rePLAYCE:theCITY Bookofabstracts trans4mator by Imanuel Schipper

rePlayce : theCity how does the physical and social space change when the city is turned into a playground?

BOOK OF ABSTRACTS Nov 7 - 9 / 2013

trans4mator

03 Introduction 04

KEYNOTE 1 «MY FACE IS A CITY» Urbanity as a Spatial Quality and Human Virtue Robert Pfaller

KEYNOTE 2 Making and Breaking Rules: The Meaning of Game Design Eric Zimmerman

KEYNOTE 3

Learning in the City through Pervasive Gaming Nikolaos Avouris

06 06 08 10

PART Panel Panel Panel

I: PLAYING PUBLIC 1: Education 2: Spectacle 3: Narrative

12 12 14 16

PART Panel Panel Panel

II: PLAYING PLACE 4: Citizen: Play! 5: Architecting Play 6: Urban Transformations

18 18 20 22

PART Panel Panel Panel

III: PLAYING POWER 7: Military and Violence 8: Surveillance and Control 9: Theatre and Revolution

KEYNOTE 4

Art, Play and the Pop-up City – Prototyping Urban Futures Drew Hemment

PLAY / Performances, Workshops & Games

29 Overview

Introduction rePLAYCE:theCITY discusses different aspects of game and play in relation to our everyday life in the city in order to elucidate how games and play may change the way we understand, live in, read and experience cities. The city has long been conceptualised as a playground. From Baudelaire’s flâneur in the 19th century, to Situationists International in the 20th century and to the 21st century’s Parkour. What these approaches have in common is the emphasis on play as a ludic behaviour that may inspire encounters, question normalities and break the routine and everyday way of viewing the city. With the emergence of mobile technologies, as well as the pervasiveness of the Internet, cities are transformed into technological playgrounds, in which ludic behaviour occurs in combination of the physical and the digital. Mobile technologies function as interfaces that structures the ludic behaviour through rules and informational networks dictating what can and cannot be done during gameplay. The difference between game ( formal, structured, driven towards an objective ) and play ( informal, unstructured, open-ended ) becomes relevant here. On the one hand, the game is in this context seen as a structure that provides a «safety net» of rules and social contracts that enable play. It is the open design that sets the stage for ludic human experience. On the other hand, the game is seen as a focussed and closed structure that impedes play by being bound to a specific way of problem solving with a predictable resolution. Thus, the game risks being prone to recuperation by governments and market forces for specific economic, social and / or commercial ends. These positive and negative aspects of game and play in relation to our everyday life in the city will be discussed in three main panels: Playing Public, Playing Place and Playing Power. The conference combines theoretical inputs ( re-flect ), presentations of practical works in the field ( re-present ) and games / workshops ( re-play ) in order to cover the broad variety of approaches and perspectives to game and play within these contexts

re-Flect

Re-flect is a theoretical input from a scholar / academic discussing broader theoretical implications for and issues related to the topic of the panel.

re-Present

Re-present is a presentation of a work / project by a practitioner within the field, elucidating the topic of the panel from a practical perspective.

re-Play

Re-play is a game / experiment / workshop, that engages the audience in investigating the topic of the panel through playful activities.

Welcome and enjoy! Imanuel Schipper & Cecilie Sachs Olsen ( trans4mator )

THURSDAY NOV. 7 KEYNOTE 1 & 2 Thursday / 20.00 / Halle Robert Pfaller / «MY FACE IS A CITY» - Urbanity as a Spatial Quality and Human Virtue According to the ancient rhetoricians Cicero and Quintilian, urbanity was a personality trait and skill that could be developed only in the city: the term connoted the ability to devise sophisticated puns, to show wit, and to deliver pithy remarks. This talk explores the relationship between this culture of humour and the contemporaneous urban cultures of courtesy. Does the urban separation between the private person and his or her civilised, public role, as described by Richard Sennett, not also presuppose humour? Must one not be able to both considerably and humorously disregard oneself to play a role? Is humour thus the crucial virtue for the emergence of «organic» solidarity, which ( according to Emile Durkheim ) in the city takes the place of the «mechanical» solidarity of the village community?

Eric Zimmerman / Making and Breaking Rules: The Meaning of Game Design Games can be framed in many ways, but one way to understand them is as a space of meaning - a context that assigns special significance to the actions and behaviors of players. For example, once we begin to play a game of Chess, the figurines on a coffee table change from being decorative objects to being things that generate new mathematical and social meanings. Game designers craft these meanings by creating structures that players explore, inhabit, and manipulate. This talk will explore the craft of game design from the point of view of meaning, and will also make a connection between the design of games and the times in which we are living today - a «Ludic Century» that has a special relationship to the culture form of games.

Chair / Imanuel Schipper

_______________________________________ Robert Pfaller / Robert Pfaller has been Professor of Philosophy at the University of Applied Arts in Vienna since 1993 and teaches at art universities in Austria and abroad. In cooperation with the Key Researchers, he will develop methods of implementation of cultural theory and philosophical theses in artistic design strategies. He provides research networks and works on the mutual dissemination of research results between artistic and scientific disciplines. Robert Pfaller is visiting professor in Amsterdam ( Rietveld Academy ), Berlin ( Kunsthochschule Berlin-Weissensee ), Chicago ( UIC, School of Art and Design ), Oslo ( KHIO – Kunsthogskolen i Oslo ), Toulouse ( Ecole supérieure des beaux-arts ), and Zürich ( ZHdK ). In 2002 he completed a habilitation in Cultural History and Theory at the University of Art and Design Linz with the publication «The illusions of others. Beyond the pleasure principle in culture». In 2007 he was awarded the prize «The Missing Link» of the Zurich Psychoanalytical Seminar. In 2009-2011 he was project leader of the research project «Transferences: Psychoanalysis – Art – Society» at WWTF, Arts & Sciences Call ( together with Dr. Eva Waniek ). Eric Zimmerman / Eric is a veteran game designer who co-founded and ran the award-winning NYC-based studio Gamelab for 10 years. He is also a professor at the NYU Game Center and has coauthored influential books on game design including Rules of Play. Recent work includes architectural game installations with Nathalie Pozzi, tabletop games Quantum and the Metagame, and the relaunch of the online game SiSSYFiGHT 2000.

FRIDAY NOV. 8 KEYNOTE 3 Friday / 09.30 – 10.30 / Halle Nikolaos Avouris / Learning in the City Through Pervasive Gaming This talk discusses theoretical and empirical work relating with learning in cities through pervasive gaming activities. Taking into account that in modern cities digital infrastructure and locative media become part of the landscape, it is argued that new kinds of games facilitated by technology are conducive to new kinds of learning. We present examples of games played in urban environments and discuss various ways through which learning may take place during game play. A distinction is made between learning through the city and learning about the city while emphasis is put on learning factual information vs learning through interacting with the city and experiencing the city.

Chair / Imanuel Schipper

_______________________________________ Nikolaos Avouris / Nikolaos Avouris is professor of Software Technology and Human-Computer Interaction at the University of Patras. His research interests include Software Technology and Interactive Systems Design and Human-machine interaction with emphasis in cultural and educational fields. He has special interest and experience in Distributed Intelligent Systems, collaborative systems, usability and accessibility of interactive systems, mobile systems, web applications and services, application of artificial intelligence and machine learning techniques in the above areas. He coordinated research and design of pervasive games like CityScrabble, Rebels vs. Spies and others. Imanuel Schipper / After gaining twelve years of practical experience, as a dramaturge ( Rimini Protokoll, William Forsythe ), he was appointed Lecturer and Researcher at Zurich University of the Arts ( ZHdK ) in 2007. Imanuel Schipper has been Research Assiociate at the Institute for Performing Arts and Film and the Institute for Critical Design Research Design2context. Recently he is a Senior Researcher at the Institute for Critical Theory. He has lectured at many universities, among them Goethe University in Frankfurt am Main, Akademie für Darstellende Kunst Baden-Würtemberg; Hochschule für Bildende Künste Dresden; Hochschule der Künste Bern, TU Berlin, Danish National School of Performing Arts. He has been applicant and head of the following research projects: Longing for Authenticity - Critical Research on the Concept and Experience of Contemporary Theatre Settings ( ZHdK / SNF ) ( 2009-2011 ); Re / Occupation – Construction of Publicness through Theatral Interventions in Urban Spaces ( ZHdK / SNF ) ( 2011 – 2013 ). 2012 he was Head of reART:theURBAN – an international and interdisciplinary conference on the question of what can arts can do for urban society.

