Sentences Generator
And
Your saved sentences

No sentences have been saved yet

"ludic" Definitions
  1. tending to play and have fun, make jokes, etc., especially when there is no particular reason for doing this

126 Sentences With "ludic"

How to use ludic in a sentence? Find typical usage patterns (collocations)/phrases/context for "ludic" and check conjugation/comparative form for "ludic". Mastering all the usages of "ludic" from sentence examples published by news publications.

They can start by being aware of the ludic fallacy.
The stakes in the more ludic "Seventh Function" are less clear.
In English, the word "ludic" is not one we hear very often.
Despite its ludic character, this strategy poses a threat to our democracy.
It displays Hammer's ludic predisposition as she parodies pop culture stereotypes, like the Amazon or Superman.
Who needs a footnoted analysis of "the ludic," as play is known to the terminally unplayful?
It has a narrative richness that is unrivaled, and a ludic complexity that is distinctly its own.
Like the magazine's cartoons, it sets the light, ludic tone that underlies even our most serious work.
Glover looked on, watching for a certain ludic intensity, one hard to choreograph but easy to see.
Even more troubling, Uber has been manipulating its driver using a video game technique called the ludic loop.
With a kind of offhand savvy, he simplifies Monk's harmonies and lets his ludic rhythms take the lead.
So is the range of emotional registers: His music can be dirge-like, ludic, abstracted — sometimes multiple things at once.
The etiology of most of these fighting sports is rooted in the ludic function of using sport to practice for combat.
Ultimately, Muldoon's writing is more rooted on the page, where its coy references and ludic associative leaps can be contemplated slowly.
J.P. A flagship ensemble of the 1970s avant-garde, the Art Ensemble was ludic, irreverent, proudly Afrocentric and yet preternaturally universalist.
It's the ludic equivalent of a trashy exploitation film, with a core of ultraviolence dipped in a shiny coating of social commentary.
The work culminated in a fast, punching phrase, played in five-part unison; it was almost ludic, but landed with a jolt.
He's conceived of his own game theory, "ludic ecologonomy", essentially enabling a creative expression within video games unhampered by the confines of convention.
As the psychologist Adam Alter writes in his book Irresistible, video game designers even have a name for this mental state: the 'ludic loop.
In the first chapter, "Blur," Laxton applies the term techno-ludic to Man Ray's rayographs, made by exposing light-sensitive paper without a camera.
Correction: An earlier version of this article failed to attribute the concept of the ludic loop to Natasha Schüll, who coined the concept Alter wrote about.
The voyage is a homage to a dear friend, a man of "ludic dash and charisma", whose untimely death coincided with the birth of Mr Clare's son.
In the introduction, Laxton recaps the Surrealists' debt to philosopher Walter Benjamin, in particular, his concept of Spielraum, or "room-to-play," in their development of the techno-ludic.
Out of this paradox arises a middle term, which the author coins as techno-ludic: a practice that allowed the Surrealists to combine technology with an element of play, but was distanced from utility.
Its music is wending, ludic, full of '70s and '80s FM-radio homage, averse to moral judgment, almost never dark or emotionally demanding, and popular among two generations of American college-educated glow-stick adventurers.
" The Rub of Time " (Knopf) collects two decades' worth of Amis's journalism, including a good deal of what he would call the "ludic" Amis—middle-aged Martin playing tennis or poker, watching football or its hooligans.
On "Èclats for Ornette," dedicated to the saxophonist and free-jazz pioneer Ornette Coleman, she has written a splintering and frayed melody that channels Coleman's ludic streak, swinging drolly and exuberantly, almost in spite of itself.
"The company has undertaken an extraordinary experiment in behavioral science to subtly entice an independent work force to maximize its growth, " read the deck of the piece, which covered things like "ludic loop" methods in its apps.
"The company has undertaken an extraordinary experiment in behavioral science to subtly entice an independent work force to maximize its growth," read the deck of the piece, which covered things like "ludic loop" methods in its apps.
From boxer, sculptor, and Princeton University professor Joseph Brown's spiderweb structures of ropes and springs that encouraged collaborative play, to the interconnected orbs made from recycled materials by Group Ludic in France, playgrounds were also a global movement in radically rethinking public space.
Fischli and Weiss's ludic spirit emerged fully formed with their first collaboration, in Zurich in 290, in a series of photographs of doll-scale tableaus — a car accident, a fashion show, a rug store — made mostly from bologna, knackwurst, salami and other processed meats.
From a glass bassinet that would shatter were an infant placed inside of it to a magic lantern projecting a series of Army soldier silhouettes, what seems pedestrian or ludic is soon to unsettle — our wonder summoned only to be swiftly darkened by dread.
At its best, the show is a tribute to the ludic impulse that many of us carelessly abandoned back on the elementary school playground, the ability to make a branch or a puddle or a chunk of chalked up pavement into some new thing, some new world.
What does it mean to listen to Phish, that forever jam band whose music is "wending, ludic, full of '70s and '80s FM-radio homage, averse to moral judgment, almost never dark or emotionally demanding, and popular among two generations of American college-educated glow-stick adventurers"?
Meanwhile, in "The Child and the Machine: On the Use of CGI in Michael Snow's Corpus Callosum," Malcolm Turvey (referring back to Michelson) characterizes Snow's work as a euphoric personal expression of "ludic sovereignty over space and time," concluding that silent comedies are the ideal segue to experimental film.
Laxton returns to the techno-ludic to show how Miró used automation: as a system of rules for how one painting led to another, which resulted in a quasi-industrial process, with Miró producing 80 paintings in 10 months, starting in 1926, and then another 70 the following year.
It's a foretaste of the fragmented, ludic play throughout the rest of the film; later a swinging dildo being attacked by a dog gives way to impressions of the couple's daily routine and evocative glimpses of their surroundings, sometimes arranged as silent tableau with flash excerpts from Claire Denis' Beau Travail (1999) and Anthony McCall's experimental short, Line Describing a Cone (1973).
