Simon Penny adds object-context to the talking machines of Natalie Jeremijenko’s essay.
Simon Penny re-collects the dimensions of simulation-as-training in martial arts, football, and ballet (not to mention computer games).
Simon Penny recalls that the origins of the human-computer interface, politicized by a military heritage, are now explored by artist-enigineers who chaperone fragmentation and dissent.
Do violent games train us for violence? Drawing on social psychology and cognitive science, Simon Penny examines the “ethics of simulation.”