PART I / PLAYING PUBLIC PANEL 1 / EDUCATION Friday / 11.00 – 13.00 / Halle Using games as an educational tool is widely recognized for providing opportunities for deeper learning. Interaction and the opportunities for making choices are hailed as important virtues of games in this regard. But what kind of knowledge is actually created through games? How may games function as educational means and training grounds for dealing with complex urban realities? How do they question conventions and social codes embedded in urban space? Do games enhance a conception of a result-oriented knowledge connected to aspect of win or lose, or do they facilitate an understanding of knowledge as an ongoing learning process? Are games creating collective intelligence or enhancing individual thinking and skills? What ethical implications are there when using games as «architectures of engagement» and tools for measuring learning?

Chair / Ulrich Götz

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re-Flect: Ian Dunwell / Gamification in Education Gamification has seen interest from a wide range of sectors as a means for attracting, retaining, and communicating concepts to users through novel forms. Adopting these principles has clear potential benefits for the education sector, however, much is still unknown as to how they might be best applied, and how they can be supported by robust pedagogical designs. In this presentation, a range of past examples of work at the Serious Games Institute will be described, providing a discussion of the use of gamification in education, its impact, and key future directions for research. In particular, discussion will tackle topics such as how to utilize gamification as a motivator, how to integrate it into pedagogical design, and common pitfalls in implementation.

re-Present: Jörg Hofstätter / Video Games - Towards Ludic Constructivism When Prensky- an American writer and speaker on learning and education- in 2001 revealed that the typical American ‘Digital Native’ has by the age of 21 spent roughly 10,000 hours playing computer games, but only 5,000 hours reading books, not only did he coin an appealing label for generations of students who grew up in the intensive interaction with digital technology, but he also sparked a widespread debate about the lure of video game virtual spaces. Today computer games have won considerable attention of experts and researchers, who have underlined their persuasive virtual spaces as the main feature that distinguishes computer games from games that are entirely played in the material space ( Jenkins 2007 ). Computer games are complex and evolving systems elevating constructivist and self-directed learning. In video games users fail and therefore learn in a safe space at their own pace; which makes them a rather powerful tool for education. I will present three recent projects from ovos to re-present our efforts in the field of Serious Games and Gamification: «Ludwig» – a curriculum-based physics for adventurers aged 10+ on renewable energies. «Technikquees» is a gamified online challenge for female teenagers to shed a new light and increase interest on technics.

«Lebensnetz» is an application for older adults about life history, imagination and reminiscence, which shall help overcome cognitive decline through a mix of playful activities designed to encourage social, physical and cognitive engagement.

re-Play: machina eX / Hacking Gessnerallee – Fostering Collaboration through Real-Life Point n‘ Click Games machina eX adventures focus on the collaborative spirit of their players. Collectively searching for hidden information, solving puzzles and finding one’s path through enhanced realities constitute the major challenges in our real life point ‘n’ click games. The exchange of ideas and knowledge amongst the group of players prompted by the distinct information conveyed through the system, actors and game design, make machina eX a highly interactive machine whose educative potential is individualized with every new group of players. _______________________________________

Ian Dunwell / Ian is a Senior Researcher at the Serious Games Institute, currently leading the area of educational games. Having obtained his PhD in Computer Science in 2007, he also holds a degree in Physics from Imperial College London, and is an Associate of the Royal College of Science. His research interests lie primarily in the application of an understanding of cognitive psychology as a means for providing optimised, evaluated, and effective learning experiences or healthcare interventions. He led the final stage delivery of the evaluation of Code of Everand, commissioned in 2009 by the Department for Transport and the largest publicly-funded serious game project in the UK to date. He also led the SGI contribution to ALICE, a €2.2m EU-funded FP7 project developing nextgeneration adaptive learning environments. Jörg Hofstätter / Jörg Hofstätter is founder and managing partner of ovos, a digital design agency in Vienna. At Ovos, Jörg is responsible for business development for Online projects and games. He is a trained Architect at the academy of applied arts Vienna at Studio Hadid and has dealt with online technologies and Games for over 15 years. He is frequently invited to international conferences to speak about Serious Games and virtual / augmented space and has had lectures on various Universities. He does not post photos from any of his three kids on Facebook. machina Ex: Anna Fries and Laura Schäffer / Anna Fries and Laura Schäffer are Performer / Dramaturg and Artistic Director of the theater / gaming collective machina eX. Since 2010 they stage real life point ‘n’ click adventures in elaborate settings like the Gessnerallee attic in 2012’s «Happy Hour». Beyond machina eX Fries directs and performs in several independent theatre projects, last at the «treibstoff» festival in Basel, and Schäffer writes for Gaming / Culture Magazines like the WASD. They both reside in Berlin, Germany. Ulrich Götz / Ulrich Götz, Prof., studied architecture at the University of the Arts in Berlin and the School of Architecture of Barcelona. He heads the BA and MA specialization in game design at the Zürich University of the Arts since 2004. In addition to university teaching, he has an extensive experience in the research and development of Serious Games, which he has pursued for years with partners such as the Zürich Children’s Hospital, the Swiss Federal Institute of Technology in Zürich, and the University of Zürich.

PANEL 2 / SPECTACLE Friday / 11.00 – 13.00 / Südbühne Today’s use of games are criticized for being less political and ideological than before, as game makers are said to turn their backs on their situationist legacy and transform the city into a commercialised «spectacle» for big hi-tech companies or city-branding efforts. It is argued that games obey the neoliberal market logic, and are used as tools to seduce, rather than to shock or politically active the user. What implications may this use of games have for the production or loss of an urban commons? Do games open up for participation and the co-production of «publicness», citizenship and identity? What are the implications of using games as tools for achieving specific social or economic ends? What happens when audience are made into players in performative settings? How may games establish and test out new relationships?

Chair / Cecilie Sachs Olsen

_______________________________________

re-Flect: Daniela Kuka / Playing Society – Participatory Future Research for Urban Space How can we use games to experiment with different modes of social reality? How can we create games that anticipate the construction of public life, citizenship, and identity in the future? How can we initiate gameplay as a creative and generative process? The talk introduces a game concept considering games as epistemic tools and exploratory experiments, instead of within the bias’ reality / fiction, or fun / seriousness. A new game type at the intersection of parlour game, social experiment, and futures studies is introduced: the «Preenaction game» ( http://preenaction.net ). Three core characteristics of these games are discussed: a) anticipation – games that envision possible futures and alternative realities; b) persuasion – games that influence people‘s attitudes and behaviour; c) storytelling and critical discourse – games that invite people to performatively construct expressions of how they want to live in the future ( and how not ).

re-Present: Sebastian Quack / We would be here - Game Design at the Intersection of Site-Specific Art and Urban Politics For more than a decade, games in the city have been «discovered» again and again by a number of different groups and institutions such as technology companies, universities, advertising agencies, tourism and urban planning departments, grass-roots communities, activists and artists. This proliferation has led to a unique creative position from which the playful reuse of urban systems, bodies, places and phantasies is organized – in various different ways and with different goals. This talk questions the potentials and challenges of this new creative position, focussing on the work of Invisible Playground ( especially the current collaboration with Gessnerallee for WIR WÜRDEN HIER SEIN ) and related artists that build on the traditions of site-specific art and socially engaged practice. What is specific to an artistic approach to game design in the city? In what ways does an art of game design for the city interact with the politics of city planning, marketing, fixing?