Games designer Clint Hocking coined the term "ludonarrative dissonance" back in a 2007 blog entry, in response to 2K's dystopian shooter BioShock, writing that it suffered from "a powerful dissonance between what it is about as a game, and what it is about as a story"; that the ludic side, the playful aspects, clashed uncomfortably with the story at its core.
Mosset's entire career could almost be seen as a grand Fluxus-style gesture of quiet provocation (were it not for Fluxus' proclaimed aversion for painting, especially abstraction) — a ludic/lucid commentary on abstraction as an exercise in contradiction, a balancing act of staying engaged with the most current debates in art, while courting anonymity by avoiding ownership of any specific style or allegiance to any specific school.
Language must be examined before it is used; Cortázar, in an extended paraphrase of his novel Hopscotch, says: "[K]eep in mind the possibility that [language] is deceiving us, that is, that we are convinced that we are thinking for ourselves when in reality language is thinking for us, using stereotypes and formulas that come from the depth of time and could be completely rotten …" While the efficacy of Cortázar's approach remains to be seen, Literature Class itself functions as an interesting and, to use Cortázar's word, ludic experience that puts some of his ideas to the test.
Ludic Theatre was founded in 1978, by the stage director Aurel Luca.History During the time, it participated in more than 75 international festivals, and won around 500 trophies and diplomas.Aurel Luca: Teatrul Ludic va pleca odată cu mine at revistatimpul.ro It is the first Romanian theatre that joined the International Amateur Theatre Association, in 1993.Ludic Student Theater to perform for Romania at Granada’s International Theater Festival Starting 2008, each year in December, the company organises the international "Ludic Theatre Days Festival" (Romanian: "Zilele Teatrului Ludic").
Harriss, Harriet. "Ludic Architecture: Playful Tools for Participation in Spatial Design." Design Principles & Practice: An International Journal 4.5 (2010).
Edwin Ludic is a South African former rugby league footballer who represented South Africa at the 1995 World Cup.
The various tools and concepts associated with ludic interface development differ from mainstream technological systems that employ human computer interfacing and interaction. Ludic interfaces tend to be more playful, are user-generated and user-driven, flexible, low-cost and cooperative. Such interfaces are often experimental and draw upon methods and knowledge from video game design, interactive media, modding cultures, media conversion, and social networking. The goal of ludic interface design is to create interfacing technology that offers ease of use and is inherently playful.
At its core, "ludic interfaces" is a subcategory of interfaces in general. The notion is not restricted to electronics or human–computer interaction, even if the terminology was developed in respect to digital technology. Various authors suggest to use the term "ludic interfaces" for non-digital phenomena, e.g. architectural facades, skins, wearable computers, media art.
Ingrian is classified, together with Finnish, Karelian (including Liivi), Ludic and Veps, in the Northern Finnic branch of the Uralic languages.
Ludic Student Theatre () is a theatre company in Iași, Romania, specializing in plays for young audiences. The company is hosted by the Iași Student Cultural House.
BELLMEDICS acquired Fleming-Monroe Aeronautics in 1999 and re-branded itself under the current name of Massive Dynamic. On the 10th anniversary of the company's founding, it expanded operations into computing and telecommunications, particularly in artificial intelligence, bio-computation and quantum cryptography. Massive Dynamic created Ludic Science in 2007, its entertainment subsidiary. Ludic Science developed Mass- Dyn Z10, a home video game console primarily for home entertainment use.
Serialization also encouraged the ending of each serialized extract on a note of high suspense. (4) There is a strong ludic element in Ursule Mirouët. For Goupil the law is nothing but a game the aim of which is to outwit and defeat one's opponents. Melodrama also has a ludic dimension as Balzac conjures into and out of existence the visionary beings who assist the progress of the plot.
New York: Random House. p. 309. . The adjective ludic originates from the Latin noun ludus, meaning "play, game, sport, pastime".Simpson, D.P. (1987). Cassell's Latin and English Dictionary.
Ludic interfaces can also facilitate play in a musical sense. The "postvinyl" performance, originally commissioned by futuresonic festival Manchester in 2004 recontextualizes a computer game in a performance environment.
This love style carries the likelihood of infidelity. In its most extreme form, ludic love can become sexual addiction. Examples of ludus in movies include Dangerous Liaisons, Cruel Intentions, and Kids.
Student experiment in Interface Design developed at UP Valencia A ludic interface is a type of computer interface. In the field of human–computer interaction (HCI), the term ludic Interfaces describes a discipline that focuses on user interfaces that are inherently "playful". This field of interface research and design draws on concepts introduced by Dutch historian and cultural theorist Johan Huizinga in the book Homo Ludens ("Man the Player" or "Playing Man"). Huizinga's work is considered an important contribution to the development of game studies.
The conviction of Sally Clark was eventually overturned. The ludic fallacy. Probabilities are based on simple models that ignore real (if remote) possibilities. Poker players do not consider that an opponent may draw a gun rather than a card.
Frasca's ludic and narratological principles have also influenced scholarship on the cultural colonialisation of videogames. This area of study deems the common practice of framing games within filmic traditions as detrimental to game analysis, as games should "reject any intervention from other disciplines..." Furthermore, it is argued that cinema is a highly privileged medium due to the fact that it can be used to frame game analysis. Other pro-ludic arguments have claimed that contemporary videogames are unable to effectively model player actions within the narrative. Particular areas of games studies suggest that games are unable to create a coherent ludonarrative.
Clyde Hendrick and Susan Hendrick of Texas Tech University expanded on this theory in the mid-1980s with their extensive research on what they called "love styles". Their study found that male students tend to be more ludic, whereas female students tend to be storgic and pragmatic. Whilst the ludic love style may predominate in men under age thirty, studies on more mature men have shown that the majority of them do indeed mature into desiring monogamy, marriage and providing for their family by age thirty. Hendrick and Hendrick (1986) developed a self- report questionnaire measure of Lee's love styles, known as the Love Attitudes Scale (LAS).
ICAT 2006 was held at Zhejiang University of Technology in China. Archives of ICAT2007 are online at IEEE site. The first international symposium ‘Ludic Engagement Designs for All’ supported. The 3rd ArtAbilitation Conference was held alongside ICDVRAT 2008 in Maia, Portugal, on September 8 through 10th.
