Playing for Real: Designing Alternate Reality Games in Learning Contexts

Alternate Reality Game (ARG) represent a new genre of transmedia practice where players hunt for scattered clues, make sense of disparate information, and solve puzzles to advance an ever-evolving storyline. Players participate in ARGs using multiple communications technologies, ranging from print materials to mobile devices. However, many interaction design challenges must be addressed to weave these everyday communication tools together into an immersive, participatory experience. Transmedia design is not an everyday process. Designers must create and connect story bits across multiple media (video, audio, text) and multiple platforms (phones, computers, physical spaces). Furthermore, they must engage with players of varying skill levels. Few studies to-date have explored the design process of ARGs in learning contexts. Fewer still have focused on challenges involved in designing for youth (13-17 years old). In this study, I explore the process of designing ARGs as vehicles for promoting information literacy and participatory culture for adolescents (13-17 years old). Two ARG design scenarios, distinguished by target learning environment (formal and informal context) and target audience (adolescents), comprise the two cases that I examine. Through my analysis of these two design cases, I articulate several unique challenges faced by designers who create interactive, transmedia stories for – and with – youth. Drawing from these design challenges, I derive a repertoire of design strategies that future designers and researchers may use to create and implement ARGs for teens in learning contexts. In particular, I propose a narrative design framework that allows for the categorization of ARGs as storytelling constructs that lie along a continuum of participation and interaction. The framework can serve as an analytic tool for researchers and a guide for designers. In addition, I establish a framework of social roles that designers may employ to craft transmedia narratives before live launch and to promote and scaffold player participation after play begins. Overall, the contributions of my study include theoretical insights that may advance our understanding of narrative design and analysis as well as more practical design implications for designers and practitioners seeking to incorporate transmedia features into learning experiences that target youth.

Are Videogames Art?

My dissertation defends a positive answer to the question: “Can a videogame be a work of art? ” To achieve this goal I develop definitions of several concepts, primarily ‘art’, ‘games’, and ‘videogames’, and offer arguments about the compatibility of these notions. In Part One, I defend a definition of art from amongst several contemporary and historical accounts. This definition, the Intentional-Historical account, requires, among other things, that an artwork have the right kind of creative intentions behind it, in short that the work be intended to be regarded in a particular manner. This is a leading account that has faced several recent objections that I address, particular the buck-passing theory, the objection against non-failure theories of art, and the simultaneous creation response to the ur-art problem, while arguing that it is superior to other theories in its ability to answer the question of videogames’ art status. Part Two examines whether games can exhibit the art-making kind of creative intention. Recent literature has suggested that they can. To verify this a definition of games is needed. I review and develop the most promising account of games in the literature, the over-looked account from Bernard Suits. I propose and defend a modified version of this definition against other accounts. Interestingly, this account entails that games cannot be successfully intended to be works of art because games are goal-directed activities that require a voluntary selection of inefficient means and that is incompatible with the proper manner of regarding that is necessary for something to be an artwork. While the conclusions of Part One and Part Two may appear to suggest that videogames cannot be works of art, Part Three proposes and defends a new account of videogames that, contrary to first appearances, implies that not all videogames are games. This Intentional-Historical Formalist account allows for non-game videogames to be created with an art-making intention, though not every non-ludic videogame will have an art-making intention behind it. I then discuss examples of videogames that are good candidates for being works of art. I conclude that a videogame can be a work of art, but that not all videogames are works of art. The thesis is significant in several respects. It is a continuation of academic work that has focused on the definition and art status of videogames. It clarifies the current debate and provides a positive account of the central issues that has so far been lacking. It also defines videogames in a way that corresponds better with the actual practice of videogame making and playing than other definitions in the literature. It offers further evidence in defense of certain theories of art over others, providing a close examination of videogames as a new case study for potential art objects and for aesthetic and artistic theory in general. Finally, it provides a compelling answer to the question of whether videogames can be art. This project also provides the groundwork for new evaluative, critical, and appreciative tools for engagement with videogames as they develop as a medium. As videogames mature, more people, both inside and outside academia, have increasing interest in what they are and how to understand them. One place many have looked is to the practice of art appreciation. My project helps make sense of which appreciative and art-critical tools and methods are applicable to videogames.

UTILIZING ELECTRONIC NOSE AND GC-MS TO EXAMINE CRITICAL FACTORS INFLUENCING THE FORMATION OF ODOROUS VOC’S IN BIOSOLIDS.

Despite the efforts to better manage biosolids field application programs, biosolids managers still lack of efficient and reliable tools to apply large quantities of material while avoiding odor complaints. Objectives of this research were to determine the capabilities of an electronic nose in supporting process monitoring of biosolids production and, to compare odor characteristics of biosolids produced through thermal-hydrolysis anaerobic digestion (TH-AD) to those of alkaline stabilization in the plant, under storage and in the field. A method to quantify key odorants was developed and full scale sampling and laboratory simulations were performed. The portable electronic nose (PEN3) was tested for its capabilities of distinguishing alkali dosages in the biosolids production process. Frequency of recognition of unknown samples was tested achieving highest accuracy of 81.1%. This work exposed the need for a different and more sensitive electronic nose to assure its applicability at full scale for this process. GC-MS results were consistent with those reported in literature and helped to elucidate the behavior of the pattern recognition of the PEN3. Odor characterization of TH-AD and alkaline stabilized biosolids was achieved using olfactometry measurements and GC-MS. Dilution-to-threshold of TH-AD biosolids increased under storage conditions but no correlation was found with the target compounds. The presence of furan and three methylated homologues in TH-AD biosolids was reported for the first time proposing that these compounds are produced during thermal hydrolysis process however, additional research is needed to fully describe the formation of these compounds and the increase in odors. Alkaline stabilized biosolids reported similar odor concentration but did not increase and the ‘fishy’ odor from trimethylamine emissions resulted in more offensive and unpleasant odors when compared to TH-AD. Alkaline stabilized biosolids showed a spike in sulfur and trimethylamine after 3 days of field application when the alkali addition was not sufficient to meet regulatory standards. Concentrations of target compounds from field application of TH-AD biosolids gradually decreased to below the odor threshold after 3 days. This work increased the scientific understanding on odor characteristics and behavior of two types of biosolids and on the application of electronic noses to the environmental engineering field.