Spurred by global macro-economic shifts, commercial and financial turbulence, as well as technological leaps in the early years of the new millennium, the Danish shipping industry has changed dramatically since the turn of the century. This book provides a new understanding of how rapid business environmental changes frame strategic choices and industry structures. The authors combine a conceptual chapter with three selected business history cases to apply a methodical approach to their study. Together, the five chapters unveil patterns in the development of Danish shipping which are historical and, at the same time, consider questions that address the present situation and the challenges of our time. In other words, this short book uses history for the purpose of understanding the present and to develop thinking for the future.
How casual games like Guitar Hero, Bejeweled, and those for Nintendo Wii are expanding the audience for video games. We used to think that video games were mostly for young men, but with the success of the Nintendo Wii, and the proliferation of games in browsers, cell phone games, and social games video games changed changed fundamentally in the years from 2000 to 2010. These new casual games are now played by men and women, young and old. Players need not possess an intimate knowledge of video game history or devote weeks or months to play. At the same time, many players of casual games show a dedication and skill that is anything but casual. In A Casual Revolution, Jesper Juul describes this as a reinvention of video games, and of our image of video game players, and explores what this tells us about the players, the games, and their interaction. With this reinvention of video games, the game industry reconnects with a general audience. Many of today's casual game players once enjoyed Pac-Man, Tetris, and other early games, only to drop out when video games became more time-consuming and complex. Juul shows that it is only by understanding what a game requires of players, what players bring to a game, how the game industry works, and how video games have developed historically that we can understand what makes video games fun and why we choose to play (or not to play) them. Important Notice: The digital edition of this book is missing some of the images found in the physical edition.
This book tells the story of one of medicine’s most (in)famous treatments: the neurosurgical operation commonly known as lobotomy. Invented by Portuguese neurologist Egas Moniz in 1935, lobotomy or psychosurgery became widely used in a number of countries, including Denmark, where the treatment had a major breakthrough. In fact, evidence suggests that more lobotomies were performed in Denmark than any other country. However, the reason behind this unofficial world record has not yet been fully understood. Lobotomy Nation traces the history of psychosurgery and its ties to other psychiatric treatments such as malaria fever therapy, Cardiazol shock and insulin coma therapy, but it also situates lobotomy within a broader context. The book argues that the rise and fall of lobotomy is not just a story about psychiatry, it is also about society, culture and interventions towards vulnerable groups in the 20th century.
A gaming academic offers a “fascinating” exploration of why we play video games—despite the unhappiness we feel when we fail at them (Boston Globe) We may think of video games as being “fun,” but in The Art of Failure, Jesper Juul claims that this is almost entirely mistaken. When we play video games, our facial expressions are rarely those of happiness or bliss. Instead, we frown, grimace, and shout in frustration as we lose, or die, or fail to advance to the next level. Humans may have a fundamental desire to succeed and feel competent, but game players choose to engage in an activity in which they are nearly certain to fail and feel incompetent. So why do we play video games even though they make us unhappy? Juul examines this paradox. In video games, as in tragic works of art, literature, theater, and cinema, it seems that we want to experience unpleasantness even if we also dislike it. Reader or audience reaction to tragedy is often explained as catharsis, as a purging of negative emotions. But, Juul points out, this doesn't seem to be the case for video game players. Games do not purge us of unpleasant emotions; they produce them in the first place. What, then, does failure in video game playing do? Juul argues that failure in a game is unique in that when you fail in a game, you (not a character) are in some way inadequate. Yet games also motivate us to play more, in order to escape that inadequacy, and the feeling of escaping failure (often by improving skills) is a central enjoyment of games. Games, writes Juul, are the art of failure: the singular art form that sets us up for failure and allows us to experience it and experiment with it. The Art of Failure is essential reading for anyone interested in video games, whether as entertainment, art, or education.
An investigation of independent video games—creative, personal, strange, and experimental—and their claims to handcrafted authenticity in a purely digital medium. Video games are often dismissed as mere entertainment products created by faceless corporations. The last twenty years, however, have seen the rise of independent, or “indie,” video games: a wave of small, cheaply developed, experimental, and personal video games that react against mainstream video game development and culture. In Handmade Pixels, Jesper Juul examine the paradoxical claims of developers, players, and festivals that portray independent games as unique and hand-crafted objects in a globally distributed digital medium. Juul explains that independent video games are presented not as mass market products, but as cultural works created by people, and are promoted as authentic alternatives to mainstream games. Writing as a game player, scholar, developer, and educator, Juul tells the story of how independent games—creative, personal, strange, and experimental—became a historical movement that borrowed the term “independent” from film and music while finding its own kind of independence. Juul describes how the visual style of independent games signals their authenticity—often by referring to older video games or analog visual styles. He shows how developers use strategies for creating games with financial, aesthetic, and cultural independence; discusses the aesthetic innovations of “walking simulator” games; and explains the controversies over what is and what isn't a game. Juul offers examples from independent games ranging from Dys4ia to Firewatch; the text is richly illustrated with many color images.
Spurred by global macro-economic shifts, commercial and financial turbulence, as well as technological leaps in the early years of the new millennium, the Danish shipping industry has changed dramatically since the turn of the century. This book provides a new understanding of how rapid business environmental changes frame strategic choices and industry structures. The authors combine a conceptual chapter with three selected business history cases to apply a methodical approach to their study. Together, the five chapters unveil patterns in the development of Danish shipping which are historical and, at the same time, consider questions that address the present situation and the challenges of our time. In other words, this short book uses history for the purpose of understanding the present and to develop thinking for the future.
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