In the second post in our “Honoring Hilmes” series, Ben Aslinger praises Michele Hilmes for her intellectual curiosity and willingness to mentor a diverse array of students and projects.
Ben Aslinger, Sean Duncan, and Liz Ellcessor provide some thoughts on IR12, the 12th annual Association of Internet Researchers conference, which was held in Seattle, October 10-13.
This piece attempts to challenge the stereotypes that single academics can write all the time (or any time we want), are free from family responsibility, and somehow have it “easier” than other academics.
A look back at the highlights of last weekend’s Media in Transition conference.
Last week, Viacom announced that it was planning to sell Harmonix and had already classified the Cambridge-based development studio as a “discontinued operation.”
Given that Erin so eloquently captured the buzz of the scholarly conversations this weekend, I’m going to focus on some of the roundtables that I found most intellectually stimulating.
Some thoughts on the peculiar nature of Glee’s soundtrack and why it both pulls me in and repels me from the program.
Ricky Martin’s decision to come out last week elicited collective yawns from many who had long suspected that the recording artist was gay, sparked rumors that Martin’s coming out was a publicity stunt designed to promote his book and jumpstart his musical career, and provoked some LGBT observers to say it was about time.
On the heels of the popularity of the Rube Goldberg video for “This Too Shall Pass,” OK Go announced that it was leaving an already beleaguered EMI to establish its own label Paracadute Recordings. Quickly a story emerged treating OK Go as the musical David fighting the evil Goliath of EMI.
While much of yesterday’s Internet conversation centered on whether the iPad is a game changer for TV, gaming, publishing, and future of ebooks, I want to address the potentially unnerving aspects of how Apple constructed the user yesterday and point out that while Apple may be a global company, its users are definitely not.
What makes a game important? Is it commercial sales, the ways a game showcases how skilled a designer or studio is at their craft, the visceral response a game gives you, the player communities spawned by a game, the ways designers construct character/story/space, or the ways that games open up new genres, new modes of play, or new sectors of the industry?