re-Play: PAN: Ben Barker & Sam Hill / Playing in Location: the City is a Material A session exploring urban play. Given the ever more complex infrastructure on our streets, how can we adapt those services for our own benefit? The cities of the future will be more efficient, but who is in charge of making them more human? Together we will question what key issues are for the future of the city, how play can challenge our use of the urban environment and what the materials that make up a city are. Attendees will be facilitated to develop a prototype experiences that can be tested at the conference. _______________________________________

Daniela Kuka / Since 2009 research fellow at Berlin University of the Arts. Lectures and project courses on persuasive communication & new media, communication patterns, creative techniques, and game design. She invented «Preenaction» with Klaus Gasteier. They founded Special Interest Group «Human Machine Persuasion», where «SQS – Social Quantified Self», the archetype of Preenaction, has been created ( http://social-qs.net ). The approach has been presented on conferences and exhibitions. Until 2009 Senior Researcher ( Interactive Dramaturgy ) at Ars Electronica Futurelab in Linz ( A ). R&D projects in Nonlinear Storytelling, Interaction Design, and Real-time Virtual Reality Edutainment. Projects commissioned by Ars Electronica Museum of the Future, SAP, Vodafone R&D, Telekom, Natural History Museum, and others. Co-Curator of «Pixelspaces», annual Symposium of Ars Electronica Futurelab. Studied «Cultural Engineering» in Magdeburg ( GER ) and «Media Culture and Art Theory» in Linz ( A ). Sebastian Quack / Sebastian Quack is a game designer and a play researcher. After studying in Berlin and Paris, Sebastian holds an M.A. in cultural studies and computer science. His work centres on the relations between public spaces, art and gameplay. After collaborations with HAU Theater Berlin, Game Studio Area / Code and Come Out & Play Festival New York ( amongst others ), Sebastian co-founded the artist collective Invisible Playground in 2009, realizing numerous groundbreaking game projects around the world, and curating the You Are GO! ( 2011 ) and Playpublik ( 2012 ) festivals in Berlin. From 2011-2012, Sebastian was a fellow at the Graduate School of the University of Arts in Berlin. He is currently working on a scientific / artistic PhD-Project at HFBK Hamburg. PAN: Ben Barker & Sam Hill / Pan is a critical design studio with a focus on experience design and what experience means for everyday life. Established in 2011, they work in the space between the digital and physical, whether that‘s a twitter powered swing-o-meter for the Design Museum or a pulsing heart in the back room of a Parisian Gallery for Hide and Seek. Their most recent project, Hello Lamp Post sees them making the street furniture of Bristol come to life and converse with the people who live there. Cecilie Sachs Olsen / PhD researcher at Queen Mary University of London. Her research revolves around how art can be used as a framework to analyse space and politics. Cecilie studied Urban Studies in Brussels, Vienna, Copenhagen and Madrid, and Theatre and Performance Studies at the University of Copenhagen. She has been working as a research assistant at the Institute of Critical Theory at Zurich University of the Arts, as well as the research project Urban Breeding Grounds at the Chair of Architecture and Urban Design at ETH Zurich.

PANEL 3 / NARRATIVE Friday / 11.00 – 13.00 / Halle «Narrative» is generally considered as the core pattern for human cognition, comprehension and explanation and is thus seen as the most important tool for construing identities and histories. While narrativity has thus long been a key concept in humanities, it is widely contested within the realm of games and new media. Game scholars tend to argue that games and narratives are distinct and even opposing entities, categorizing narratives as examples of «representation» and games as its alternative, namely «simulation». It is argued that a plot makes a story and rules make a game, and that players do not identify with their game-character the way an audience will identify with a movie-character. But are games and narratives really opposites? Can games experiment with story-telling and if so in what ways? How can games and narratives interact and what would come out of this interaction? Can games build narratives for the city?

Chair / Eric Andreae Sponsored and hosted by CAST/ audiovisuelle Medien, Design Department, Zurich University of the Arts _______________________________________

re-Flect: Blast Theory: Matt Adams / Playing with story: blurring games and narrative Blast Theory projects range from online games to theatrical journeys through the city. An abiding interest in these works is stretching and testing the limits of game structures. Can games be thought of as conversations? Can interactive works pose complex ethical and political dilemmas for their participants? Matt will introduce a selection of Blast Theory projects as examples of this enquiry.

re-Present: Samuel Schwarz / Der Polder Film, theatre and Internet storytelling sectors are faced with far reaching changes because international narrative industries are accommodating the needs of the users, and adapting their modes of production and narration. THE POLDER, an outstanding transmedial narrative, has also influenced this trend. Using game campaigns in urban spaces, the analysis of internet entertainment behaviour, or more precisely, in collaboration with the game developers at GBANGA and NEURO-X, stadttheater.tv has developed game worlds and realms of experience based on the exact scanning of current user needs. THE POLDER world will come the urban zone surrounding the base camp in the Aargauerstrasse in Zurich from October 24. Experience an adventure wasteland with games of chance, sex, parties and magical fairy tale worlds and tune into the movie THE POLDER that will be filmed in Zurich and Sils Maria in the spring 2014. Storytelling specialists from stadttheater.tv, and Søren Madsen from NEURO-X, will talk about the challenges of the different storytelling campaigns in THE POLDER, game design and storytelling in the 21st century.

re-Play: Neuro-X ( co-developed with Invisible Playground ) / POLDER MASSACRE NOW!! POLDER: MASSACRE NOW!!! is about preventing FRITZ‘s school massacre, or in the evil version, it is about slipping into the role of the perpetrator and committing the massacre. Since May 2013, this game is also being played at schools by NEURO-X as a means of developing the media competencies of young adolescents. POLDER: MASSACRE NOW!!! is a «traditional» urban game. The players can prove their bravery, or act out their anti-social emotions and let them run free. stadttheater.tv and NEURO-X give an insight into this small POLDER-Mini-Game and play it through with various ( voluntary ) test users. The game is fun to play and it is fun from a bystander‘s perspective as well. _______________________________________

Blast Theory: Matt Adams / Matt Adams co-founded Blast Theory in 1991, a four times BAFTA nominated group renowned for pioneering the mix of art, games and theatre. Matt has curated at Tate Modern and at the ICA in London. He is a Visiting Professor at the Central School of Speech and Drama. Samuel Schwarz / CEO Kamm( m )acher GmbH. Born in Langnau i.E. Founder of the renown theatre group 400asa. 2001: First contact with Asta Welejus and Soeren Madsen when 400asa performed MEDEÄÄ in Copenhagen in the sets of Lars von Triers DOGVILLE. 2006: Schwarz founded Kamm( m )acher Ltd as the cinematic arm of 400asa and since then developed the company more and more towards transmedia productions. In 2010 / 11 he produced «Mary & Johnny» that was released in Swiss cinemas in the summer of 2012. Kamm( m )ached Ltd is creator of DER POLDER – THE GAME, a transmedia Game Experience and Alternate Reality Game. The movie DER POLDER is based on motives of the ARG and is coproduced by DSCHOINT VENTSCHR, SWR and SRF and will be shot in March / April 2014. Neuro X: Søren Madsen / Born in 1976, Søren Madsen grew up in Zurich, Berlin and Copenhagen. The bronze medal winner in the 2000 Summer Olympics enjoyed a successful career as a top-ranking athlete with the Danish rowing team before starting as a trainee with ZENTROPA INTERACTION. In cooperation with Asta Welejus, he developed one of the first transmedia campaigns, including work for Lars von Trier’s KINGDOM. In 2004, he founded The Asta Experience with Asta Welejus. Together with his sister Zelda, and his brothers Fritz and Marcus Madsen, he is the founder of NEURO-X, a start up launched in 2007, which specialises in offline campaigns and urban gaming. NEURO-X focuses on the analysis and exploration of user needs, the harmonious interaction of online and offline conditions in urban spaces. Most recently, NEURO-X has received special attention for its walk and wander events at dawn, including ZARATHUSTRA by 400asa, in which philosophy, urban gaming and the targeted use of augmented reality were combined to create dense empirical worlds. NEUROX works in close cooperation with the University of Lausanne, in particular with their Human Brain Project. NEURO-X has developed a research project in collaboration with 400asa and the Center for Storytelling in Lucerne, to examine the organic reactions of the users in online and offline conditions.

