist on the importance of studying games as games. But here Steven E. Jones demonstrates that textual studies–which grows historically out of ancient questions of textual recension, multiple versions, production, reproduction, and reception–can fruitfully be applied to the study of video games. Citing specific examples such as Myst and Lost, Katamari Damacy, Halo, Façade, Nintendo’s Wii, and Will Wright’s Spore, the book explores the ways in which textual studies concepts–authorial intention, textual variability and performance, the paratext, publishing history and the social text–can shed light on video games as more than formal systems. It treats video games as cultural forms of expression that are received as they are played, out in the world, where their meanings get made.

It’s the founding myth of humanities computing and digital humanities: In 1949, the Italian Jesuit scholar, Roberto Busa, S.J., persuaded IBM to offer technical and financial support for the mechanized creation of a massive lemmatized concordance to the works of St. Thomas Aquinas. Using Busa’s own papers, recently accessioned in Milan, as well as IBM archives and other sources, Jones illuminates this DH origin story. He examines relationships between the layers of hardware, software, human agents, culture, and history, and answers the question of how specific technologies afford and even constrain cultural practices, including in this case the academic research agendas of humanities computing and, later, digital humanities.

It’s the founding myth of humanities computing and digital humanities: In 1949, the Italian Jesuit scholar, Roberto Busa, S.J., persuaded IBM to offer technical and financial support for the mechanized creation of a massive lemmatized concordance to the works of St. Thomas Aquinas. Using Busa’s own papers, recently accessioned in Milan, as well as IBM archives and other sources, Jones illuminates this DH origin story. He examines relationships between the layers of hardware, software, human agents, culture, and history, and answers the question of how specific technologies afford and even constrain cultural practices, including in this case the academic research agendas of humanities computing and, later, digital humanities.

Nintendo''s hugely popular and influential video game console system considered as technological device and social phenomenon.

The Nintendo Wii, introduced in 2006, helped usher in a moment of retro-reinvention in video game play. This hugely popular console system, codenamed Revolution during development, signaled a turn away from fully immersive, time-consuming MMORPGs or forty-hour FPS games and back toward family fun in the living room. Players using the wireless motion-sensitive controller (the Wii Remote, or “Wiimote”) play with their whole bodies, waving, swinging, swaying. The mimetic interface shifts attention from what''s on the screen to what''s happening in physical space. This book describes the Wii''s impact in technological, social, and cultural terms, examining the Wii as a system of interrelated hardware and software that was consciously designed to promote social play in physical space.

Each chapter of Codename Revolution focuses on a major component of the Wii as a platform: the console itself, designed to be low-powered and nimble; the iconic Wii Remote; Wii Fit Plus, and its controller, the Wii Balance Board; the Wii Channels interface and Nintendo''s distribution system; and the Wii as a social platform that not only affords multiplayer options but also encourages social interaction in shared physical space. Finally, the authors connect the Wii''s revolution in mimetic interface gaming—which eventually led to the release of Sony''s Move and Microsoft''s Kinect—to some of the economic and technological conditions that influence the possibility of making something new in this arena of computing and culture.

This book addresses the question of what it might mean today to be a Luddite--that is, to take a stand against technology. Steven Jones here explains the history of the Luddites, British textile works who, from around 1811, proclaimed themselves followers of "Ned Ludd" and smashed machinery they saw as threatening their trade. Against Technology is not a history of the Luddites, but a history of an idea: how the activities of a group of British workers in Yorkshire and Nottinghamshire came to stand for a global anti-technology philosophy, and how an anonymous collective movement came to be identified with an individualistic personal conviction. Angry textile workers in the early nineteenth century became romantic symbols of a desire for a simple life--certainly not the original goal of the actions for which they became famous. Against Technology is, in other words, a book about representations, about the image and the myth of the Luddites and how that myth was transformed over time into modern neo-Luddism.

