Enunciative strategies of the videogame: four figures
Estrategias enunciativas del videojuego: cuatro figuras
Estratégias enunciativas do video game: quatro figuras
| 2019 | |
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videogame enunciation sociosemiotics art aesthetic attention videojuego enunciación sociosemiótica arte atención estética |
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| Español | |
| Universidad ORT Uruguay | |
| RAD | |
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https://revistas.ort.edu.uy/inmediaciones-de-la-comunicacion/article/view/2889
http://hdl.handle.net/20.500.11968/3995 |
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| Acceso abierto | |
| Derechos de autor 2019 InMediaciones de la Comunicación |
| Sumario: | Throughout almost five decades of existence, the videogame developed forms of textual interpellation that stabilized and gave rise to the regularization of enunciative figures. In this work four figures will be analyzed: the user, the player, the spectator and, most recently, the contemplator. Each one is the result of different operations and makes possible a communicational scene that can vary between the configuration of the game that is about to begin (user); the putting into work of skills aimed at overcoming a set of goals (player); the interruption of playful interaction by a non-participatory audiovisual flow (spectator); and, finally, the unfolding of an environment that can be inhabited without ludic restrictions (contemplator). Each figure has a specific textual site and supposes a singular contact proposal. The production of the videogame presents communicational modulations that for some reason were neglected by the field of games studies: from a sociosemiotic perspective, it is necessary to face the study of these enunciative strategies. |
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