The ludic fallacy, proposed by Nassim Nicholas Taleb in his book The Black Swan (2007), is "the misuse of games to model real-life situations". Taleb explains the fallacy as "basing studies of chance on the narrow world of games and dice".Taleb, Nassim (2007). The Black Swan.
After Mass Moving's Ludic Environment Machine (L.E.M.) project for the Sonsbeek Buiten De Perken outdoor art festival in ArnhemSONSBEEK BUITEN DE PERKEN (1971) catalog Iⅈ Sonsbeek, Arnhem (I) p.118,119,204 (II) p.27 (NE/EN) and the Butterfly Project (Venice Biennale, 1972),Lebeer, Irmeline (1972) "Mass Moving" Chroniques de L'ART VIVANT nr.
In Belgium, Hashomer Hatzaïr was established in 1920. Today, 250 hanihim come each Saturday to take part in folk dancing (rekudei'am), ludic activities (peoulot) and Shabbat celebrations (oneg shabbat). Four camps are organized throughout the year. The November, Winter and Easter camps usually take place in the Netherlands and the Summer camp in France.
A Tutor Systems box with 24 tiles. Tutor Systems is an Australian ludic learning tool that allows learners to check their answers for accuracy themselves. There are different sets of tasks, from pre-school to grammar school. This is the English adaptation of German-speaking LÜK, of which LÜK means "lernen, üben, kontrollieren" (learn, practice, check).
The Latin of the work is sometimes vulgar and facile, other times cryptic and opaque, owing in part to Jerome's extremely difficult vocabulary of Graecisms and Latin/Greek compounds. (See Herren, 2001). Anagram games, and etymological 'jokes' (e.g. using the verb 'monstrare' followed by the noun 'monstrum', then the verb 'demonstrare') and other ludic elements are found throughout.
Topor first met her future husband at the International Festival of Amateur Theatre of Gerona in 1996, in which she participated as an actress with the Ludic Theatre company.Pastells, Josep. Actriu, filòloga, periodista... i primera dama d’origen romanès. Ara.cat, Januari 13, 2016. [Retrieved January 16, 2016]«Marcela Topor, la dona del expresidente de la Generalitat». 324.
Location-based games may induce learning. De Souza, (2006) has observed that these activities produce learning that is social, experiential and situated. Learning however is related to the objectives of the game designers. In a survey of location- based games (Avouris & Yiannoutsou, 2012) it was observed that in terms of the main objective, these games may be categorized as ludic,(e.g.
Video game designer Clint Hocking coined the term Ludonarrative dissonance is the conflict between a video game's narrative told through the story and the narrative told through the gameplay. Ludonarrative, a compound of ludology and narrative, refers to the intersection in a video game of ludic elements (gameplay) and narrative elements. The term was coined by game designer Clint Hocking in 2007 in a blog post.
IVANHOE is an open source electronic role-playing game for educational use. It was developed by ARP at the University of Virginia. It is so named because Sir Walter Scott's novel, Ivanhoe, was used as the source text for the very first IVANHOE game. IVANHOE is notable as an example of the use of ludic or game-related techniques in higher education in the humanities.
J.A. Lee defined two main types of lovers for college aged young adults: "Eros" lovers who are passionate lovers, and "Ludas" or "Ludic" lovers, which are game-playing lovers. "Eros" lovers are lovers that immediately form a close connection. They fall in love with the physical appearance of another before considering other characteristics of the person. This type of lover also commits to casual sex relationships.
Ludus means "game" or “school” in Latin. Lee uses the term to describe those who see love as a desiring to want to have fun with each other, to do activities indoor and outdoor, tease, indulge, and play harmless pranks on each other. The acquisition of love and attention itself may be part of the game. Ludic lovers want to have as much fun as possible.
More recently, media and digital technology introduced possibilities of visual, spatial and experiential analyses. The relevant forms vary from movies, to interactive forms, including virtual environments, augmented environments, situated media, networked media, etc. The methods enabled by such techniques are in active development and promise to include qualitative approaches that can emphasize narrative, dramatic, emotional and ludic characteristics of history and art.Esche-Ramshorn, Christiane and Stanislav Roudavski (2012).
Actress Flávia Monteiro, who portrayed Carol in the previous version, has supported the remake by saying "I'm pretty sure that it'll be a huge hit. I hope they maintain that magic and sensibility (...). It's essential not to lose all that ludic and joy that existed". Fernanda Souza also demonstrated positive thoughts on the 2013 series, stating that 'Chiquititas is a beautiful work which children and teenagers are in need.
Because physical appearance is the main reason for their attraction, it is difficult for a genuine romantic relationship to form. "Ludic" lovers look for the feeling of a conquest, and typically enter a relationship or hook-up with very little or no intentions of commitment. In most cases, they will have more than one sexually active partner at a given time. They also find it difficult to consider a serious relationship.
ProRepublica logo Henk Kamp and Wouter Bos were the first informateurs commissioned by the House rather than the queen. In the 2000s, the royal house had little to fear from republicans, who generally limited themselves to ludic activism and writing opinion pieces. Several more republican initiatives emerged, including ProRepublica, the New Republican Fellowship, the Republican Socialists and the Republican Platform. It is unclear if these are still active.
Bellsybabble is the name of a fictional language of the Devil, mentioned by writer James Joyce in the following postscript to a letter (containing the story now known as "The Cat and the Devil"), which he wrote in 1936 to his four-year-old grandson: The name "Bellsybabble" is a pun on Beelzebub, "babble" and Babel. Bellsybabble has variously been called a poly-language, a pluridialectal idiom and a ludic creation.
Véronique Dasen (born 1957) is a Swiss archaeologist and Professor in Classical Archaeology and Art History at the University of Fribourg. Her research is led in a multidisciplinary and anthropological perspective. Her research interests range from ancient iconography and material culture, the history of the body, of medicine and magical practices to gender studies, history of childhood, and ludic culture (games and divination, games and love, passage rites).
