As alternatives to agency-obsession, "critical technical practices" that connect art and technology are front and center in the work of Michael Mateas.
"Critical videogames": moving beyond the non sequiter of now, Gonzalo Frasca projects a future in which the phrase would make sense.
Mizuko Ito recounts her experience at an unusual gaming convention in Japan, and posits fan culture as a way to understand software.
Eric Zimmerman modifies Gonzalo Frasca's game strategy with a strategic patch.
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.
Eugene Thacker sees ethical acting as a potential stumbling block, one that trips up technological complicity.
The "cognitive entailments" of a reader, or "interactor," are where Katherine Hayles redirects the new aesthetics of electronic textuality.
Sidebar images, "From Work to Play: Molecular Culture in the Time of Deadly Games."
U.S. cybernetic pragmatisim and practical Net expertise interest Moulthrop (and his auditors) on "second thought."
"Playing with play," John Cayley sets ludology on an even playing field with literature, but without literary scholarship's over-reliance on 'story,' 'closure,' and 'pleasure.'