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Independent Videogames investigates the social and cultural implications of contemporary forms of independent video game development. Through a series of case studies and theoretical investigations, it evaluates the significance of such a multi-faceted phenomenon within video game and digital cultures. A diverse team of scholars highlight the specificities of independence within the industry and the culture of digital gaming through case studies and theoretical questions. The chapters focus on labor, gender, distribution models and technologies of production to map the current state of research on independent game development. The authors also identify how the boundaries of independence are becoming opaque in the contemporary game industry – often at the cost of the claims of autonomy, freedom and emancipation that underlie the indie scene. The book ultimately imagines new and better narratives for a less exploitative and more inclusive videogame industry. Systematically mapping the current directions of a phenomenon that is becoming increasingly difficult to define and limit, this book will be a crucial resource for scholars and students of game studies, media history, media industries and independent gaming.

L’exposition Öndia’tahterendih, oubliées ou disparues : Akonessen, Zitya, Marie et les autres, créée par la Boite Rouge Vif, une OBNL autochtone du Québec, et la commissaire wendate Sylvie Paré, présente 10 artistes rendant hommage aux femmes et aux filles autochtones touchées par le féminicide autochtone, tout en cherchant à mobiliser le public. Je souhaite dans le cadre de cet article explorer les stratégies mises en place au sein de l’exposition, telle qu’elle a été présentée au musée de la Civilisation du Québec en 2018. Je conclurai en explorant l’inscription de l’exposition dans le développement d’un commissariat engagé autochtone au Canada.

This book develops a nuanced decolonial critique that calls for the decolonization of media and communication studies in Africa and the Global South. Last Moyo argues that the academic project in African Media Studies and other non-Western regions continues to be shaped by Western modernity’s histories of imperialism, colonialism, and the ideologies of Eurocentrism and neoliberalism. While Africa and the Global South dismantled the physical empire of colonialism after independence, the metaphysical empire of epistemic and academic colonialism is still intact and entrenched in the postcolonial university’s academic programmes like media and communication studies. To address these problems, Moyo argues for the development of a Southern theory that is not only premised on the decolonization imperative, but also informed by the cultures, geographies, and histories of the Global South. The author recasts media studies within a radical cultural and epistemic turn that locates future projects of theory building within a decolonial multiculturalism that is informed by trans-cultural and trans- epistemic dialogue between Southern and Northern epistemologies.

Searching the critical work of post-colonial critics, the author found much writing that bespeaks the continued fascination with the way white minds, particularly the colonial imperialist traveler, perceive blackness, and very little expressed interest in representations of whiteness in the black imagination. Some white people may even imagine there is no representation of whiteness in the black imagination, especially one that is based on concrete observation or mythic conjecture. Stereotypes black folks maintain about white folks are not the only representations of whiteness in the black imagination. Yet it is this representation of whiteness in the black imagination, first learned in the narrow confines of poor black rural community, that is sustained by the author travels to many different locations. Theorizing diverse journeying is crucial to the people understanding of any politics of location.

Redefines games and game culture from south to north, analyzing the social impact of video games, the growth of game development and the vitality of game cultures across Africa, the Middle East, Central and South America, the Indian subcontinent, Oceania and Asia.

In 'Eros Ideologies' Laura E. Perez explores the decolonial through Western and non-Western thought concerning personal and social well-being. Drawing upon Jungian, people-of-color, and spiritual psychology alongside non-Western spiritual philosophies of the interdependence of all life-forms, she writes of the decolonial as an ongoing project rooted in love as an ideology to frame respectful coexistence of social and cultural diversity. In readings of art that includes self-portraits by Frida Kahlo, Ana Mendieta, and Yreina D. Cervantez, the drawings and paintings of Chilean American artist Liliana Wilson, and Favianna Rodriguez's screen-printed images, Perez identifies art as one of the most valuable laboratories for creating, imagining, and experiencing new forms of decolonial thought. Such art expresses what Perez calls eros ideologies: understandings of social and natural reality that foreground the centrality of respect and care of self and others as the basis for a more democratic and responsible present and future. Employing a range of writing styles and voices-from the poetic to the scholarly-Perez shows how art can point to more just and loving ways of being.

Artists and cultural practitioners from Indigenous communities around the world are increasingly in the international spotlight. As museums and curators race to consider the planetary reach of their art collections and exhibitions, this publication draws upon the challenges faced today by cultural workers, Indigenous and non-Indigenous, to engage meaningfully and ethically with the histories, presents and futures of Indigenous cultural practices and world-views. Sixteen Indigenous voices convene to consider some of the most burning questions surrounding this field. How will novel methodologies of word/voice-crafting be constituted to empower the Indigenous discourses of the future? Is it sufficient to expand the Modernist art-historical canon through the politics of inclusion? Is this expansion a new form of colonisation, or does it foster the cosmopolitan thought that Indigenous communities have always inhabited? To whom does the much talked-of 'Indigenous Turn' belong? Does it represent a hegemonic project of introspection and revision in the face of today's ecocidal, genocidal and existential crises?"--Page 4 de la couverture. Autres auteurs/titres:edited by Katya García-Antón ; contributors, Daniel Browning, Kabita Chakma, Megan Cope, Santosh Kumar Das, Hannah Donnelly, Léuli Māzyār Luna'i Eshrāghi, David Garneau, Biung Ismahasan, Kimberley Moulton, Máret Ánne Sara, Venkat Raman Singh Shyam, Irene Snarby, Ánde Somby, Megan Tamati-Quennell, Prashanta Tripura, Sontosh Bikash Tripura.