PART II / PLAYING PLACE PANEL 4 / CITIZEN: PLAY! Friday / 14.15 – 16.15 / Halle When the city becomes a playground, a closer look at the mechanics of urban games will shed light on how they invite for participation, capture the players and enable an enjoyable experience. Other that in video games or board games, the urban environment is already there, [it is the architecture of power] and ready to be [re]discovered and to be [re]played. The city becomes re-interpreted, may it be for the purpose of recreating its mythological narration, or for the purpose of remodelling it as an obstacle course. How do mechanics of play and game differ in their core, and how are they related to digital games or children‘s play? What are the rules, the obstacles, the goals that drive the player‘s experience? What kind of games, what kind of play is out there, and what are the aesthetics of spatial game design for citizens?

Chair / Mela Kocher Lennström Hosted by the Institute of Design Research, Zurich University of the Arts _______________________________________

re-Flect: Margarete Jahrmann / Urban Games Ready-Played: Art & Activism in Playful Public Mixed Realities Interventions since 2000 This lecture addresses the emergence of Urban games as crucial category of political agency in contemporary technologically determined societies, which increasingly gave agency to the user. Proceeding from a review of arts practice in the research field of Urban Games, the author synthesises a critical narrative about an emerging form of «Ludic intervention» and its particular activist methodologies to support the processes of subversive agency in relation to technologies, that is suggested through a vital Urban Games practice since 2000. Most recently Urban games reverberate in urban art environments that explore the aesthetisation of machine-readable codes in Alternate Reality Games ( ARGs ). This technology was the basis of a a series of art works, using aesthetic codes, that are decodeable for both, the human and technological eye, mapping technologies and strategies of Urban games developed by the author for Kunsthalle and Museumsquarter Vienna, Laboral Gijon, Kunstmuseum Aarhus. These works appropriate historic references to Situationism and ‘pataphysics in actual subversive plays in urban and mixed space — with the aim to critically question technologies and subliminal surveillance in networked social spaces. This lecture will reflect on this experience in two ways: firstly, by defining methods of Urban Art Game intervention; and, secondly, question if framing this experience as a game or art is more effective for re-claiming the city.

re-Present: Beat Suter / Transparent City – Audible City: You are being watched! Media Art is no longer an issue. It has been discussed in books and is now a closed matter. The times of cobbled-together mobile tracking devices are over. Touching, tweeting and tracking and clicking with built-in sensors and apps is ruling. GPS-monitoring and CCTV cameras are normal. The tactile surfaces are caressed like a lover‘s skin, audio is transmitted right into the body. And that is just the start. What are the rules or mechanics of this new urban space? How can we hide from the radar of these intrusive devices and applications? How can we play with them? Visible and invisible, seeing, seen and not seen, disappear and hide: this is what AND-OR‘s projects are about. AndOrDada and Sniff_Jazzbox show the poetic side of locating, interweaving and listening to data available in urban spaces. In Wardive you fight active against this technical subconscious produced by Wi-Fi. And the project BeforetheSatelliteDetectsYou works with similar premises and makes the player aware of being constantly tracked: He has to hide in house entrances, under bridges, roofs and in the signal-shade of bigger buildings on his path through town. The four projects show the mechanics and dangers of an electronic data space.

re-Play: IDE ZHdK / Playground City. Paper Prototype it! Cities are – despite the all-encompassing distractions around us – designable playgrounds. The workshop «Playground city. Paper prototype it!» sets new rules on the cities of the spectacles, which are shaped by the architecture of power. Houses become gigantic brick toys, crosswalks become insurmountable ravines, while you collect PacMan pills in between. This is just the starting point for a set of rules. Change these rules, test the game on pen and paper: Simulate the computer as a designed engine, while confiding to a physical map on the table: While one group of participants plays the computer‘s side, the others play the player‘s side who moves through the city. Can the pills be eaten in this citywide playground, or will the ghosts get the player? Soon it will become clear, which rules prevail, and which won‘t work out. At the same time, you don‘t play just with a classical set of rules, but also with a human body and its features such as tiredness, endurance, two hands, and unforeseen situations. The workshop deconstructs cities in the game, and puts them, albeit in a different shape, back together. Together we‘ll discover cities – living space for more than 50% of the population! – as a designable space, and free it from its constraints. _______________________________________ Margarete Jahrmann / Prof. Mag. Art, Ph.D. Margarete Jahrmann is an artist, curator and researcher in Urban & Situationist Games & Arts with an international record of exhibitions and conferences. Since 2006 she is Professor for Game Design at the University of Arts Zürich and since 2000 Senior Lecturer of Art and Technology at the University of Applied Arts in Vienna. At this institution she led and successfully finalised in 2013 a 3year EU funded research project with a major Alternate Reality exhibition at Kunsthalle Vienna and edited a book at the Verlag für Moderen Kunst Nürnberg under the title «Play & Prosume». Jahrmann has received major media arts awards, such as the distinction in interactive arts, PrixArsElectronica 2003 and the software arts award, Transmediale, Berlin 2004. In 2005 she founded the international game arts research association Ludic-Society, www.ludic-society.net, and since then edits the Ludic Society magazine. In 2013 she participates in the Moscow Biennial with new works on Psychogeographic 3D prints and Sailing Duration performances. Beat Suter / Beat Suter, Ph.D., is lecturer for game design at the University of the Arts Zurich in Switzerland and at the Merz Academy in Stuttgart, Germany. He is member of the art group AND-OR and publisher of edition cyber fiction. AND-OR is a media art and gameart collective specializing in artgames. The collective consists of René Bauer, Beat Suter and Mirjam Weder. The group exists since 2001 and operates from Zurich, Switzerland. Over the years the collective has been able to show its media art and artgames worldwide in locations like Los Angeles, San Francisco, Rio de Janeiro, Toronto, Beijing, Edinburgh, London, Paris, Warsaw, Vienna, Berlin, Stuttgart and Zurich. AND-OR‘s origin is the media art scene. Some of the collective‘s projects like Wardive and Sniff_Jazzbox, are a mix of locative game projects and media art projects created for mobile devices. They capture and transpose communication waves between humans and machines into adaptive and locative games, music or poetry. René Bauer / René Bauer was born and grew up at Lake Constance. He studied interdisciplinary German, biology and computer linguistic at the university of Zurich. From the end of the 90ies on he develops the autopoietic system nic-las.com and the knowhow and e-learning project textmachina.uzh.ch ( follow up project: imachina.zhdk.ch ). In the meantime he is part of the art group and-or.ch, which makes the digital subconscious of our society come alive and playable ( wardrive, beforethesatellitedetectsyou, discriminationpong ). As an artist he works together with different artists like Johannes Auer or the art group ludic-society.net. Since 2005 he works as lecturer for Game Design at the Zurich University of the Arts ( ZHdK ). He works in research on games as cybernetic systems ( gamestudies ), on virtual rehabilitation like gabarello.zhdk.ch or on motivation cycles in the crowd sourcing water project iMoMo. He is one of the founders of the gameZfestival.ch in Zurich. Markus Rosse / My journey in the world of game development begun soon after I got hold of my first computer. After playing through all available games on it, I discovered a programming language and played with that instead. Later, with the upcoming Internet and better computers I became interested in computer graphics. After school I did an apprenticeship as a physics laboratory assistant, where I could foster my interest in science and generally technical things. Afterwards I joined a school of arts, because I wanted to train my creative side as well. At the Zurich University of Arts I discovered you could study game design – a field where all my interests and skills are combined. In my opinion, videogames are a very potent medium. I‘m interested in telling stories and creating systems. With the computer as a tool I‘m trying to find new ways of doing this in the medium of videogames. In my spare time I study animation, comics and try to master drawing. Philomena Schwab / Ever since I can remember, I loved to draw and create. During the preparation year for the Zurich University of Arts, I founded a creative business together with a friend. Currently, I‘m studying Game Design while keeping up the business. I‘m very fascinated by the many ways graphics, stories and systems can come together. People finally start understandig that the motivation resulting from fun and play can be used in a lot of other fields, like medicine and education. It‘s very interesting to be part of this evolution. Games are both passion and business to me. Mela Kocher / The imaginative drive of digital games and stories fascinated Mela Kocher early on. As consequence she focused on the aesthetics and storytelling of video games in her doctoral thesis ( «Folge dem Pixel-Kaninchen» / «Follow the Pixel Rabbit» ). Studying alternate reality games ( ARGs ) and their strategies in blurring boundaries between the real and the virtual has since become a major research and design pet for Mela. This interest sparked not least during her SNF funded post-doc stay at the University of San Diego, California ( UCSD ) between 2009-2011, and it continued so afterwards in her work at the Swiss Institute for Children‘s and Youth Media SIKJM and the ZHdK.

