Hard gamification (the Normal kind) takes an activity-situation or structure of some sort and stratifies it, supposedly making it supposedly more ‘game-like’, but really just more goal-directed, metric, capable of being evaluated in terms of optimum behaviors (“addressing our problems”). Soft gamification solves no quantifiable problems; instead, it poses questions. It merely takes an activity/situation, and ADDS DEGREES OF FREEDOM such that it is more malleable (more PLAYED, more of a game).

wombflash forest: Notes On Eric Zimmerman’s “Manifesto for a Ludic Century”

Read this a while back. Still great. Highlighting this idea because I think there’s a lot here.

If you want to understand the deepest malfunctions of systems, pay attention to the rules, and to who has power over them.

Leverage Points: Places to Intervene in a System – The Donella Meadows Institute

Probably some of the best systems theory I’ve read in a while. There is so much overlap between how the author looks at things and how game designers do, it’s eerie. Many of the suggestions here could be modeled with Machinations, in fact.

But Williams had stepped outside the arbitrarily defined borders of basketball form. This was an act of pure art, and not just because it was utterly and entirely superfluous. Any matter of standard sparkle could have gotten the ball into Lafrentz’s hands and past a frozen defender. Instead, Williams took the behind the back pass, firmly entrenched the NBA’s canon, and stylized it to the high heavens. Creativity for the sake of creativity, art at its most basic level.

From The Elbow: On Jason Williams’ Greatest Pass | The Classical

Enjoyable comparison between an imaginative basketball player and the arrival of modern art in the US. It’s a good example of a system (in this case a professional sport) being pushed out of a local optimum (a particular style of play).

Above all, the movements of the sixties allowed for the mass revival of free market doctrines that had largely been abandoned since the nineteenth century. It’s no coincidence that the same generation who, as teenagers, made the Cultural Revolution in China was the one who, as forty-year-olds, presided over the introduction of capitalism. Since the eighties, “freedom” has come to mean “the market,” and “the market” has come to be seen as identical with capitalism—even, ironically, in places like China, which had known sophisticated markets for thousands of years, but rarely anything that could be described as capitalism. […] What happens when the creation of that sense of failure, of the complete ineffectiveness of political action against the system, becomes the chief objective of those in power? […] The politicians, CEOs, trade bureaucrats, and so forth who regularly meet at summits like Davos or the G20 may have done a miserable job in creating a world capitalist economy that meets the needs of a majority of the world’s inhabitants (let alone produces hope, happiness, security, or meaning), but they have succeeded magnificently in convincing the world that capitalism—and not just capitalism, but exactly the financialized, semifeudal capitalism we happen to have right now—is the only viable economic system. If you think about it, this is a remarkable accomplishment. […] Myself, I am less interested in deciding what sort of economic system we should have in a free society than in creating the means by which people can make such decisions for themselves. […] Labor, similarly, should be renegotiated. Submitting oneself to labor discipline—supervision, control, even the self-control of the ambitious self-employed—does not make one a better person. In most really important ways, it probably makes one worse. To undergo it is a misfortune that at best is sometimes necessary. Yet it’s only when we reject the idea that such labor is virtuous in itself that we can start to ask what is virtuous about labor. To which the answer is obvious. Labor is virtuous if it helps others. A renegotiated definition of productivity should make it easier to reimagine the very nature of what work is, since, among other things, it will mean that technological development will be redirected less toward creating ever more consumer products and ever more disciplined labor, and more toward eliminating those forms of labor entirely. […] Why not a planetary debt cancellation, as broad as practically possible, followed by a mass reduction in working hours: a four-hour day, perhaps, or a guaranteed five-month vacation? This might not only save the planet but also (since it’s not like everyone would just be sitting around in their newfound hours of freedom) begin to change our basic conceptions of what value-creating labor might actually be.

A Practical Utopian’s Guide to the Coming Collapse | David Graeber | The Baffler

Strategies for change that do not prescribe the outcome but are mainly focused on increasing society’s possibility space (as described by Graeber here) make a lot of sense to the game designer in me.