In ′Ludologists love stories, too: Notes from a debate that never took place′ (a response to misinterpretation of Frasca's position on ludology and narratology), Frasca cites Rune Klevjer's critical misunderstanding of ludic principles. Klevjer suggests that the ludologist deems anything other than pure game mechanics as essentially alien to the medium's true aesthetic form, and that games should shift toward a more abstract and play oriented models.Frasca, G. (2003).Accessed June 5, 2013.
Anne-Marie Schleiner (born 1970) is a theorist, an educator, a new media and performance artist, a hacktivist, a scholar, a gamer, and a curator. Her work is focused on gender construction, ludic activism, situationist theory, political power struggles, experimental gaming design theory, urban play, the United States Military, avatar gender reification, the global south, and feminist film theory. Schleiner's work is influenced by contemporary art, dada, 1970s performance art, net art, and conceptual art.
"Ludic Interfaces" is also a Masters programme development on a European level. It is the title of a European collaboration in creating a network of academic institutions and of world leading media centres to investigate, design and test publicly shared digital content. The programme development is a joint project by the University of Potsdam, Universidad Politécnica de Valencia, Universität für künstlerische und industrielle Gestaltung in Linz, and by the University of Salford in Greater Manchester.
The name Angola was finally immortalized by Mestre Pastinha at February 23, 1941, when he opened the Centro Esportivo de capoeira Angola (CECA). Pastinha preferred the ludic aspects of the game rather than the martial side, and was much respected by recognized capoeira masters. Soon many other masters would adopt the name Angola, even those who would not follow Pastinha's style. The ideal of Capoeira Angola is to maintain capoeira as close to its roots as possible.
Wiley Publishing (2009). and says that perhaps Taleb is correct to urge that banks be treated as utilities forbidden to take potentially lethal risks, while hedge funds and other unregulated entities should be able to do what they want. Taleb's writings discuss the error of comparing real-world randomness with the "structured randomness" in quantum physics where probabilities are remarkably computable and games of chance like casinos where probabilities are artificially built. Taleb calls this the "ludic fallacy".
A Chimney Sweep smearing a girl's face with tar Chimney sweeps are a popular ludic element and appear every year. Their task has been to smear people with soot (nowadays replaced by shoe polish). It is usually applied with a gloved or naked hand on the targeted person's face, or by pretending to shake hands. In recent years the chimney sweeps have also used whips made from short pieces of rope to whip the legs of the passers-by.
While Frasca maintains the importance of play elements in games and simulation, he acknowledges the narratological paradigm should not be disregarded. He posits that it is necessary to understand the structure and elements of games, creating typologies and models for explaining game mechanics. Since the establishment of ludology as a formal approach to reading games and simulation, numerous academics have framed their works within the ludic and narratological paradism. However, unlike Frasca's work, scholarship has emerged which discounts the significance of the narrative.
Prevenda composes, or more precisely she lays down visual-tactile matter, like the ashes of her feelings, over simple urban signs of human presence. The processes of growing of the images and of the matters they wear, the densification of the surfaces – symbolically speaking – build for the artist a niche of introspection. It is a painting of emotional combustion, serious in inventiveness, without falling into the ludic. The technique of the artist produces an extremely rich pictural texture without intentionally recovering the ridiculous.
A general criticism of decision theory based on a fixed universe of possibilities is that it considers the "known unknowns", not the "unknown unknowns": it focuses on expected variations, not on unforeseen events, which some argue have outsized impact and must be considered – significant events may be "outside model". This line of argument, called the ludic fallacy, is that there are inevitable imperfections in modeling the real world by particular models, and that unquestioning reliance on models blinds one to their limits.
Interpretations of the story vary widely. Parini finds the story "about a young man's false sense of accomplishment" and ascribes Thompson's feelings to Faulkner's "inner doubt"; the author, according to Parini, must have had the "feeling that the world sees more in him than he actually possesses".Parini 2004, p. 51. Frederick R. Karl says the story "establishes Faulkner as a teller of tall tales, a vivid and significant part of his artistic imagination and a centerpiece of his ludic imagination".
Schleiner was born in 1970 in Providence, Rhode Island. In 1992, Schleiner received her B.A. in studio arts at the University of California, Santa Cruz. She continued her education by receiving her MFA in computers in fine art from the CADRE Program at San Jose State University Her dissertation, "Ludic Mutation: The Player's Power to Change the Game" was written under the supervision of Professor Dr. Mireille D. Rosello at the Amsterdam School for Cultural Analysis at the University of Amsterdam and submitted in 2012.
To the question, "Why MADI?" Josee Lapeyrere, who met Arden Quin in 1962 and has since participated with her poem-objects in most of the events organized by the movement, replies: "MADI's goal is to be rigorous, inventive, gay and ludic." By the importance to which they accord spiritual and imaginative games, even the most serious MADI artists can be described as playful. Already in 1795, Schiller focused on "the inborn playful nature of man" as an explanation for his production of art forms.
Samba Axé is a solo dance that started in 1992 during the Brazilian Carnival season in Bahia when the Axé rhythm replaced the Lambada. For years it became the major type of dance for the North east of Brazil during the holiday months. The dance is completely choreographed and the movements tend to mimic the lyrics. It is very energetic and mixes elements of Samba no pé and aerobics and because of the lyrics, which are made for entertainment, the dance generally has some sort of ludic element.
Inspired in his youth by the poetry of Vladimir Mayakovsky and Sergei Yesenin and by the Romanian avant-garde magazine unu, he was a co-founder in the early 1930sof the magazines Alge and Viața Imediată. Păun set himself the goal of making poetry a living experience. He experimented briefly with licentious, ludic themes (and was thus prosecuted for pornography) before turning to Marxism and proletkult aesthetics. Like other avant-garde writers, including his friends Gherasim Luca and Dolfi Trost, he adhered to the then-illegal Romanian Communist Party.