PANEL 5 / ARCHITECTING PLAY Friday / 14.15 – 16.15 / Studio 1 From the grotesque pavilions hidden in sixteenth century Italian gardens to the temporary structures in public space in the 70s and recent digitally augmented environments, architectures of play have long been designed to engage explorative experiences. The uncertainty of play allows us to probe new behaviors, to poke into the boundaries of subjectivity and to interact with people, things and systems in unexpected and unfamiliar ways. In this session, we experiment with ways in which spatial elements may foster participatory and explorative activities and enable the transformative power of play. Through discussion and urban actions of topics such as scale, smell, movement and misbehavior, we explore how such environments raise our responsibility toward others within our surroundings; how they enable us to transform our own established behaviors; and how they empower us to reclaim public space.

Chair / Karmen Franinovic Sponsored and hosted by Interaction Design, Design Department, Zurich University of the Arts _______________________________________

re-Flect: Karmen Franinovic, Heather Kelley, Nathalie Pozzi and Eric Zimmerman / Architecting Play In the first part of this panel / workshop, speakers will introduce their own interests that they propose to explore in this workshop. Exemplified through their own projects, they will introduce topics of scale, scent, movement and misbehavior in public space.

re-Present: Nathalie Pozzi, Heather Kelley, Eric Zimmerman and Karmen Franinovic / Push the City! After the introductory presentations, the audience / participants will split in four groups, each associated to a specific topic presented previously. In a one hour long urban action, they will generate and probe various ideas engaging with passers-by in the surroundings of the conference venue. The organizers will support the participants, possibly providing them with needed materials and will document the urban probes.

re-Play: Heather Kelley, Eric Zimmerman, Karmen Franinovic and Nathalie Pozzi / Mis-scale, Mis-scent, Mis-move, Mis-behave! In the last part of the workshop, the four groups will shortly present the most interesting experiences in urban space. Topics emerging from these experiences will be discussed with participants and related to the themes introduced in the beginning. _______________________________________

Karmen Franinovic / Karmen Franinovic was trained as an architect, artist and interaction designer, and today heads the interaction design education and research at Zurich University of the Arts. Her research on enaction, play, hospitality and participation manifests in responsive environments and interactive artefacts integrating sonic and haptic feedback. Karmen‘s urban installations invite passers-by to explore, modulate and affect the evolution of the multidimensional urban fabric, together with the presence and condition of its co-inhabitants. Play is used as a strategy for challenging

habitual behaviors and opening up alternative context in which unknown individual and collective gestures may be revealed. These projects act as research probes into sensorial and social tissues of which urban spaces are composed. Karmen‘s works in this domain have been exhibited internationally, at institutions including Ircam / Centre Pompidou ( Paris ), SF Camerawork ( San Francisco ), Fondazione Sandretto ( Torino ), Miami Bienal, MoMA Ljubljana, Far Eastern Memorial Foundation ( Taipei ), DEAF ( Rotterdam ), The Junction ( Cambridge ), and Oboro ( Montreal ), among others. Most recently, she is working on creation of dynamic materials that have inherent self-moving and self-illuminating properties, and with a goal of designing a more alive and responsive architecture. Heather Kelley / Heather Kelley ( @PerfectPlum ) is an award-winning media artist, curator, and game designer. Ms. Kelley heads her sensory and interaction design studio Perfect Plum, and is cofounder of the renowned experimental game collective Kokoromi. Ms. Kelley’s extensive career in game development has included design and production of AAA next-gen console games, interactive smart toys, mobile and handheld games, research games, installation games, and web communities for girls. She holds an MA in Radio-TV-Film from the University of Texas at Austin. Nathalie Pozzi / Nathalie Pozzi is an architect whose projects cross the boundaries of art installation, architecture, and landscape. Trained in Venice, Stockholm and Helsinki, Pozzi explores the classical design of space and light and the elegant use of materials, while also incorporating social and ethnographic elements into her work. Her projects expand the possibilities of architecture from building beautiful structures into a global and cultural act. Projects range from the short film «Home», presented at the 4th International Festival for Architecture in Video in Florence, to design and production consulting for internationally renowned artists. Recent work with game designer Eric Zimmerman involves the creation of large-scale physical games, including Starry Heavens, exhibited at the Museum of Modern Art in New York City in 2011. Eric Zimmerman / Eric is a veteran game designer who co-founded and ran the award-winning NYC-based studio Gamelab for 10 years. He is also a professor at the NYU Game Center and has coauthored influential books on game design including Rules of Play. Recent work includes architectural game installations with Nathalie Pozzi, tabletop games Quantum and the Metagame, and the relaunch of the online game SiSSYFiGHT 2000.

PANEL 6 / URBAN TRANSFORMATIONS Friday / 14.15 – 16.15 / Südbühne Urban transformation, referring to the intersection of urban development and change, is a main component of urbanization processes, and has become a keyword in contemporary urban debates as cities are undergoing massive and rapid transformations stemming from economic restructuring, globalization pressures and crises. These transformations are articulated with their interaction with local histories, cultures, and social relations to produce highly differentiated, locally-specific patterns of urban development and change across the globe. How do games relate to these processes of urban transformation? How may games help residents and stakeholders take part in and shape the transformations of the urban environment? Are games capable of tackling complex and serious issues involved in the processes of urban transformation? How may games enable tactics of subversion that negotiate and break rules in order to redefine our environment? Are games in this regard colonizing or enriching urban space?

