By John Nunn
Following his winning volumes on rook endings and pawnless endings, John Nunn and his machine database flip their cognizance to the intricacies of endings with simply knights, bishops, and pawns -- difficult endings of serious sensible significance.
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As Erkki Huhtamo (1997), an influential Finnish theorist in the field games as new media 33 34 games and gaming of media archaeology, has argued, the cyclical phenomena of media tend to transcend historical contexts, often placating a process of paradoxical re-enactment and re-enchantment with what is deemed as ‘new’. On the one hand, the project of examining new media entails observing the remediated nature of new technologies and thus conceptualizing them in terms of media archaeologies (Huhtamo 1997).
Three subsets of social constructivism are the domestication approach, virtual ethnography and digital ethnography. Like disciplines such as TV and film studies, game studies has adopted various approaches to the study of games. Initially, studies from literature and substantive models dominated, but there has been a move towards more culturally specific, qualitative studies, especially those deploying ethnographic and domestication approaches. Whilst there are multiple ways in which to understand the histories of game studies, one of the most defining moments was with the ludology debate of 1999.
Games have a history that predates video games, and appreciating this background is useful for understanding the ways in which games can teach and inspire creativity as well as sociality. Exploring older games can help us grasp the importance of games within cultural practices. Moreover, by conceptualizing games within the context of play, we can examine some of the rules and rituals that inform and bind us to particular meanings. One way to examine this is through the analysis of ludus (games) and paidia (play) more broadly.