Six games about architecture

I went looking for a few recent examples of games that deal with architectural themes in some way. I pulled these mostly from a few of the major street games festivals that are out there, such as Come Out & Play, Hide & Seek, Igfest and You Are GO!

Just from this small sample size it is apparent that there are many ways to deal with a city and buildings in a game. You can use the physical layout of a space, or the stories clinging to a place. You can use games to discuss urban processes, or map not only physical but also psychological geography.

Anyway, here’s six games that I found.

Physical space as plaything

Cross my Heart + Hope to Die

Photo (c) Lia Bulaong

Cross my Heart + Hope to Die is interesting first of all for the profiles of its creators. Eric Zimmerman is well know for being the co-author of the seminal Rules of Play, as well as for having created a number of interesting games such as SiSSYFiGHT 2000. For Cross My Heart + Hope to Die, which premiered at the 2010 Come Out & Play Festival in NYC, he collaborated with architect Nathalie Pozzi. The result is a game in which the physical layout of space plays a major role. Players rearrange the walls of the life-sized labyrinth in which the game takes place. Even though these walls are in fact not much more than semi-transparent drapes, and as such wouldn’t obstruct movement, they are enough to signal partitioning of space. They also prevent players from seeing all that is going on, while still giving them a hint of what is close by.

Urban processes as subject

Gentrification: The Game!

Photo (cc) Kate Raynes-Goldie

Gentrification: The Game! by Atmosphere Industries attempts to emulate the social process of wealthier people moving into low-income neighborhoods. The game pits players against each other in the roles of locals and developers. Developers imagine ways in which they would redevelop existing buildings. Locals take action to halt the process of gentrification through various means, such as protests. Players track their process using a mobile app which feeds back the changes to the buildings – the imaginary gentrified cityscape. This is very close to what I imagined a real-life version of Golfstromen‘s Gentrification Battlefield would be like.

Rulespace versus meatspace

Visible Cities

Visible Cities, by Holly Gramazio and Kevan Davies, is a relatively straightforward checkpoint chase game but with an interesting twist. Although checkpoints are all physically in the same area, the game rules group them in various “universes”. Players and chasers can only interact with each other if they are in the same universe, even though they can physically perceive those that aren’t. In this way, the game elegantly shows how our experience of physical reality is not only governed by the atoms it is made up of, but also to a large extent by the principles of governance we socially agree upon. This reminds me of China Miéville’s lovely book The City & The City.

Place-inspired storytelling

Brooklyn's Green Wood Cemetery

Photo (cc) Aaron Brashear

Necropolis Family Tree, by Coney, makes great use of the meaning of a specific place by challenging players to tell stories inspired by a memorial site. More specifically, by exploring a graveyard in search of imaginary long-lost relatives. Although the connection between the space, the game’s theme and player actions is quite literal, I prefer this over the location-based games that can be played anywhere and in fact have no real interplay with the place a player is in.

Mapping sentiment on the streets

Walking Smiles

Photo (c) Present Attempt

Walking Smiles, by Present Attempt, is all about map-making, which isn’t anything new for urban games per se, but the map created by players wandering the city in this case records smiles received from strangers. Thus it isn’t a literal mapping of physical space that emerges from the game, but a map of sentiment, of emotional space if you will. It looks like the game’s runners go out of their way to map the data received from players in as many interesting ways as possible. For instance, they build a chart of smiles per minute as the game progresses.

The image of the city as puzzle

Pieces of Berlin

Photo (c) Invisible Playground

Pieces of Berlin by Erik Burke & Lynn Maharas is about looking at the cityscape and comparing what is seen to drawings of buildings on transparencies. I guess a game like this will only work in cities with a high imageability ranking. I have seen quite a few urban games that incorporate clues in the form of city photographs. But the use of drawings here appeals to me for their ambiguity. It emphasizes general shape as opposed to details. It also allows for some more freedom on the game designer’s part with regards to which parts of the city to show and hide.