Chair / Sasha Cisar

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re-Flect: Matthias Fuchs / PlastiCITY. Games as Tools for Urban Transformations and Redefining our Environment PlastiCity is an experiment in the employment of gaming technologies for social and cultural ends, but «plasticity» is also a key theoretical concept in neuroscience, to help understanding how entire brain structures, and the brain itself, can change from experience. Finally «plasticity» is a concept in the arts that has been used to talk about sculptural properties of various art forms. In this regard will argue that unreal architecture is relevant for real architecture -game art can turn into an architectonic statement. Architect and painter Will Alsop suggests that architecture might turn into «big painting». Alsop uses painting as a strategy to loosen up his mind, as a kind of therapeutic trick. But the notion of plasticity can potentially have a much more direct influence on the process of architectonic creation. Swiss curator Markus Brüderlin critically commented that «architecture wants to become sculpture and sculpture wants to become architecture» and earmarks the 1950s as the decade when architecture woke up to the influence of the plastic arts. Furthermore, PlastiCity borrows Joseph Beuys’ notion of plasticity as a universal term, which according to Beuys might be applied to thought processes and speech. In this presentation I will reintroduce the term for the arena of urban planning through the game PlastiCity -a multi-user computer game based on the architectonic visions and controversial suggestions of British architect Will Alsop. The game was conceived and built by Steve Manthorp and Mathias Fuchs. Alsop’s brave vision for the redesigning of Bradford’s city centre led to uproar in the media and intense discussion amongst the public about how far a ‘masterplan’ for urban reconstruction could go. Alsop’s suggestion to replace two of the most prominent buildings in the geographical centre of the city with a lake sounded like a joke to many of the inhabitants of Bradford. The computer game PlastiCity enabled residents of Bradford to experiment playfully with the city they live in. Similar to the way gamers can navigate through 3D environments, the users of the game can explore their urban neighbourhoods, build or demolish buildings and modify existing buildings. Thus, the players of the game become active urban planners. They have to come to terms with various planning processes, strategies and problems. They also have to understand that they are not changing their city as individuals, but rather partaking in a mutual exchange of suggestions and planning acts.

re-Present: Rolf van Boxmeer &Tessa Peters / Rezone the Game: Playing for Urban Transformation How do you tackle a pressing and complex urban issue like vacancy of buildings and underused land? Especially in times of economic decline it is hard to reach solutions through conventional means. Traditional parties involved in urban development are not inclined to invest and instead wait for others to make the first step. The Bosch Architecture Initiative ( BAI ) and Digital Workplace ( DW ), two cultural organizations from the city of Den Bosch in the Netherlands, came up with an innovative intervention: Rezone, an urban game that challenges players to ‘fight blight’. At first it may seem strange to tackle a serious and actual problem by means of a game. After all, playing games appears to have little to do with the work of urban professionals. But Rezone proves to be an effective process-tool to reorganize and involve stakeholders in the process of redevelopment. In the game Rezone 4 players must keep the city safe from deterioration and vacancy by salvaging real estate from decline. Participants adopt one out of four possible stakeholder roles. In the case of vacancy these roles include proprietor ( owner of real estate ), mayor ( representing the municipality ), engineer ( urban designer ) and citizen neighbours ). The challenge is for players to not just pursue individual self-interest but to strategically collaborate in order to defeat the system, which is programmed to let the city descend into decay.

re-Play: zURBS / «invisible Zürichs» – a Playful Approach to Re-Defining our City How can we take part in shaping our environment through participatory thinking? How can we question the «taken-for-grantedness» of our everyday life in the city, break our routines and re-define our cities? The social-artistic urban laboratory, zURBS, will introduce you to the project «invisible Zürichs» ( www.invisible-zurichs.ch ) which is a two-month experiment that encourages new modes of perception and open up for new ways of thinking about how cities are formed, how we live in them, how they function and what they can be like through different artistic interventions, games and workshops. You will take part in a set of game-like exercises that turns you into a creative urban researcher and sends you on a collective expedition into the streets of Zurich. This way zURBS will provide you with tools to question your surroundings and think about them in new ways. _______________________________________ Mathias Fuchs / Mathias Fuchs has pioneered in the field of artistic use of games and is a leading theoretician on Game Art and Games Studies. He is an artist, musician, media critic and currently a Professor at Leuphana University Lüneburg. Following a commissioned piece for «Synreal: The Unreal Modification», a games exhibition organized by Institute for New Culture Technologies / t0, and curator Konrad Becker, Mathias Fuchs started working on, and increasingly focused on game art. Rolf van Boxmeer & Tessa Peters / The project is an initiative by Rolf van Boxmeer of the Bosch Architecture Initiative ( BAI ) and Tessa Peters of Digital Workplace ( DW ). Rolf is a practicing architect in the Netherlands and has initiated Rezone at the Bosch Architecture Initiative. Tessa is artistic director at Digitale Werkplaats, the medialab of Den Bosch, and is cofounder of Rezone. BAI and DW teamed up for the development of Rezone the Game. zURBS / zURBS wants to make people look at and re-think their city in new and different ways. By working with a wide range of urban citizens through a social-artistic approach, zURBS aims to pose alternatives to how we live together in our cities ( =the social ), through creative and imaginative processes ( =the artistic ). Thus, zURBS organizes projects, workshops, interventions and lectures, in collaboration with a wide range of national and international organizations. Sasha Cisar, BSc/MSc Arch SIA, is an architect and theorist based in Zürich. Currently he researches and teaches at the research group «SuAT - Sustainability in Architecture and Building Technology» at the department of architecture at the ETH Zürich. Sasha studied at the ETH Zürich, Tokyo University of Arts and University of Liechtenstein. He worked in several architectural practices in both New York City and Zürich. Together with HosoyaSchaefer he curated «Learning From Tokyo», an exhibition and symposium in Zürich about Japanese architecture and urbanism. In 2012 he founded « THEORIST» a platform for critical discourse on architecture and urbanism.

SATURDAY NOV. 9 PART III / PLAYING POWER PANEL 7 / MILITARY AND VIOLENCE Saturday / 10.00 – 12.00 / Halle With one of the most popular video games of all times, American Army, being developed to aid U.S. military recruitment, and the divisions between military simulation, information warfare, news and entertainment becoming blurred into the fuzzy world of «militainment», the worlds of games and urban militarization have become highly entangled. All over the world military «theme parks» -or so-called mock cities- are built by military corporations, theme-park designers, video-game companies and Hollywood set designers in order to function as training grounds for urban warfare. What are the implications of blurring the boundaries between games and warfare? What roles do games play in the performing and consumption of military urbanism as visual and discursive spectacles within urban space and the spaces of electronic imagery? Are games blurring the distinction between fear and desire to the point where we can no longer distinguish between the two? Are games the reason why military simulations increasingly takes place within the proliferating spectacles and fantasy landscapes that now dominate urban consumption and tourism?

Chair / Matthias Fuchs

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re-Flect: Stephan Günzel / Spaces in War Games and their Impacts on the City The presentation will look at different types of war games – foremost First-Person Shooter-games and Real-Time Strategy-games – and explore the particular spatiality of those games, especially in regard to representations and imaginations. It hereby becomes clear that on the one hand war-scenarios in computer games relying on simulations of the city to enable specific situations that meet the needs of certain gaming principles ( e.g. tactical manoeuvres ); on the other hand the increase of historical, counterfactual or future scenarios in war games reflects the development of modern warfare in general, since war is increasingly transferred into cities. Those places of combat then are not only mediated though computer-based war games, but they also turn any regular, peaceful city into a potential combat-zone – not only in the perception of gamers.

rePresent: Dominic Huber / Situation Rooms - a scenography for the international weapon market May 2011, a photo flashes onto screens around the world. It shows 13 people in a room. The expressions on their faces speak volumes: triumph, fascination, scorn, horror, scepticism, preoccupation. The photo from the White House “Situation Room” documents the end of a manhunt that was pursued with all possible weapons. ‘Situation Rooms’ gathers together from various continents 20 people whose biographies have been shaped by weapons in a film set that recreates the globalised world of pistols and rocket-propelled grenades, of assault rifles and drones, of rulers and refugees,

becoming a parcours of unexpected neighbourhoods and intersections. The presentation will focus on the questions how the scenography of that multiplayer game is constructed. How important is the aspect of the rigorous film-set like reality for that play? And how must the dramaturgy of that play be constructed in order to seduce the audience into their roles as weapon dealer, doctor, sniper and others?

re-Play: Bachelor of Arts in Theatre, ZHdK / Game of War Students of the Zürcher Hochschule der Künste developed a game, in which the virtual processes in war games are the center of focus. We tried to research the strategies which link this subject to the mechanisms of alienation of the happening. This is the initial point of the experiment. _______________________________________