This book addresses the question of what it might mean today to be a Luddite--that is, to take a stand against technology. Steven Jones here explains the history of the Luddites, British textile works who, from around 1811, proclaimed themselves followers of "Ned Ludd" and smashed machinery they saw as threatening their trade. Against Technology is not a history of the Luddites, but a history of an idea: how the activities of a group of British workers in Yorkshire and Nottinghamshire came to stand for a global anti-technology philosophy, and how an anonymous collective movement came to be identified with an individualistic personal conviction. Angry textile workers in the early nineteenth century became romantic symbols of a desire for a simple life--certainly not the original goal of the actions for which they became famous. Against Technology is, in other words, a book about representations, about the image and the myth of the Luddites and how that myth was transformed over time into modern neo-Luddism.

The Meaning of Video Games takes a textual studies approach to an increasingly important form of expression in today’s culture. It begins by assuming that video games are meaningful–not just as sociological or economic or cultural evidence, but in their own right, as cultural expressions worthy of scholarly attention. In this way, this book makes a contribution to the study of video games, but it also aims to enrich textual studies.

Early video game studies scholars were quick to point out that a game should never be reduced to merely its "story" or narrative content and they rightly insist on the importance of studying games as games. But here Steven E. Jones demonstrates that textual studies–which grows historically out of ancient questions of textual recension, multiple versions, production, reproduction, and reception–can fruitfully be applied to the study of video games. Citing specific examples such as Myst and Lost, Katamari Damacy, Halo, Façade, Nintendo’s Wii, and Will Wright’s Spore, the book explores the ways in which textual studies concepts–authorial intention, textual variability and performance, the paratext, publishing history and the social text–can shed light on video games as more than formal systems. It treats video games as cultural forms of expression that are received as they are played, out in the world, where their meanings get made.

The Meaning of Video Games takes a textual studies approach to an increasingly important form of expression in today’s culture. It begins by assuming that video games are meaningful–not just as sociological or economic or cultural evidence, but in their own right, as cultural expressions worthy of scholarly attention. In this way, this book makes a contribution to the study of video games, but it also aims to enrich textual studies.

Early video game studies scholars were quick to point out that a game should never be reduced to merely its "story" or narrative content and they rightly insist on the importance of studying games as games. But here Steven E. Jones demonstrates that textual studies–which grows historically out of ancient questions of textual recension, multiple versions, production, reproduction, and reception–can fruitfully be applied to the study of video games. Citing specific examples such as Myst and Lost, Katamari Damacy, Halo, Façade, Nintendo’s Wii, and Will Wright’s Spore, the book explores the ways in which textual studies concepts–authorial intention, textual variability and performance, the paratext, publishing history and the social text–can shed light on video games as more than formal systems. It treats video games as cultural forms of expression that are received as they are played, out in the world, where their meanings get made.

It’s the founding myth of humanities computing and digital humanities: In 1949, the Italian Jesuit scholar, Roberto Busa, S.J., persuaded IBM to offer technical and financial support for the mechanized creation of a massive lemmatized concordance to the works of St. Thomas Aquinas. Using Busa’s own papers, recently accessioned in Milan, as well as IBM archives and other sources, Jones illuminates this DH origin story. He examines relationships between the layers of hardware, software, human agents, culture, and history, and answers the question of how specific technologies afford and even constrain cultural practices, including in this case the academic research agendas of humanities computing and, later, digital humanities.

It’s the founding myth of humanities computing and digital humanities: In 1949, the Italian Jesuit scholar, Roberto Busa, S.J., persuaded IBM to offer technical and financial support for the mechanized creation of a massive lemmatized concordance to the works of St. Thomas Aquinas. Using Busa’s own papers, recently accessioned in Milan, as well as IBM archives and other sources, Jones illuminates this DH origin story. He examines relationships between the layers of hardware, software, human agents, culture, and history, and answers the question of how specific technologies afford and even constrain cultural practices, including in this case the academic research agendas of humanities computing and, later, digital humanities.