Now, I would kill for a chance to bring these games together, and play them all in the same space. It might be worthwhile to collate player experiences and see how these games allow for alternative entry points into the experience of a city’s fabric or how they enable people to shape their city.

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Pools connected to playgrounds

I am preoccupied by the ways play and games connect to the physical form of cities. Here’s one way to look at it: architects are influenced by the surprising new uses of existing constructions.

For example, there’s a connection between a swimming pool like this one…

Photo (cc) Mallix

…and this playground designed by Carve for the Melis Stokepark in The Hague.

Melis Stokepark

It’s probably obvious, the connection is skateboarding. As brilliantly documented in the film Dogtown and Z-Boys, early skateboarders started playing in empty pools during the California drought of 1976. In doing so, a new style of skateboarding emerged. One that was less about speed and distance traveled (surfing but on streets, essentially) and more about stunts and acrobatics.

It wasn’t long before the pools were replaced or at least complemented by bespoke skateboarding architecture in the form of verts, half-pipes and the like.

(I’ve blogged and talked about the significance of the emergence of skateboarding’s contemporary form before, for instance: Urban Procedural Rhetorics and A Playful Stance.)

Moving on to the aforementioned playground, I had the pleasure of talking with its principal designer, Elger Blitz, at This happened – Utrecht #11, where the project was discussed. It turns out Elger has a background in skateboarding and got started designing skateparks, such as the one below.

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Elger pointed out to me that Melis Stokepark’s form is inspired by the form of skateparks. Carve was asked to design a playground that would be accessible to children with various disabilities, without excluding other children. The main form is shaped by the ramp, which allows children in wheelchairs to ride up and over it. But I imagine it would be equally fun to use it on a skateboard.

So there’s a line that can be drawn from Carve’s playgrounds, to skateparks, to the swimming pools in California, which ran dry because of a drought and were used without permission by youth on skateboards. The transmission of these urban forms happen between players and makers, and are sparked by improvised action. I wonder what other links between play and architecture can be uncovered.

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“New ideas must use old buildings”

The other day I had dinner at a radio-station that was turned into a restaurant. My favorite events venue in Amsterdam used to be a printing press. And friends of mine are turning a massive sports hall into creative work spaces. The uses buildings were intended for, and what they’re actually used for, vary greatly. I’ve been interested in that process for a long time, initially as a metaphor for adaptation of software by its users, and now as an interesting thing in itself.

REM eiland

Photo of REM Eiland (cc) Arne Bolt.

I wonder in what ways this process can be understood as play.

Jane Jacobs writes about this at length in The Death and Life of Great American Cities, pointing out for instance that a city needs old buildings, because they provide low-risk platforms for entrepreneurs:

“Old ideas can sometimes use new buildings. New ideas must use old buildings.” (p.188)

And Stewart Brand’s How Building’s Learn is about this to a large extent. At one he wonders why it seems that old buildings seem to provide more freedom for creative interpretation than new ones do. Here, parallels with play and games start to emerge. On page 105 he writes:

“They free you by constraining you.”

Which is exactly what games do. The artificial constraints are there to allow you to experience a degree of freedom.

So Richard Florida’s creative class can be understood as gamers looking for an interesting play arena. This arena, it is clear, consists at least in part of cheap, easily adaptable housing. And through their play these buildings are transformed.

In Rules of Play, Katie Salen and Eric Zimmerman consider the transformative qualities of play at length:

“Sometimes the cultural rhetorics of a game can change the cultural structures in which they exist. This is the phenomenon of transformative cultural play.” (p.534)

It is this dynamic people run up against when seriously attempting to change something about how old buildings are used. Particularly, in the local context of the Netherlands, when it comes to temporary use of empty buildings.

At the Cognitive Cities Salon in Amsterdam on June 30 of this year, James Burke presented his concept for social software that allows you to search for and immediately book empty space in the city of Amsterdam. He calls it Placebook, if I recall correctly. At the event, James pointed out that what would probably be the largest challenge would be the legalities involved.