El presente artículo rastrea y explora el sentido poético y las posibilidades epistémicas del término relación a partir de la obra Tratado del todo-mundo, de Édouard Glissant, asumida como aporte del pensamiento afroantillano al proyecto del giro decolonial de los estudios interculturales latinoamericanos. En un primer momento, se identifican los rasgos y contornos operatorios de la identidad relación a partir de las siguientes claves de lectura: imaginería, poética y retórica, espiritualidad y ética, política y epistémica. En el segundo momento, se identifican las conexiones e implicaciones más relevantes para el contexto andino. De la exploración, se desprende que el pensamiento afrocaribeño de Glissant, contribuye a generar posibilidades discursivas potentes para enriquecer identidades abiertas en su diferencia y prácticas epistémicas sin amurallamientos identitarios o ilusiones uniformizantes. Finalmente, el aporte de Glissant, ofrece espacios de búsquedas a los movimientos sociales andinos para enriquecer sus prácticas de identidad en tanto relación, más allá de los esencialismos y la pretensión de raíz única. Cet article retrace et explore le sens poétique et les possibilités épistémiques du terme relation dans le traité d’Édouard Glissant, Traité du Tout-Monde, en tant que contribution afro-antillaise au projet du virage décolonial dans les études interculturelles latino-américains. Premièrement, nous identifions les traits et les contours opératoires de l›identité relationnelle à partir de clés suivantes : imagerie, poétique et rhétorique, spiritualité et éthique, politique et épistémique. Les liens les plus pertinents et les implications pour le contexte andin sont alors identifiés. De cette exploration, il est clair que la pensée afro-antillaise de Glissant contribue à générer de puissantes possibilités discursives pour enrichir des identités ouvertes dans leurs différences et leurs pratiques épistémiques, sans de murs identitaires ni d’illusions normalisatrices. Enfin, la contribution de Glissant ouvre des espaces de recherche pour les mouvements sociaux andins afin d’enrichir leurs pratiques d’identité en tant que relation, au-delà des essentialismes et de la prétention d’une seule origine.

How culture uses games and how games use culture: an examination of Latin America's gaming practices and the representation of the region's cultures in games. Video games are becoming an ever more ubiquitous element of daily life, played by millions on devices that range from smart phones to desktop computers. An examination of this phenomenon reveals that video games are increasingly being converted into cultural currency. For video game designers, culture is a resource that can be incorporated into games; for players, local gaming practices and specific social contexts can affect their playing experiences. In Cultural Code, Phillip Penix-Tadsen shows how culture uses games and how games use culture, looking at examples related to Latin America. Both static code and subjective play have been shown to contribute to the meaning of games; Penix-Tadsen introduces culture as a third level of creating meaning. Penix-Tadsen focuses first on how culture uses games, looking at the diverse practices of play in Latin America, the ideological and intellectual uses of games, and the creative and economic possibilities opened up by video games in Latin America—the evolution of regional game design and development. Examining how games use culture, Penix-Tadsen discusses in-game cultural representations of Latin America in a range of popular titles (pointing out, for example, appearances of Rio de Janeiro's Christ the Redeemer statue in games from Call of Duty to the tourism-promoting Brasil Quest). He analyzes this through semiotics, the signifying systems of video games and the specific signifiers of Latin American culture; space, how culture is incorporated into different types of game environments; and simulation, the ways that cultural meaning is conveyed procedurally and algorithmically through gameplay mechanics. Source: Publisher

Video games have become a global industry, and their history spans dozens of national industries where foreign imports compete with domestic productions, legitimate industry contends with piracy, and national identity faces the global marketplace. This volume describes video game history and culture across every continent, with essays covering areas as disparate and far-flung as Argentina and Thailand, Hungary and Indonesia, Iran and Ireland.

"Sexual Futures, Queer Gestures and Other Latina Longings proposes a theory of sexual politics that works in the interstices between radical queer desires and the urgency of transforming public policy, between utopian longings and everyday failures. Considering the ways in which bodily movement is assigned cultural meaning, Juana Maria Rodriguez takes the stereotypes of the hyperbolically gestural queer Latina femme body as a starting point from which to discuss how gestures and forms of embodiment inform sexual pleasures and practices in the social realm. Centered on the sexuality of racialized queer female subjects, the book's varied archive--which includes burlesque border crossings, daddy play, pornography, sodomy laws, and sovereignty claims--seeks to bring to the fore alternative sexual practices and machinations that exist outside the sightlines of mainstream cosmopolitan gay male culture. Situating articulations of sexual subjectivity between the interpretive poles of law and performance, Rodriguez argues that forms of agency continually mediate among these various structures of legibility--the rigid confines of the law and the imaginative possibilities of the performative. She reads the strategies of Puerto Rican activists working toward self-determination alongside sexual performances on stage, in commercial pornography, in multi-media installations, on the dance floor, and in the bedroom. Rodriguez examines not only how projections of racialized sex erupt onto various discursive mediums but also how the confluence of racial and gendered anxieties seeps into the gestures and utterances of sexual acts, kinship structures, and activist practices. Ultimately, Sexual Futures, Queer Gestures, and Other Latina Longings reveals--in lyrical style and explicit detail--how sex has been deployed in contemporary queer communities in order to radically reconceptualize sexual politics"--