Resistance and surveillance: The design of today’s digital tools makes the two inseparable. And how to think about this is a real challenge. […] When the time for my panel arrived, I highlighted a recent study in Nature on voting behavior. By altering a message designed to encourage people to vote so that it came with affirmation from a person’s social network, rather than being impersonal, the researchers had shown that they could persuade more people to participate in an election. Combine such nudges with psychological profiles, drawn from our online data, and a political campaign could achieve a level of manipulation that exceeds that possible via blunt television adverts. How might they do it in practice? Consider that some people are prone to voting conservative when confronted with fearful scenarios. If your psychological profile puts you in that group, a campaign could send you a message that ignites your fears in just the right way. And for your neighbor who gets mad at scaremongering? To her, they’ll present a commitment to a minor policy that the campaign knows she’s interested in—and make it sound like it’s a major commitment. It’s all individualized. It’s all opaque. You don’t see what she sees, and she doesn’t see what you see. Given the small margins by which elections get decided—a fact well understood by the political operatives who filled the room—I argued that it was possible that minor adjustments to Facebook or Google’s algorithms could tilt an election. I’m not sure if the operatives were as excited by this possibility as I was afraid of it. […] To make sense of the surveillance states that we live in, we need to do better than allegories and thought experiments, especially those that derive from a very different system of control. We need to consider how the power of surveillance is being imagined and used, right now, by governments and corporations. We need to update our nightmares. […] That’s what a street protest does, in its essence: It makes you feel not alone. We should leave aside the stale arguments about protests that happen on the street versus those that take place online. There’s one key feature that the Internet and the street share: They make us visible to each other. That is their power. […] To understand the actual—and truly disturbing—power of surveillance, it’s better to turn to a thinker who knows about real prisons: the Italian writer, politician, and philosopher Antonio Gramsci, who was jailed by Mussolini and did most of his work while locked up. Gramsci understood that the most powerful means of control available to a modern capitalist state is not coercion or imprisonment, but the ability to shape the world of ideas. The essence of some of Gramsci’s arguments can be seen in another great dystopian novel of the 20th century. In Brave New World, Aldous Huxley envisions a state that eschews existential terror in favor of a drug, soma, that keeps its citizens happy and pliant.

Is the Internet good or bad? Yes.  — Matter — Medium

OK, this is one of the best things I’ve read on Occupy Gezi Park in ages or probably ever. Last year I wrote up my thoughts on gameful design and the built environment in a chapter for The Gameful World and what emerged was mainly about legibility and resistance. This article describes in great detail both the workings and value of street protests and the mechanisms by which contemporary Western regimes (attempt to) control people. In my chapter I suggested that fuzzing, making oneself illegible, is the most effective strategy for resistance in this day and age. I think that is supported by what Zeynep Tufekci argues here.

Hijikata explained the politics of ghosts to me, as well as the opportunity and the risk they represented for the people of Tohoku. ‘We realised that so many people were having experiences like this,’ he said, ‘but there were people taking advantage of them. Trying to sell them this and that, telling them: “This will give you relief.”’ He met a woman who had lost her son in the disaster, and who was troubled by a sense of being haunted. She went to the hospital: the doctor gave her anti-depressants. She went to the temple: the priest sold her an amulet, and told her to read the sutras. ‘But all she wanted,’ he said, ‘was to see her son again. There are so many like her. They don’t care if they are ghosts – they want to encounter ghosts.’ ‘Given all that, we thought we had to do something. Of course, there are some people who are experiencing trauma, and if your mental health is suffering then you need medical treatment. Other people will rely on the power of religion, and that is their choice. What we do is to create a place where people can accept the fact that they are witnessing the supernatural. We provide an alternative for helping people through the power of literature.’ Hijikata revived a literary form which had flourished in the feudal era: the kaidan, or ‘weird tale’. Kaidankai, or ‘weird tale parties’, had been a popular summer pastime, when the delicious chill imparted by ghost stories served as a form of pre-industrial air conditioning. Hijikata’s kaidankai were held in modern community centres and public halls. They would begin with a reading by one of his authors. Then members of the audience would share experiences of their own: students, housewives, working people, retirees. He organised kaidan-writing competitions, and published the best of them in an anthology.

Richard Lloyd Parry · Ghosts of the Tsunami · LRB 6 February 2014

This is an amazing piece on death, disaster, grief, religion and the supernatural that I would expect to read in Fortean Times, not the London Review of Books. The passages highlighted here reminded me of the film Kwaidan, which I first learned about thanks to it being listed as a source of inspiration for the outstanding indie roleplaying game Dogs in the Vineyard. Hat tip: Justin Pickard.

Employing examples of new media uses as well as historical case studies, I wanted to show how new technologies, on one level, contribute to the further individualization and liberalization of urban society. There is an alternative future scenario, however, in which digital media construct a new definition of the urban public sphere. In the process they also breathe new life into the classical republican ideal of the city as an open, democratic ‘community of strangers’.

The City as Interface | How New Media Are Changing the City

Martijn de Waal’s book “The City as Interface” is sure to be a good antidote to neoliberal agendas thinly veiled as progressive smart city programs.

We tend to hope that we will find the perfect game; that there is some formula for creating the best, most addictive game possible. And whenever we have a new hit, those hopes get projected onto it. In recent times, the perfect game has been thought to be games like World of Warcraft, FarmVille, Candy Crush. And then another game comes along. Charles Pratt and Tadhg Kelly have made similar points. But I think it goes further: people play Flappy Bird because it flies in the face of what every game designer knows at this point. Not because players care the least about what game designers or theorists like myself think, but because the shared conventional wisdom of How You Shall Design Your Game is making games similar, and players know a breath of fresh air when they see it.

There Once was a Game called Flappy Bird | The Ludologist

Juul on Flappy Bird is comprehensive, interesting and to-the-point.