Vacant NL

Photo of Vacant NL (cc) Yellow Book.

Placebook was at least partly inspired by the wonderful Rietveld Landscape project Vacant NL. It consists of a huge 3D mockup of all the empty buildings in the Netherlands – a blue “sea of vacancy” – and is accompanied by an atlas detailing all structures it encompasses. The project, which was presented at the Venice Architecture Biennale 2010, can be seen as a challenge by Rietveld Landscape to Dutch politics which has talked about wanting to make our country one of the top creative economies of the world at length, but at the same time have allowed vast quantities of space, that could be used by the creatives, to sit empty and unused.

How the current political climate will affect the chances of new architectural playgrounds for creatives actually emerging is to be seen. But it is clear to me at least that people, when given the opportunity, can do wonderful interesting things with old buildings, and that these things benefit cities at larger orders of magnitude much more than they cost.

In the meantime, I will continue to consider how game designers can hasten change in this domain.

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From the trenches of project Maguro, part 3

Project Maguro is finished and on this Monday, we’re doing a quick evaluation. Entering the war room provides us with an interesting sensation. It’s as if we can still smell the gun powder. Hear explosions faintly, in the distance – but only when listening intently. Sitting down, it feels like we’re expected to start crunching again. But all that is history now. At the end of everything, what remains is formalities, food and fun.

It takes a while for the realization to truly sink in. The project that kept Kars, Karel, Alper, Simon and me busy during the early part of 2011 is done. It’s been delivered to the client, as well as to the client’s client. And all layers of client seem to be happy. Which, in turn, makes us happy.

By the time you read this, our project has been revealed as being called Code 4. And the ‘large governmental organisation’ we made it for, turns out to be the Dutch Tax Administration. Currently the game’s had multiple runs and should be causing organizational change like there’s no tomorrow, right now.

Asked by Kars how I feel about the project, the thoughts that pop up are not really about Maguro – they’re about me, and about these other guys. As a writer, freelancer, web guy, I’m used to working alone. Twitter, Facebook and e-mail are my only contact with the outside world. Projects seamlessly flow into one another. I don’t think about my processes, they just happen instinctively. All that changes when you work in a team. Which took a while to adjust to – but I think I nailed it in the end.

And what a team it was. I guess it felt like being in a rock band because that’s what I associate with a bunch of smart, too-cool-for-school kids, each complete with their own incredible super powers. (That’s a link to the first part in this series, which is wrapped up by this post. Be sure to also read the middle episode. You know what they say about middle episodes in trilogies.)

I then say something about the game’s iterative development process, which revolved so fast that each prototype felt more like a trampoline than the intended quiet moment of reflection. It’s a miracle that in the end, the plan got together – which I love. Or maybe it’s just a lot of intelligence, experience, hard work and perseverance stacked together. In a box. With a ribbon.

We head out to Luce, where they serve great cocktails and grappa, it turns out. The food is nice, too. An iPhone game called Coin Drop is discussed, which I dismiss as being a poor man’s Peggle, but end up spending the next few days getting all of the game’s stars anyway. Next, we determine that the idea that doing something in real life is always better than doing it virtually, is a decidedly calvinistic way of seeing things. After which we all agree that games are really about learning to learn.

Late at night, Karel starts drawing up two of the game concepts swirling around that enigmatic mind of his. Naturally, the end of project Maguro is the beginning of something new.

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Speaking at CoCities Salon Amsterdam

Cognitive Cities certainly has been the most stimulating conference of 2011 for me so far. (Despite the few shortcomings I reported on earlier.) So I am super glad it is getting follow-up in the form of a salon in Amsterdam. Tomorrow.

And I will be speaking.

So, Thursday June 30 in TrouwAmsterdam’s Verdieping: Cognitive Cities Salon Amsterdam with James Burke, Katalin Galayas, Edwin Gardner, Juha van ‘t Zelfde and myself. Doors open 19:00, entrance fee 10 Euros.