Ludic Check (May 22, 1918 - May 11, 2009) was a professional hockey player who played for the Detroit Red Wings and the Chicago Black Hawks in the National Hockey League. After several years of hockey in Manitoba, Saskatchewan and New York, Check was signed by the Montreal Canadiens after a season playing with the Quebec Senior Hockey League in 1943. In his first NHL season, he played only one professional game, with the Red Wings in 1944. Check was then loaned to the Black Hawks, where he played 26 games in his final NHL season.
After finishing high school, mathematics and physics department, she decided to study Romanian and English languages and literature, along with American literature, at the Alexandru Ioan Cuza University in her hometown. Meantime, Cristina was a member of the Ludic Theatre, a company of amateur theatre for students. After graduating from her first faculty, she decided to get seriously into acting and became a student at the Babes-Bolyai University in Cluj-Napoca, studying acting with professor Miklos Bacs (actor at the Hungarian Theatre of Cluj) and Irina Wintze (actress at the Cluj-Napoca National Theatre).
"Lifestyle anarchists" demand "anarchy now", imagining they can create a new society through individual lifestyle changes. In his view this is a kind of fake-dissident consumerism which ultimately has no impact on the functioning of capitalism because it fails to recognise the realities of the present. He grounds this polemic in a social-realist critique of relativism, which he associates with lifestyle anarchism as well as postmodernism (to which he claims it is related). Ludic approaches, he claims, lead to social indifference and egotism similar to that of capitalism.
In a 2007 blog post, Hocking coined the term ludonarrative dissonance as a term for the conflict between a video game's narrative told through the story and the video game's narrative told through the gameplay. Ludonarrative, a compound of ludology and narrative, refers to the intersection in a video game of ludic elements (gameplay) and narrative elements. In the post, he critiqued BioShock (2007), feeling that while the narrative wants the protagonist to be selfless, the actual mechanics of BioShock rely on selfishness and the pursuit of power.
These include mystical recitations of Sufi litanies and the singing of spiritual poems along with exorcisms, and collective dances. Ludic aspects of the ceremony are attested to by the participants' laughter, songs, and dances, alongside ecstatic emotional demonstrations, which may feature crying and tears. At the symbolic system level, the ceremony represents the initiatory advance of the Sufi on an ascending mystical voyage towards God and the Prophet, then the final return to Earth. This odyssey passes through the world of human beings and that of the jinn to culminate in the higher spheres, where the human meets the divine.
Most forms of Probes involve investigative participation. Participants engage in reflective participation – both in the standard sociological sense of becoming aware of actions and interactions and describing them in some way, and in the methodological sense of making actions accountable. However, there is also evidence of different forms of participation. Cultural Probes emphasis imaginative and playful participation, engaging participants in activities that promote the use of aspects of their lives that are more “ludic’ and less goal-driven. Empathy Probes emphasis emotional participation, seeking out participants’ effective responses both to things in their everyday lives and new technologies.
Positive-outcome expectations and limited self-control of social media use can develop into "addictive" social media use. Further problematic use may occur when social media is used to cope with psychological stress, or a perceived inability to cope with life demands. Cultural anthropologist Natasha Dow Schüll noted parallels to the gambling industry inherent in the design of various social media sites, with "'ludic loops' or repeated cycles of uncertainty, anticipation and feedback" potentially contributing to problematic social media use. Another factor directly facilitating the development of addiction towards social media is implicit attitude towards the IT artifact.
" He says it is at once "a detective story" and "an adultery novel."Christopher Lehmann- Haupt, Books of The Times; "When There Was Such a Thing as Romantic Love", The New York Times, 25 October 1990. Retrieved 23 January 2014 Writing in the Guardian online, Sam Jordison, who described himself as "a longstanding Byatt sceptic", wrote that he was: "caught off-guard by Possession's warmth and wit" ... "Anyone and everything that falls under Byatt's gaze is a source of fun." Commenting on the invented 'historical' texts he said their "effect is dazzling – and similarly ludic erudition is on display throughout.
Zerzan's work relies heavily on a strong dualism between the "primitive" – viewed as non-alienated, wild, non-hierarchical, ludic, and socially egalitarian – and the "civilised" – viewed as alienated, domesticated, hierarchically organised and socially discriminatory. Hence, "life before domestication/agriculture was in fact largely one of leisure, intimacy with nature, sensual wisdom, sexual equality, and health." Zerzan's claims about the status of primitive societies are based on a certain reading of the works of anthropologists such as Marshall Sahlins and Richard B. Lee. Crucially, the category of primitives is restricted to pure hunter-gatherer societies with no domesticated plants or animals.
Sonia de Francisco (1947), is an argentinian librarian president of the Mar del Plata Business Women organization (Mujeres Empresarias de Mar del Plata). She was the first person in charge of the municipal library division of Mar del Plata city, created in 1974. She promoted the opening of different libraries in Mar del Plata city through neighborhood development associations, municipal libraries that were installed in the city squares and the United Nations Depository Library. Between 2010 and 2012, was a volunteer for CONABIP's bookmobile campaign, "Sumergite en la Lectura" (Immerse yourself in Reading), highlighting the ludic space of reading.
Starting in January 2002, he created the entrance facade of the MADI Museum and was named its Artistic Director. The Museum and Gallery in the Uptown quarter of Dallas was inaugurated on 22 February 2003. The building's two principal facades were completely transformed by two-store high sculptural works specially created by Roitman during a fifteen-month period – asymmetrical pieces of the bright colors, drenched in ludic or whimsical cuts and folds and bolted to a mirrored background. This lightning bolt transformation of a pedestrian office building into a sculptural work is considered by Roitman to be the culmination of his own life devoted entirely to the arts.
Theoretician and artist using synesthesia in the arts, he creates performances and poetry events where are present linguistic, verbal, and gesture signs, involving the five senses. We have performance actions with poems to eat, to drink, to hear, to sniff, to put in action with gestures and voice. His visual poems are realized as collage elaborations with writing on images and photography taken from the world of mass media, with the aim to make evident its contradictions in a ludic process similar to the one of Pop Art. Lamberto Pignotti has realized object-books with various materials, performance using text fragments variously combined, also involving the public.