Stephan Günzel / Stephan Günzel is professor for media theory at the Technical University for the Arts in Berlin. He studied philosophy, sociology and psychology in Bamberg, Manchester and Magdeburg and got his PhD about Nietzsche‘s writing as philosophical geography. He habilitated in cultural and media studies at the philosophical faculty of the University Potsdam with a thesis on «Egoshooter. Das Raumbild des Computerspiels» ( published with Campus, Frankfurt a.M./New York ). Dominic Huber / The work of stage designer and director Dominic Huber (born in 1972) opens new zones of the performative in the sense of augmented reality; opening up spaces that can be entered and experienced by individuals or entire groups. After studying architecture at ETH Zürich, Dominic Huber founded Blendwerk GmbH together with Christa Wenger and together with Bernhard Mikelska (mikeska:plus:blendwerk) Huber designed a series of theater installations including Rashomon: Truth Lies Next Door, Marienbad: Coming Soon, and at Schauspiel Frankfurt Je t’aime :: Je t’aime. As a set designer, he has worked with prominent directors such as Peter Licht, Stefan Kaegi, Lola Arias, and Sebastian Nübling. In 2009, Huber was awarded the Werkstipendium der Stadt Zürich. His theater installation Hotel Savoy was staged at New York’s Goethe Institut (located on Fifth Avenue). Prime Time, an installation in an apartment building was part of the festival Ciudades Paralelas, has been seen in Zurich, Berlin, Buenos Aires, Warsaw, and other cities. Bachelor of Arts in Theatre, ZHdK / The specialisation Theatre Education of the BA in Theatre at Zurich University of the Arts specializes closely connects artistic practice‹as part of conveying the arts and culture to children, young people, and adults from diverse cultural and social backgrounds‹with critical perspectives on current cultural and educational practice. Theatre education professionals set the tone in both established and independent theatres, schools, socio-cultural institutions, as well as beyond the confines of theatre. Mathias Fuchs / Mathias Fuchs has pioneered in the field of artistic use of games and is a leading theoretician on Game Art and Games Studies. He is an artist, musician, media critic and currently a Professor at Leuphana University Lüneburg.

PANEL 8 / SURVEILLANCE AND CONTROL Saturday / 10.00 – 12.00 / Südbühne Even as surveillance continuously increases, it becomes less and less visible due to its gradual infiltration into objects, structures and living things. The games we play on our computers, iPads and video game consoles are watching us, tracking our every online move and sending the data back to game companies. Furthermore, they are leveraging surveillance to mold us into better students, workers and consumers, through game-like applications geared to drive behaviour change in social media. Furthermore, surveillance devices that were previously only available to the authorities have now become available to anyone, at the same time as they increasingly employ playful frames of game-like elements. In the US the public are invited to participate in the US Border control or in neighbourhood watch on interactive Internet platforms. What is the role of games in normalizing surveillance in this regard? How may surveillance enable play and games ( e.g. by making family and friends find and challenge each other in online games ) and how does this relate to legitimizing surveillance of others? How can games educate users in surveillance and privacy?

Chair / Klaus Schönberger

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re-Flect: Wolfie Christl / From Panopticon to Retargeting: Surveillance and Gamification in the Age of Big Data Today virtually everything we do is recorded, monitored or tracked in some way. Nearly every device we use is connected to the Internet. Due to the rapid evolution of technology the aggregation, processing and exploitation of personal data has become part of all areas of life. We monitor ourselves –the places we visit, how many steps we take, who we know, what we eat, how long we work, how well we sleep. Both the governmental and the corporate sector are using state-of-the-art data mining technologies to analyze and evaluate these massive amounts of personal information. Identifying and targeting users is key. Emerging businesses in the fields of social media, mobile apps and online marketing are increasingly adopting game mechanics to improve engagement, to optimize conversions, to increase sales and to motivate behavioural change. Online games turn into recruitainment, or become surveillance tools to enhance employee productivity. Self tracking apps built on game design elements like scores, badges, leaderboards and incentives help the healthcare sector to make predictions, to manage risk and to optimize their business processes. What is the role of gamification in post-panoptical surveillance? Is online gaming the vanguard of digital governmentality?

re-Present: !Mediengruppe Bitnik / Surveillance Chess: Hijacking CCTV Cameras in London London. On the brink of the Olympic Games. Equipped with an interfering transmitter !Mediengruppe Bitnik hacks surveillance cameras in London and assumes control. Bitnik replaces the real-time surveillance images with an invitation to play a game of chess. The security staff‘s surveillance monitor located in the control room becomes a game console. The six minute video shows the intervention from the point of view of the CCTV operator.

re-Play: Bachelor of Arts in Theatre, ZHdK / Game of Control Students of the Zürcher Hochschule der Künste developped a game that focuses on controlling and surveillance. We tried to research the strategies which link these subject to the execution of power on the participants. _______________________________________

Wolfie Christl / Wolfie Christl is a web developer, game designer, artist, researcher and activist based in Vienna, Austria. Communication engineer by profession, he studied ( but did not complete degrees in ) art, computer science, sociology and media studies. He works at the intersection of web technology, serious games, digital literacy and the socio-cultural impact of ICT. From 2000 to 2006 he was part of the Viennese net culture organization Public Netbase, which hosted many international conferences, exhibitions and tactical media projects dealing with critical digital culture. He has been interested in copyright, open source and alternative media since the late 1990‘s. His most recent work is focused on surveillance, privacy and the personal data ecosystem in today‘s digital age. Christl has held many lectures and workshops at various conferences including TEDx Vienna ( 2012 ) and «DisCo - New technologies and media literacy education» in Prague ( 2013, keynote ). In 2011 he co-created «Data Dealer» - a serious / edu browser game about collecting and selling personal data, which aims to raise awareness about privacy in a new and fun way. «Data Dealer» has received outstanding media coverage and substantial feedback from young people, teachers, media educators and the general public. It won numerous prizes like the e-virtouses Serious Games Award 2013 ( France ) or the Games for Change Award 2013 ( USA ). Christl and his project have been featured in the New York Times, Forbes, The New Yorker, Washington Post, NBC News, Mashable, Pro Publica, Le Monde, FAZ, NZZ and many other publications from Europe and South America to Russia, China and Saudi Arabia. !Mediengruppe Bitnik / !Mediengruppe Bitnik ( read - the not mediengruppe bitnik ) live and work in Zurich / London. Using Hacking as an artistic strategy, their works re-contextualise the familiar to allow for new readings of established structures and mechanisms. They have been known to intervene into London’s surveillance space by hijacking CCTV cameras and replacing the video images with an invitation to play chess. In early 2013 !Mediengruppe Bitnik sent a parcel to Wikileaks founder Julian Assange at the Ecuadorian embassy. The parcel contained a camera which broadcast its journey through the postal system live on the internet. They call this work a SYSTEM_TEST and a Live Mail Art Piece. !Mediengruppe Bitniks works formulate fundamental questions concerning contemporary issues. Their works have been shown internationally including: La Gaîté Lyrique Paris, NiMk Amsterdam, Space Gallery London, BAC Bâtiment d‘art contemporain Geneva, Cabaret Voltaire Zurich, HMKV Dortmund, Beton7 Athens, Share Torino, Museum Folkwang Essen, Ars Electronica Linz, Contaimporary Art Center Vilnius, Kunsthaus Zurich, Gallery EDEN 343 São Paulo and the Roaming Biennale Teheran. They have received awards including: Swiss Art Award, Migros New Media Jubilee Award, Honorary Mention Prix Ars Electronica. Bachelor of Arts in Theatre, ZHdK / The specialisation Theatre Education of the BA in Theatre at Zurich University of the Arts specializes closely connects artistic practice‹as part of conveying the arts and culture to children, young people, and adults from diverse cultural and social backgrounds‹with critical perspectives on current cultural and educational practice. Theatre education professionals set the tone in both established and independent theatres, schools, socio-cultural institutions, as well as beyond the confines of theatre.