I’ll do a reprise of New Games for New Cities, which I first presented at FutureEverything. I am very glad to get another chance to share these ideas at what I am sure will be a great meeting of minds.

(Sorry about the many speaking announcements around here lately. I promise we’ll get back with some proper content soon.)

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Speaking at dConstruct 2011

I am really pleased to be speaking at dConstruct this year. I’ve attended the conference myself several times and always enjoy the well-curated program and the good things offered by the event’s home, lovely Brighton. You’ll find the abstract I submitted below. Have a look at the conference site for the rest of the program – which is stellar, I’m honored to be part of it – and make sure to grab a ticket once they go on sale on July 5th.

When you think of a city, what is the first thing that comes to mind? Most likely it is the stuff that it is made up of: its streets and buildings, its parks and squares. But what sets a city apart, aside from its architecture, is how all that stuff is put to use. A city’s nightlife, a city’s cuisine, a city’s culture. In other words, what people make of the space they live in when they are at play.

Play isn’t limited to the “soft side” of urbanism. In fact, it turns out a building isn’t some prefixed structure capable of doing one thing only. Adaptation and reuse continuously transform what a city’s architecture is for, often from the bottom up. In this way, a city’s people shape their homes as well, quite literally.

What is at work in this process of city transformation, is nothing less than play. In cities, just as in games, people and the space they inhabit shape each other. Thus, in our Western cities, where reuse is overtaking construction of new space, we are all becoming architects.

In this session Kars looks at how game culture and play shape the urban fabric, how we might design systems that improve people’s capacity to do so, and how you yourself, through play, can transform the city you call home.

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Things we’re working on (volume 2)

On deck

It’s been over half a year since I last talked about the projects we have on deck. I thought I’d do a quick post to give you a sense of what’s going on.

  • We’re in the process of wrapping up Maguro. The game – titled Code 4 – is finished and has seen several successful runs already. Since this is a game that runs internally at the Dutch Tax Administration, we’re working to produce some additional materials that illustrate the player experience. We’ll also talk about the game at Chi Sparks, and (hopefully) at this year’s DiGRA conference; Think Design Play.
  • Buta – the game for pigs and humans that we’re working on with the HKU’s DPI research group – is continuing at a steady pace. We’re planning the shoot for the video-sketch at the moment. With a little luck we’ll be able to share it by the end of summer.
  • Project Katsuo – best described as a casual LARP with a time travel theme – has emerged from concept stage and we are now at a point where we think we might have an interesting game on our hands. It’s an internal research project, so it might take a while before it sees the light of day, but I’m hoping we can share the outcomes of it sometime this year.
  • Iruka is a new project scheduled for the final quarter of this year. We’ll be inventing new ways of using games in middle education for a publisher of teaching materials. We’re collaborating with a middle school so we can do experiments in the classroom. The games will focus on teaching science.
  • Finally, Saba is also a new project, starting in July. We’ll be producing a game for the visitors of a science museum with the aim of getting them in a scientific mindset.

So it looks like we’ll be keeping busy the coming months. I am excited about the science theme running through a few of these projects. It’s an opportunity to develop some of our ideas around systems literacy further.

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Talking about Code 4 at Chi Sparks

Our longtime collaborator Alper Çuğun will be at Chi Nederland’s bi-annual conference to talk about Code 4 (formerly referred to as Maguro). Code 4 is a pervasive game we created for the Dutch Tax Administration with the aim of igniting organizational change.

Chi Sparks is a conference that focusses on “the very important contributions that good HCI research makes in realizing successful, innovative, new products or services that have a genuine impact on people’s lives.”

I think with Code 4 we managed to have a real impact on the organization and its employees. So I am pleased we can share our work with peers in the HCI community.

Below is the abstract. There’s a few more interesting sessions on games and play that we are part of. Get your tickets fast, early bird registration ends June 6.

