In "Unit Operations," Ian Bogost argues that similar principles
underlie both literary theory and computation, proposing a
literary-technical theory that can be used to analyze particular
videogames. Moreover, this approach can be applied beyond
videogames: Bogost suggests that any medium--from videogames to
poetry, literature, cinema, or art--can be read as a configurative
system of discrete, interlocking units of meaning, and he
illustrates this method of analysis with examples from all these
fields. The marriage of literary theory and information technology,
he argues, will help humanists take technology more seriously and
hep technologists better understand software and videogames as
cultural artifacts. This approach is especially useful for the
comparative analysis of digital and nondigital artifacts and allows
scholars from other fields who are interested in studying
videogames to avoid the esoteric isolation of "game studies." The
richness of Bogost's comparative approach can be seen in his
discussions of works by such philosophers and theorists as Plato,
Badiou, Zizek, and McLuhan, and in his analysis of numerous
videogames including "Pong," "Half-Life," and "Star Wars Galaxies,"
Bogost draws on object technology and complex adaptive systems
theory for his method of unit analysis, underscoring the
configurative aspects of a wide variety of human processes. His
extended analysis of freedom in large virtual spaces examines
"Grand Theft Auto 3," "The Legend of Zelda," Flaubert's "Madame
Bovary," and Joyce's "Ulysses," In "Unit Operations," Bogost not
only offers a new methodology for videogame criticism but argues
for the possibility of real collaboration between the humanities
andinformation technology.
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