Class Wargames is a situationist ludic-science group based in London. Founded by Richard Barbrook and Fabian Tompsett in 2007, the group has since reproduced Guy Debord's Le Jeu de la Guerre and proceeded to tour Europe, Asia and South America. In contrast to the electronic version of Debord's game, created by the Radical Software Group, Class Wargames is based on a real rather than digital version of the Game of War and allows for convivial interaction through which anyone can become a situationist. Meaningful Votes: The Brexit Simulation was a wargame designed by Richard Barbrook to help understand the dynamics of the political factions in United Kingdoms around the Brexit.
Crystal was awarded the OBE in 1995 and became a Fellow of the British Academy in 2000. He is also a Founding Fellow of the Learned Society of Wales and is a Fellow of the Chartered Institute of Linguists. His many academic interests include English language learning and teaching, clinical linguistics, forensic linguistics, language death, "ludic linguistics" (Crystal's neologism for the study of language play),David Crystal, "Carrolludicity" style, English genre, Shakespeare, indexing, and lexicography. He is the Patron of the International Association of Teachers of English as a Foreign Language (IATEFL), honorary president of the Chartered Institute of Editing and Proofreading (CIEP), and Patron of the UK National Literacy Association.
On the other hand, professor Alfred Salmela suggested in 1970 that the word 'korho' is a loan from the Baltic languages and has meant "old, village elder or chief". It still reported to carry a meaning of "proud, rich and boastful" in the southern parts of Finnish Lapland. In addition, in languages closely related to Finnish such as Karelian, Estonian and Ludic the word 'korho' has the meaning "raised or upright". As an example of a word derived from this, the Karelian verb 'korhottaa' means "to be or move upright, to have one's head up high, to raise, to shake threateningly or brandish and to listen attentively".
He was born on 1 October 1960 LC identities holds a BA from Trinity College Dublin, an MA awarded in 1982 from University College Dublin and a Ph.D awarded in 1991 from Trinity College Dublin with a thesis "Ludic elements in the prose fiction of Réjean Ducharme and Gérard Bessette" WorldCatOfficial CV He is co-editor of The Irish Review. He was elected a member of the Royal Irish Academy in 2008, and holds the post of its Humanities Secretary. He is also the Chairperson of Poetry Ireland. He was appointed to the Ambassadors Chair at KU Leuven for the 2019-2020 academic year.
Graphics Improve But Video Game Endings Still Come Up Short, by Stephen Totilo which could lead to Ludonarrative dissonance: a situation when ludic and narrative elements are opposed to each other, as Far Cry 2 director Clint Hocking defined the concept in his blog. Also as video games are more recent than other media, video game writing is still a field to be conquered.Bad lines by Clint Hocking, published 9 february 2012 on the Edge website There is no specific training to video game writing and some video game writers – such as Tim Schafer and Sam Barlow – are also in charge of other game development tasks.
Uralic languages (Meänkieli, Kven and Ludic are debated) The Uralic languages (; sometimes called Uralian languages ) form a language family of 38 languages spoken by approximately 25million people, predominantly in Northern Eurasia. The Uralic languages with the most native speakers are Hungarian, Finnish, and Estonian, while other significant languages are Erzya, Moksha, Mari, Udmurt, Sami and Komi, spoken in northern regions of Scandinavia and the Russian Federation. The name "Uralic" derives from the family's original homeland (Urheimat) commonly hypothesized to be in the vicinity of the Ural Mountains. Finno-Ugric is sometimes used as a synonym for Uralic, though Finno-Ugric is widely understood to exclude the Samoyedic languages.
Alcántara Bridge, of Trajan epoque Roman civil engineering is represented in imposing constructions such as the Aqueduct of Segovia and the Acueducto de los Milagros in Mérida, in bridges like the Alcántara Bridge, Puente Romano over Guadiana River, and the Roman bridge of Córdoba over the Guadalquivir. Civil works were widely developed in Hispania under Emperor Trajan (98-117 AD). Lighthouses like the one still in use Hercules Tower in A Coruña, were also built. Tarragona Amphitheatre and the Mediterranean Sea Ludic architecture is represented by such buildings as the theatres of Mérida, Sagunto, Cádiz, Cartagena, and Tarraco, amphitheaters in Mérida, Italica, Tarraco or Segóbriga, and circuses in Mérida, Toledo, and many others.
In particular, enemies roll a smaller die than the players (d8 versus d10), making it markedly more likely that PCs will succeed in their actions than their antagonists. This also has the effect of making random failure more likely for NPCs than for PCs, as the lowest value on an eight-sided die comes up 12.5% of the time, compared to 10% of the time for a ten-sided die. The ludic experience is included in a more global pastoral or religious frame, for example the Adventure Master has to be a figure of authority (an adult, a dad, a pastor). The game design introduced different resolution rules for the player characters and for the non-player characters.
The idea that a videogame is "radically different to narratives as a cognitive and communicative structure" has led the development of new approaches to criticism that are focused on videogames as well as adapting, repurposing and proposing new ways of studying and theorizing about videogames. A recent approach towards game studies starts with an analysis of interface structures and challenges the keyboard-mouse paradigm with what is called a "ludic interface". Academics across both fields provide scholarly insight into the different sides of this debate. Gonzalo Frasca, a notable ludologist due to his many publications regarding game studies, argues that while games share many similar elements with narrative stories, that should not prevent games to be studied as games.
G. K. Chesterton's 1905 short story "The Tremendous Adventures of Major Brown" (part of a collection entitled The Club of Queer Trades) seems to predict the ARG concept, as does John Fowles's 1965 novel The Magus. Ludic texts such as the popular Choose Your Own Adventure children's novels may also have provided some inspiration. The plot of the British television drama serial The One Game, broadcast in 1988, was entirely based on the concept of the ARG (referred to as a "reality game" in the script). William Gibson's novel Pattern Recognition includes a recognizable example of a modern ARG, although it was published after the development of the genre began in earnest.