Promoting organizational change within large government bodies remains an elusive goal. The game Code 4 was developed to create a coherent fully mixed media approach to eliciting organizational change effects by employing employees as the primary actors (players) in a game. The Code 4 game was set in an analogous world but with a clear cause to action in a dystopic financial crisis and with rules that mirrored but also subverted existing bureaucratical processes. The gameplay rewarded successful collaboration without regard for the organizational framework. Results indicate that many players were wholly engaged with both the core game as with the supporting encounters and that the transferral of game effects was successful. Employing a game for organizational change has proved itself to be a valid approach.

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New Games for New Cities at FutureEverything

Last week I was in Manchester for FutureEverything. I presented on games and how they can be used to improve city life. Below are my notes and a selection of slides. It’s longish, but hopefully informative. I’ve tried to connect criticism of gamification with the virtues of open-ended play, and show how the latter can build skills that are useful for good urban living. Thanks to Greg, Kevin and Drew for having me and for organizing such a wonderful conference. I enjoyed my stay in Manchester, the patchwork of industrial heritage and thoroughly modern architecture provided me with some interesting scenery for walking the city. Anyway, read on for the talk.

Think back to your childhood. What did you play with? My mom is a preschool teacher. So whenever I was bored we were given clay, wax crayons or cardboard. Later on I got heaps and heaps of LEGOs. And I drew a lot. Lots of play for me and my brother and sister consisted of creative play.

My friends however, they had He-Man… and Transformers and later on M.A.S.K. Remember M.A.S.K.? I was so jealous of them. I always wanted to have those. I sometimes went over to play with them. And it was fun, no doubt. But at the end of a play session like that, we wouldn’t have made much. Perhaps we would have told a few stories. But they tended to be oddly similar to the cartoons these toys are based on.

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The crayolas and the He-Man toys represent two very different types of tools for play. One is about open-ended play, and the other is about pre-scripted play. One is creative, productive or even transformative. The other is consumptive, confirmative or even prescriptive. It is my opinion that what the world needs right now is for us to play more with the former – the crayolas – and less with the latter – the image-focused toys. Because the types of skills we develop as we play with the crayola-like toys of today, are the types of skills we can use to address some of the issues we’re faced with in contemporary and near-future cities.

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Put differently, one kind of play is about the actions you engage in. The other is focused on the thing. It’s the difference between this adventure playground, where kids have built their own castle, and the playground on the right, where kids are provided with one. You can see the former requires very different skills from the latter.

Let’s talk a bit more about those skills, shall we? It turns out open-ended imaginative play builds a set of skills collectively known as executive function.1 I use the term “skill” loosely here, it’s actually a concept “used by psychologists and neuroscientists to describe a loosely defined collection of brainprocesses that are responsible for planning, cognitive flexibility, abstract thinking, rule acquisition, initiating appropriate actions and inhibiting inappropriate actions, and selecting relevant sensory information.”2 An important part of executive function is self-regulation. Self-regulation is what children develop when at social, imaginative, unplanned unsupervised play. Simple things like a game of hide and seek, perhaps with some socially negotiated rules thrown in.

When no-one is telling you what to do…

So open-ended play builds self-regulatory capacity in kids. But that capacity carries on into adulthood. It’s this capacity you use to overcome obstacles, to master cognitive and social skills and to manage your emotions. It’s the stuff that kicks in when no-one is telling you what to do. Vital stuff in today’s atomized, hyper-individualized world. At least, if you want to live well, and want to live well with others.

The problem is, fewer and fewer of children’s playtime is unsupervised and unplanned. In fact it has been co-opted and commercialized to a large extent. This has been going on for decades. It started with things like this, Mattel’s toy gun called the Thunder Burp. No longer did you need to build your own gun from twigs or tubing and use your imagination to fill in the rest…

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And this co-optation of children’s play by corporate interests has taken on grotesque forms now, such as in this thing called KidZania

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KidZania is a themepark that offers children an “educational experience”. It’s a child-sized consumerist utopia where kids play at having various jobs, such as flipping burgers or working in a print shop. They earn KidZos which they can deposit at a bank and use to pay for other activities or physical items. Most of the activities are sponsored by large corporations – the parks would not be financially feasible otherwise. So the burgers activity for instance, is sponsored by a certain fast-food chain featuring golden arches. And here kids are “playing at” filling a coke bottle.

