Brian Upton Q2

[I]f we choose different constraints to structure our discursive field, a completely different set of critical moves becomes available – moves that are much more applicable to other media of expression. Instead of treating conflict and interaction as essential to play, we can treat them merely as medium-specific techniques for generating interesting horizons of intent. This means that we can use the heuristics of play [based on choice, diversity, consequence, predictability, uncertainty and satisfaction] as a critical tool for understanding how art in general goes about structuring experience.

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