The Abolition of Work, Bob Black's most widely read essay, draws upon the ideas of Charles Fourier, William Morris, Herbert Marcuse, Paul Goodman, and Marshall Sahlins. In it he argues for the abolition of the producer- and consumer-based society, where, Black contends, all of life is devoted to the production and consumption of commodities. Attacking Marxist state socialism as much as market capitalism, Black argues that the only way for humans to be free is to reclaim their time from jobs and employment, instead turning necessary subsistence tasks into free play done voluntarily – an approach referred to as "ludic". The essay argues that "no- one should ever work", because work – defined as compulsory productive activity enforced by economic or political means – is the source of most of the misery in the world.
In 1992 he was instrumental in founding the Free University of Nouallaguet, and he has lectured there since 1995. Translator from French into Czech (François Rabelais, Alfred Jarry, Raymond Queneau, Samuel Beckett, Henri Michaux, Boris Vian, Claude Simon...) and from Czech into French (Bohumil Hrabal, Vladimír Holan, Jan Skácel, Miroslav Holub, Jiří Gruša, Ivan Wernisch...), Ouředník is also the author of various literary texts. His production is characterized by an interest in curious and surprising aspects of life, by an experimentation in exploring language, literary forms and genres, and by a constant attention to ludic aspects. Words, events, social stereotypes, readings, the story itself are continuously mixed up in a lucid, hilarious game of intertextuality as witnessed, for example, in three of his novels translated into English: Europeana.
However, she uses her works to develop ideas around specific themes, such as the critique of censorship and repression of the Franco dictatorship in Los Sellos de la España Sellada (The Stamps of Stamped Spain) in 1976. In 1970, the artist participated for the second time in the Salon Independiente, exhibiting Ambientación Alquímica (Alchemical Atmosphere), one of her most well known pieces that currently forms part of the standing collection of the Museo Universitario Arte Contemporáneo. It is an open, walk-in structure with movable wooden wall panels and geometric forms made from carton and newsprint, with numbers and syllables painted on it that form the word "Tetragramaton". While inside it, the spectator becomes an active and ludic element in the work itself, a concept that had barely begun to be explored in that time.
In his review of Horse Latitudes, James Fenton of The Guardian described the work as "disconcerting", and praised Muldoon for the "brilliance of his verbal transformations". Jim McCue of The Independent described Muldoon as "a good poet in the doldrums", saying that after 48 trips to the dictionary he felt "the book's erudition is for show, and wordplay stands in for meaning instead of standing up for it". The New York Times noted the clever and obscure references which Muldoon used to convey the anger and sadness in his poetry, and said "the poem's weird levity only darkens the tone". The review of Robert Potts in The Telegraph echoed this, saying the "ludic nature" of Muldoon's work "has occasionally irritated less patient readers" but that his "fun does not preclude his seriousness".
After interrupting his studies to serve in World War II as a non-combatant conscientious objector with the Royal Army Medical Corps, Morgan graduated in 1947 and became a lecturer at the University. He worked there until his retirement as a full professor in 1980. Morgan described 'CHANGE RULES!' as 'the supreme graffito', whose liberating double-take suggests both a lifelong commitment to formal experimentation and his radically democratic left-wing political perspectives. From traditional sonnet to blank verse, from epic seriousness to camp and ludic nonsense; and whether engaged in time-travelling space fantasies or exploring contemporary developments in physics and technology, the range of Morgan's voices is a defining attribute.See Colin Nicholson, Edwin Morgan: Inventions of Modernity (Manchester 2002) Morgan first outlined his sexuality in Nothing Not Giving Messages: Reflections on his Work and Life (1990).
Often enough, the ludic purposes and the catechistical purposes are mixed up with the struggle to exteriorize the municipal and the archiepiscopal powers, and generate an overwhelming growth of the spectacular nature and complexity of the Festivities. The onset of the 16th century and the outbreak of spoken dances--some of which are new while others are redefined from ancient entremesos and dances--shaped the last part of one of the structures of the festivity that essentially survived without any outstanding alterations until the onset of the 19th century. In any case, we must point out its increasing significance, which is provincial council that is held in Barcelona in year 1564, under the chairmanship of the patriarch of Antioch, D. Fernando de Loazes, who ratifies the feast day of Santa Tecla as an obligation day in all of the ecclesiastical province of Tarragona.
BonusWeb forgave the amateurish screens as having a similar charm to the 1995 Czech point-and-click adventure game Ramonovo Kouzlo by Vochozka Trading. According to The Players' Realm, the game is "thoroughly rooted in the lost tradition" of gameplay consisting of progressing through a series of static panoramic screens through puzzle- solving and clue-collecting, as seen in titles such as Myst, Riven, and Jewels of the Oracle, in a genre "so beloved of earlier games scholarship". The book notes that the puzzles turn what would have been a slideshow into narrative architecture, in which the photographs become rewards for the completion of puzzles in the ludic experience. In addition, Adventure Gamers thought that while far from a perfect game, Xiama captured the spirit of adventure gaming, and gave it the Best Puzzles of 2000 Award.
Academic Profile of Reviel NetzCurriculum Vitae of Reviel Netz Netz's major research interest include the wider issues of the history of cognitive practices; for example the history of the book, visual culture, literacy and numeracy. He is the author of a number of works in field, including volumes I and II of The Archimedes Palimpsest. He also co- authored The Archimedes Codex with William Noel on the same subject matter, but oriented towards a public audience. It received the Neumann PrizeThe Neumann Prize of the British Society for the History of Mathematics (BSHM) as well as several works published by the Cambridge University Press, including The Shaping of Deduction in Greek Mathematics: a Study in Cognitive History (1999, Runciman Award), The Transformation of Early Mediterranean Mathematics: From Problems to Equations (2004), and Ludic Proof: Greek Mathematics and the Alexandrian Aesthetic (2009).
His argument centers on the idea that predictive models are based on Plato's Theory of Forms, gravitating towards mathematical purity and failing to take some key ideas into account, such as: the impossibility of possessing all relevant information, that small unknown variations in the data can have a huge impact, and flawed theories/models that are based on empirical data and that fail to consider events that have not taken place, but could have taken place. Discussing the ludic fallacy in The Black Swan, he writes, "The dark side of the moon is harder to see; beaming light on it costs energy. In the same way, beaming light on the unseen is costly, in both computational and mental effort." In the second edition of The Black Swan, he posited that the foundations of quantitative economics are faulty and highly self- referential.