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There are KidZania parks across the world, in Mexico, Japan, Indonesia, Korea, Portugal and Dubai. There’s a ton more being planned to open. Of course KidZania markets to parents, who, driven by the urge to give their child the very best upbringing they can afford, can’t resist. As a result, children are brainwashed to be good consumers with corporate jobs. All in the name of “education”. I’m not saying the parents are blameless, and surely my personal politics are shining through here, but I do believe this is a striking example of how we have come to see play.3

Let’s return to the adventure playground

We see play as something that entertains. Something you consume. In any case, recall the importance of executive function, of self-regulation, and how it is trained through open-ended play. Now think about the types of play children – and adults – are being provided with. What we need is the opposite of what we are given. So let’s return to the adventure playground.

Now, we have several generations who have grown up with less practice at self-regulation. That includes myself and quite a lot of you out there today. At the same time, our world has gotten more complex. Dealing with all this complexity actually demands more self-regulatory capacity from us.

When I say complex I don’t just mean complicated. I mean we’re continuously dealing with systems made up out of small parts interacting in various ways. In aggregate we cannot predict the outcomes of those interactions. An example we can all relate to is the recent global credit crisis. It is tempting to think it was the result of the shenanigans of a few irresponsible bankers. But in truth, it was the result of a hugely complex system’s failing. Our actions as home owners have certainly contributed to the ultimate catastrophe. It’s hard though to see how our individual choices can lead up to such events.

It’s the butterfly effect, a seemingly minor event leading to significant outcomes. Like Edward Lorenz said: “Does the flap of a butterfly’s wings in Brazil set off a tornado in Texas?” I think we can all become better butterflies, with more sense of how our actions contribute to the whole. This will not happen through top-down control. It requires self-directed work from all of us.

But with less self-regulatory capacity, we’re less able to motivate ourselves in the work we do, and the other activities life confronts us with. And we got here, at least in part, thanks to the co-optation of open-ended play. What I find perverse is that there are people who propose to use the same planned, pre-scripted play to increase our ‘engagement’ with whatever is the work at hand. It is now often called gamification. But it started with relatively benign stuff like these loyalty cards. I think, if we go down this route, we’ll be in more trouble than we already are. In stead, we should be helping people develop those self-regulatory skills so they themselves can transform whatever context they are faced with.

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I have many issues with gamification. There have been plenty of solid retorts on many levels by lots of people smarter than me.45 But let me offer two points of my own: one, gamification forces people to play. And two: it indiscriminately slaps reward systems on tasks both shallow and deep. It risks hollowing out intrinsically rewarding activities.

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My pal Karel here has a keen sense for this. When I gave him this Akoha card after treating him to coffee and having a nice conversation, he was far from charmed. In fact he was insulted. This photo was taken shortly before he tore up the card, preventing me from cashing in my points. In his view, having a cup of coffee with a friend is worth the trouble in and of itself. I shouldn’t need a game to go through the trouble. And you know what? He’s right.

It’s also the case that whereas true play is always engaged in voluntarily, many gamification designs leave you with no choice. You are confronted with a system you must use for utilitarian reasons, and now you are asked to jump through additional hoops so that you will be more “engaged”. You do not play a gamified system, this system is playing you. It starts with simple things like the virtual plants on the right of this Ford Fusion Hybrid’s dashboard…

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…and it ends with at least mildly worrying things like My Coke Rewards, which incentivizes the consumption of Coca-Cola.

In addition, making good games is hard. Consider the many mediocre games on the market. Here’s a few of them listed on Metacritic. Do you really want your banking system to be gamified by some well-meaning but blissfully ignorant designer who has been asked to “just add points”?