La idea de elaborar un número sobre las luchas de las mujeres y las feministas en América Latina y el Caribe surgió de un encuentro entre Sabine Masson (Suiza), Jules Falquet (Francia) y Ochy Curiel (República Dominicana), cuyos caminos se cruzaron en el continente latinoamericano por razones personales y políticas. Debatimos y reflexionamos juntas sobre la cuestión de las barreras de "raza" y de clase que nos atraviesan a las feministas de diferentes partes del mundo, y que son en particular el reflejo de las relaciones de dominación entre el Sur y el Norte. Precisamente por estas barreras, las experiencias políticas y el trabajo de construcción colectiva de muchas feministas y mujeres, especialmente de América Latina y el Caribe, siguen siendo desconocidas para la mayoría de las feministas de otras latitudes, y de poco interés para las revistas académicas feministas de los países ricos. Oponerse a esta invisibilización y contribuir, aunque sea a nivel experimental y muy modesto, a la deconstrucción de estas barreras, fue nuestra principal motivación para organizar este número en una revista francófona como Nouvelles Questions Féministes. Sin embargo, el trabajo de coordinación presentó importantes contradicciones: primero, entre nosotros mismos. En primer lugar, tuvimos que reconocer e integrar las diferencias y similitudes de nuestras respectivas posiciones, para llegar a un consenso que nos permitiera desarrollar esta cuestión juntos. En segundo lugar, nos enfrentamos al riesgo de reproducir una vez más el saqueo de los conocimientos de las mujeres indias, afrodescendientes y mestizas latinoamericanas y caribeñas por parte de los "expertos del Norte". Los textos se traducirían al francés, lo que significaría que una ínfima minoría de mujeres latinoamericanas y caribeñas tendría acceso a ellos, mientras circulaban por Europa, enriqueciendo una vez más el conocimiento de las mujeres de los países ricos con el trabajo, las luchas, las historias y los escritos de las mujeres de los países pobres. Ante este problema, decidimos que la publicación de este número fuera acompañada de una versión en español, con el objetivo de hacer circular y compartir esta producción intelectual en América Latina y el Caribe   L’idée de faire un numéro sur les luttes de femmes et les luttes féministes en Amérique latine et aux Caraïbes a surgi de la rencontre entre Sabine Masson (Suisse), Jules Falquet (France) et Ochy Curiel (République Dominicaine), dont les chemins se sont croisés sur le continent latino-américain pour des raisons personnelles autant que politiques. Nous avons débattu et réfléchi ensemble sur la question des barrières de « race » et de classe qui nous traversent, nous les féministes de différentes parties du monde, et qui sont notamment le reflet des rapports de domination entre le Sud et le Nord. Justement à cause de ces barrières, les expériences politiques et le travail de construction collective de beaucoup de féministes et de femmes, notamment latino-américaines et des Caraïbes, demeurent inconnus de la plupart des féministes d’autres latitudes, et intéressent peu les revues féministes académiques des pays riches. S’opposer à cette invisibilisation et contribuer, même si ce n’est qu’à un niveau expérimental et très modeste, à déconstruire ces barrières, a constitué notre principale motivation pour organiser ce numéro dans une revue francophone comme Nouvelles Questions Féministes . Néanmoins, le travail de coordination présentait d’importantes contradictions : d’abord, entre nous. Pour commencer, nous avons dû reconnaître et intégrer les différences et les similitudes de nos positions respectives, afin de parvenir à un consensus qui nous permette d’élaborer ce numéro ensemble. Ensuite, nous nous confrontions au risque de reproduire encore une fois le pillage des connaissances des femmes indiennes, afro-descendantes et métisses latino-américaines et des Caraïbes par les « expertes du Nord ». Les textes allaient être traduits en français, c’est-à-dire qu’une infime minorité de femmes latino-américaines et des Caraïbes pourrait y avoir accès, pendant qu’ils circuleraient en Europe, enrichissant une fois de plus le savoir des femmes des pays riches à partir du travail, des luttes, des histoires et des écrits des femmes des pays pauvres. Face à ce problème, nous avons décidé que la publication de ce numéro allait s’accompagner d’une version en espagnol, dans le but de faire circuler et de partager cette production intellectuelle en Amérique latine et aux Caraïbes

Interview with author, Dr. Laura Pérez, Professor of Ethnic Studies at UC Berkeley on her most recent book, Eros Ideologies: Writings on Art, Sprituality, & the Decolonial.