Volf Roitman Volf Roitman (Russian: Волф Ройтман) (30 December 1930 in Montevideo, Uruguay - 25 April 2010) was a painter, sculptor and architect, sometimes referred to as a Renaissance Man, the son of Jewish Russian/Romanian parents. He grew up in Argentina where he received a degree in architecture whilst co-editing a cult poetry magazine. At age twenty, he moved to Paris where, with Carmelo Arden Quin, founder of the Latin American movement MADI, instantly morphed into a painter while helping to relaunch MADI, first in France and eventually across four continents. Moving between countries and cultures – he has lived in Spain, the United Kingdom, Ireland, and finally outside of Tampa, Florida, in the United States– and although eventually distanced from the MADI movement's official conservative views, he remained always faithful to its concepts of ludic invention and whimsical humor within the boundaries of colorful geometric abstraction.
G. K. Chesterton's 1905 short story "The Tremendous Adventures of Major Brown" (part of a collection entitled The Club of Queer Trades) seems to predict the ARG concept, as does John Fowles' 1965 novel The Magus. The combination board and card game, Vlet, that many of the main characters in Delany's science fiction novel Triton (published in 1976) play throughout his novel appears to be a type of ARG. (The game's name was borrowed from a similar game in short story by Russ entitled "A Game of Vlet".) Ludic texts such as the popular Choose Your Own Adventure children's novels may also have provided some inspiration. Reader-influenced online fiction such as AOL's QuantumLink Serial provides a model that incorporates audience influence into the storytelling in a manner similar to that of ARGs, as do promotional online games like Wizards of the Coast's Webrunner games.
Attacking Marxist state socialism as much as market capitalism, Black argues that the only way for humans to be free is to reclaim their time from jobs and employment, instead turning necessary subsistence tasks into free play done voluntarily—an approach referred to as "ludic". The essay argues that "no-one should ever work", because work—defined as compulsory productive activity enforced by economic or political means—is the source of most of the misery in the world. Most workers, he states, are dissatisfied with work (as evidenced by petty deviance on the job), so that what he says should be uncontroversial, but it is controversial only because people are too close to the work-system to see its flaws. Bob Black, writer of the essay The Abolition of Work In contrast, play is not necessarily rule-governed and is performed voluntarily in complete freedom as a gift economy.
The implication of combining these two negations is that by creating abstraction, one creates art, which, in turn, creates a point of distinction that unitary urbanism insists must be nullified. This confusion is also fundamental to the execution of unitary urbanism as it corrupts one's ability to identify where "function" ends and "play" (the "ludic") begins, resulting in what the Lettrist International and Situationist International believed to be a utopia where one was constantly exploring, free of determining factors. In "Formulary for a New Urbanism", Chtcheglov had written "Architecture is the simplest means of articulating time and space, of modulating reality, of engendering dreams". Similarly, the Situationists found contemporary architecture both physically and ideologically restrictive, combining with outside cultural influence, effectively creating an undertow, and forcing oneself into a certain system of interaction with their environment: "[C]ities have a psychogeographical relief, with constant currents, fixed points and vortexes which strongly discourage entry into or exit from certain zones".
He points out that hunter- gatherer societies are typified by play, a view he backs up with the work of Marshall Sahlins—he recounts the rise of hierarchal societies, through which work is cumulatively imposed, so that the compulsive work of today would seem incomprehensibly oppressive even to ancients and medieval peasants. He responds to the view that "work", if not simply effort or energy, is necessary to get important but unpleasant tasks done, by claiming that first of all, most important tasks can be rendered ludic, or "salvaged" by being turned into game-like and craft-like activities and secondly that the vast majority of work does not need doing at all. The latter tasks are unnecessary because they only serve functions of commerce and social control that exist only to maintain the work-system as a whole. As for what is left, he advocates Charles Fourier's approach of arranging activities so that people will want to do them.
During the 19th century people from Madeira emigrated to Hawaii and took the tradition of Malasadas on Terça-feira Gorda (Shrove Tuesday) with them, now it is called Malasada Day in Hawaii. Traditionally the people of Madeira eat Malasadas on Terça-feira Gorda (Shrove Tuesday), the reason for making malasadas was to use up all the lard and sugar in the house, in preparation for Lent (much in the same way the tradition of Pancake Day in the UK originated on Shrove Tuesday), Malasadas are sold alongside the main carnival parade on Saturday and on the last one, the trapalhão on Terça-feira Gorda (Shrove Tuesday). Arguably, the Brazilian Carnival could be historically traced to the period of the Portuguese Age of Discoveries when their caravels passed regularly through Madeira, a territory which already celebrated emphatically its carnival season, and where they were loaded with goods but also people and their ludic and cultural expressions who then lend them to what would become the biggest cultural manifestation in modern Brazil.
Most workers, he states, are dissatisfied with work (as evidenced by petty deviance on the job), so that what he says should be uncontroversial; however, it is controversial only because people are too close to the work-system to see its flaws. Bob Black, contemporary American anarchist associated with the post- left anarchy tendency Play, in contrast, is not necessarily rule-governed, and is performed voluntarily, in complete freedom, as a gift economy. He points out that hunter-gatherer societies are typified by play, a view he backs up with the work of Marshall Sahlins; he recounts the rise of hierarchal societies, through which work is cumulatively imposed, so that the compulsive work of today would seem incomprehensibly oppressive even to ancients and medieval peasants. He responds to the view that "work," if not simply effort or energy, is necessary to get important but unpleasant tasks done, by claiming that first of all, most important tasks can be rendered ludic, or "salvaged" by being turned into game-like and craft-like activities, and secondly that the vast majority of work does not need doing at all.

No results under this filter, show 126 sentences.

Copyright © 2024 RandomSentenceGen.com All rights reserved.