Gamification won’t save us

So I’m sure it’s clear at this point that I do not believe gamification will save us. It adds points and badges to the systems we suffer under everyday, without actually fundamentally addressing their nature. One thing I think we need to do is to take up that gauntlet. And when it comes to games and the complex city life we live nowadays, I think we should be focusing on the people in the city, in stead of the stuff. Because it is ultimately the behavior of the people that shapes the city, all the way to its built form. And games are excellent shapers of behavior.

The things that make life worth living in any city are non-scripted. Some call it citymagic. It is the joy that results from having such a high concentration of people in one place, all going about their business each with their own hopes and desires. Good cities are those where citizens feel they have the agency to do this, and where they are not afraid of unforeseen consequences to their actions. It’s like Jane Jacobs said:

“Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody.”

Now, the networked city makes this challenging for us. Many if not all aspects of life are now structured by information technology and much of that technology is finding its way into the built environment. The trouble is, to the ordinary citizen the processes that are influencing our lives so strongly are opaque, and often inscrutable. Like this CCTV camera, which is designed in such a way that you cannot tell wether it is aimed at you or not…

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One way to address this is to bring better design to those urban informatics. This is a worthwhile endeavor and I am glad super smart folks are engaged in it. My proposition though, is that games can contribute to the building of the self-regulatory skills that citizens need to both better read and write the contemporary city.

Literacy of the networked city

This literacy of the networked city is something that resides in people, not things. And I think games and play are an excellent training ground for this kind of literacy. I’ll give you an example in a minute, but before I do, remember that what makes cities magical is all those people you do not know. The serendipitous encounters and the great things they are up to. And that, to live well in the city, it is of the essence to give each other the much needed space to do this. To realize, in other words, that strangers are your friends, without them actually having to be your friends.

Recently I participated in my first alleycat. They’re scavengerhunt-like races organized by bicycle couriers and cycling enthusiasts. You typically ride them on one of those fashionable fixies. It was a lovely experience.

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Not only is it a great way to serendipitously explore the city, but it’s also a lovely structure for interaction with strangers. I wasn’t too familiar with the city, so I tagged along with a few other riders who had a nice pace. We roamed the streets like a pack of stray dogs and fluidly weaved through traffic.

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Some of these guys really have superhero-like skills when it comes to wayfinding and reading traffic. It was mentally expanding to witness. Afterwards we had a beer, a chat and then we went our separate ways.

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The point is not that these games turn you into instant friends. In stead, the point is that you’re reminded that any fellow citizen can be the occasional team member, someone you hook up with to achieve something, and that’s it. That’s an important realization for any urbanite to have.

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More interactions with strangers: at one point during the race I rounded a corner and there was a group of children at a tram stop cheering us as we came past. For a moment I felt like Lance Armstrong, and I am sure they were playing at what they had seen on TV. Smiles all around. So playing a game like this builds skills, and realizations, any urbanite needs to better deal with strangers.

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The question is, what the alleycat of transmobility looks like. How do we race each other when we’re using our Boris Bikes and our Oyster cards to hop from modality to modality? Perhaps it’s Chromaroma, perhaps it’s something else, but in any case, we need these games and we need our systems to accommodate them.

When the now still analogue wayfinding system in the tube is replaced by a piece of urban informatics, I want it to still allow for this kind of stuff. Because it’s these little things that make our cities such wonderful places to live in.

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It’s the age-old dilemma of city planners; planning for the unexpected. Anticipating, for instance, what this free runner is doing with these street lights, is next to impossible. Attempting to plan for it is almost paradoxical. But it’s vital. Because in addition to building useful skills for urban living, self-initiated play like this, the things people get up to without topdown instigation, is what keeps the city vibrant and alive.

