Interface as Artefact: Arts Magic Circle boundary has an object, rather than a set of rules, representing it’s boundary. These objects have a various functions in terms of their relationship to participants and the location and how they build the Circle of experience. Unlike the game controller, and its use over a number of different scenarios, here the controller is a unique object associated with each Ludic undertaking.
The Seductive Interface:
So, the interface as well as creating agency in he experience for the participant, can also have an aesthetic quality that helps to create a desirable activity calls out to people around with purpose outside of the pure game. It has an added desirability dimension. Unlike game interfaces, in the Ludic activities, each work has a purpose specific interface that relates to that one activity.
The Slime of Slime tango
Contraptions:
Contraptions can be seen as a tool or device, that has been made, often with evidence of a certain DIY quality, but also exhibiting aspects of ingenuity in relation to their use but can have a sense of being overly complex in relation to what they do but as in the notion of seduction, the contraption calls to be tired, to be activated, to see how all the parts operate.
The Hands of Sign Language Duel:
Folk Structures:
An object or activity with a shared cultural currency. So, games and play and Folk relate in containing cultural resonance which in terms of affordance, can mean participants have a foreknowledge of how to engage, which I found advantageous for my instantaneous structures.
Affordance as Form: Meaning, the manner in which the artwork reconfigures an existing object in public space and bestows a new affordance not inherent when made, is a form of the artwork, the aesthetic generated.
Imaginative Affordance:
In Imaginary affordance, the potential that affordance has, is additional to the original intention of the object and is only semi-physically of the world and partly in the mind of the players/participants and further affecting those around the experience. This idea of the imaginary relation to objects has evolved from Walton and his aesthetic theory of the Imaginary prop. So this affordance, is the use of the object, to work with the imagination of the particiaptns, to build the world of the experience. In imaginative
affordance the rules of encounter are set out and it is up to the imagination of the participants to complete the world of the activity. So Imaginative affordance exists half in the world, and half in the imagination of those engaging.
Re-Affordance:
The objects themselves are devoid in their original conceiving as having any form of affordance use in the way the art game want, until it is bestowed upon them, as in an art mechanic sense, as those within the realm of the seductive interface have the possibility of activating objects, of finding affordances where for others without the seductive interface, the contraption there is none. In this way it encourages discovery, and investigation of an area.
Swingball Shakespeare’s ball and string:
De Affordance:
This examination, looks also at the way artists have effected objects that contain affordance. The removal of the affordance capability of an object, or structure, or experience can cause a confusion in an audience, if it makes an object that has affordance devoid of its potentiality
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