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I visited Berlin a while ago, and during a night of touring the city’s bars and clubs, we came across a public toilet that had been converted, guerilla style, into a music venue. Seriously. In one corner there was a band making a ton of noise. Here’s a small clip taken that night… There was a guy in the other corner selling beers for next to nothing. We were asked to make a small donation for the band. It was wonderfully grassroots and strange.

Bring more of life into games

So these games I’m talking about make life more interesting and build useful skills that exercise your capacities as an urbanite to the fullest of your potential. Life doesn’t need to be made more like a game, we don’t need a game layer. We don’t need to be put through an adult-sized KidZania. In stead, we need to bring more of life into games. And each game we play can be a prayer or a meditation for a better world.6

Put people before stuff

My time is almost up so let me make a few final requests. To those of you who shape urban policy and deal with the deployment of urban informatics: please put people first in your work, trust in their capacity to do wonderful things and enable them to do so. To those in the business of making games, put people first too, and try to see that games can be so much more than mere entertainment media ready for mindless consumption.

And to all of you, the players, when you get back from this conference, or better yet when you go out onto the streets of Manchester tonight: Play a little. It’s good for you. And it’s good for your city.

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  1. “Old-Fashioned Play Builds Serious Skills”, NPR []
  2. “Executive functions”, Wikipedia []
  3. “State of Play”, The Morning News []
  4. “Can’t play, won’t play”, Margaret Robertson []
  5. “Exploitationware”, Ian Bogost []
  6. “Spissify Da Gamify”, David Calvo []
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Looking back on playful Tweetakt 2011

I’ve just uploaded a set of photos taken at the opening of the playful Tweetakt 2011 exhibition. As you may recall, I was asked to curate an interactive addition to this youth theatre festival. The works I selected are in my opinion all wonderful examples of the way play can lead to performance. Each was set up on the main festival pavilion, in a purpose-built greenhouse, turning it into something like a village of play.

The Hubbub studio is across the street from the square where Tweetakt’s pavilion was located so I had ample opportunity to observe people’s response to the exhibition. It was lovely to see how each got ample playtime and were for the most part instantly understandable and engaging – something often lacking in interactive art.

The works

So we had Funky Forest (Emily Gobeille & Theo Watson) in which children plant trees and divert the flow of a river to make a forest grow. Watching children play with this is lovely. The river responds to their body movements, as do the forest’s animals. The trees grow in shapes mirror the children’s poses.

Funky Forest

Watching people punch away at Love Hate Punch (Stella Boess & Stefan Gross) provides a visceral experience due to the booming subsonic bass sounds triggered on each punch and the bright flashes given off by the punching bag. You almost feel sorry for it.

Love Hate Punch

Players of Bandjesland (Monobanda) collaborate to create a continuously changing dance music composition. It is a zillion times more interesting to watch than your average electronic live set as the tools used are old-fashioned cassette tapes placed on a large table. The recording station, which consists of a huge cap that players stick their heads in, adds an extra slightly absurd spectacle.

Bandjesland

Hand From Above (Chris O’Shea) wasn’t set up in the aforementioned greenhouses, but was outside of course, on a large screen for all visitors of the square to see. The sheer range of behavior displayed by people as they discovered a large hand was playing with them is dizzying, from timid bemusement, to elaborate performances mainly put on by the smallest of kids.

Hand From Above

And finally Sound Chaser (Yuri Suzuki) offset some of the more physical installations with its otherworldly soundscapes emerging from little cars tirelessly racing a track made out of broken records.

Sound Chaser

This happened…

The icing on the cake was This happened – Utrecht #10, which took place on the second day of the festival. We were guests of the good old Academy Theatre, where we were given the small cozy room seating 70. An awesome line-up and a thoroughly engaged crowd (we filled each and every seat) made this into a magical night of honest but inspiring stories about how these projects get made, and great dialogue between speakers and audience.1

This happened – Utrecht #10

This was one of my first proper gigs as a curator of interactive work and I must say it has wet my appetite. I am already looking forward to my next chance.

  1. Check out the photos on Flickr by Hein Lagerweij and others. []
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