PANEL 9 / THEATRE AND REVOLUTION Saturday / 10.00 – 12.00 / Studio 1 One of the main features of theatre is the «playing» as such; the play itself and the playing by the actors. Normally the spectator is then not playing but rather watching. In recent times, many performance groups started to change the relation between actors and spectators in a way so that the spectators had to become co-respondents in the setting of the performance. As the audience became the players, there is no need for the well-known role-play of the performers, they mostly then act in the role of avatars or mediators of the play. With this change of roles there is also a change of responsibilities in the performance: the audience is in charge to actively play their part - if they decide not to play, there will be no show. Is this change of the aesthetics in the theatre a model for the contemporary society or - more specific - ( revolutionary ) social movements? How are theatrical games a kind of test for potential new models of cooperation and revoulution? And what kinds of realities do these games produce?

Chair / Maike Thies

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re-Flect: Christian Rakow / Reality Check – the New Game Theatre Games can make our lives better, happier, more rewarding and more meaningful, Game Designer Jane McGonigal recently argued in her book «Reality is broken» ( 2011 ). Games are not – as the common stereotype would have it – means of escaping reality but rather devices that can help us to alter reality, to test new concepts for shaping community life and create stronger social connectivity. Games, of course, are not restricted to new media. During the last couple of years also in theatre one could notice a growing interest in computer game formats. In my talk I shall focus on to significant examples of what I’d like to call new «Game Theatre»: the adventure-games inspired theatre of the young Hildesheim group machina eX; and the open world game Regiodrom by Klaus Gehre and Lev Ledit, produced at Theater Freiburg in July 2013. The two approaches represent opposite sides of a new kind of interactive theatre which aims at testing artistic and political concepts.

re-Present: Friedrich von Borries / RFL – the Game Friedrich von Borries will present a game that was developed as part of a large scaleproject, operating on the fringe of reality and fiction. As part of a capitalist anti-capitalism protest movement, people can assume their role in an activist’s game. Over a period of three months, the players are expected to develop from passive consumers to politically aware activists, pursuing their own individual interventions in the public space. As part of a community, all players will evaluate each other’s activities. Gathering points and rising ranks by playing the game, the final winner will receive a unique limited edition Adidas sneaker. The game begins at the end of September 2013 on the project’s platform RLF-Propaganda.com and will finish mid-November the same year. Friedrich von Borries will provide an insight view into the paradoxes of this project during his talk.

re-Play: Rémi Jaccard / Live Roleplay in the City January 28 2050, republic of Zurich – change of shift at Bircher Medics International: Team Apollo II is gathering at the corporate base «321 Zurich Central» to save the lives of their privileged clientele from imminent death. Their daily routine has them to treat con–exec‘s cardiac infarctions, cater for the adipose Shopville– Whitetower– Community or rescue shot mob bosses before bleeding out... This was the announcement for a cyberpunk live role–playing game called HellSana I helped to organize in 2006. Live role-playing games ( rpg ) are a form of entertainment where the participants physically act out their characters‘ actions without a set script. The game is set within a fictional, often fantastic setting which is partly based on the real world, partly on imagination. The players enter an altered reality in which they act as near future paramedics or members of a vampiric parallel-society. The players immerse in these settings while at the same time keeping an eye open to real world passers-by and regulations of the city they play in. This workshop gives an introdution to live rpg in cities via examples from actual play as well as different approaches, possibilities and difficulties of realization. _______________________________________

Christian Rakow / Christian Rakow, Dr. phil., born in Rostock in 1976, studied Literature and Philosophy in Rostock, Berlin, Sheffield / England and Münster. He received his doctorate at the Westfälische Wilhelms-University Münster with a thesis on the Economics and Literature of Realism in 19th Century Germany. Living in Berlin, he works as a theatre critic and editorial journalist for Germany‘s leading online theatre magazine www.nachtkritik.de. He was one of the organisers of the conference «Theater und Netz» in May 2013 in Berlin, a conference of nachtkritik.de, the Heinrich Böll Foundation and the Bundeszentrale für politische Bildung ( Federal Centre for Civic Education ); cf. http://konferenz.nachtkritik.de/ Friedrich von Borries / Prof. Dr. Friedrich von Borries, architect and professor for Theory of Design at the Hochschule für bildende Künste ( HfbK ) in Hamburg, Germany, focuses on designs and presentational processes as well as scientific studies and content mediation. His Berlin based project office pursues research and work in an interdisciplinary approach concerning questions of design and social development. «As scientists we try to comprehend the world. As designers we try to change this world. That is why we deal with these questions that determine our contemporary situation by designing and researching the matters on hand: global inequality, environmental destruction and climate change, technologies of surveillance and security policies. Rémi Jaccard / Rémi Jaccard studied philosophy and art history at Zurich University and the Sorbonne in Paris. Last year he finished his PhD about uncomissioned art in public spaces in Zurich‘s Langstrassequartier and is currently working as an independent curator, art historian & artist. For the last five years Rémi Jaccard has contributed in diverse functions to the visual arts field. At the moment he‘s working for Musée Visionnaire Zürich – an exhibition space for Art Brut and Outsider Art which will open in November 2013. Since the mid–ninties he‘s a member of the Chipheads ( www.chipheads.ch ), an association organizing live roleplay events in and around Zurich. Maike Thies / Maike Thies studied German Literature and Media Science at the University of Trier ( Germany ) and Zurich. She wrote her master thesis in the field of animated documentaries. Her book «Anidoc: Contemporary Currents in documentary film» will be published soon in the Akademieverlag. Maike lives and works in Zurich for five years. She is a scientific research assistant at Zurich University of the Arts ( ZHdK ), Department Design, Specialization Game Design. She also works freelance for film-, urban game- and theatre-productions. Maike is highly interested in the dramatic transformations and thereby in the changing perspective – from spectator to actor – of the audience in theatre. In her scriptwriting she is inspired by the technology-mixed reality / fiction discourse. She is creative director und head of production of the interdisciplinary artist group «UrbanOut». «UrbanOut» develops interactive, poetic performances / installations on the border of Game Design and Theatre. The next project of «UrbanOut» is currently in production and will be presented in 2014 as part of the program «Club Diskret» at the Schauspielhaus Zurich.

KEYNOTE 4 Saturday / 13.30 – 14.30 / Halle Drew Hemment / Art, Play and the Pop-up City - Prototyping Urban Futures A talk looking at how art and design can detect and make tangible signals of the near future. It will focus on the way festivals and pop-up events create spaces where we can experiment and play with novel possibilities for urban living. Open data, network technologies and high bandwidth connectivity can transform the public realm and the way we live and interact in urban areas. We are increasingly able to digitally search and interrogate the city. Social tools can be layered over the city, giving us real time access to information about the things and people that surround us, helping us to connect in new ways. Stand up the artist and curator. New ideas on how we can occupy open infrastructures and urban spaces are emerging from unlikely places. Design has long since progressed beyond graphics and typography to systems, organisations and services. This talk will look how methods from art and curation can be applied outwith the arts, in forms of knowledge production and innovation that are radically open and collaborative. A focus is on festivals as laboratories and playgrounds. Festivals bring together communities of artists, innovators and passionate amateurs. They enable free interaction between people who would not ordinarily meet. Taking risks is encouraged, they are safe places to fail. The exceptional is normal, singular visions are embraced. They are all about the experience, about making ideas tangible. Such a festival can detect and make tangible signals of the near future. It is an instrument for channeling and making sense of the ideas and insight of a creative community. This is about creating a space where we can question and try out possible futures, both playful and critical. Here we draw on game theory to shape and understand how festivals create alternate rule spaces. Art and curation may create disturbances in the ‚normality field‘ to enable disruptive play.

Chair / Imanuel Schipper

_______________________________________ Drew Hemment / Drew Hemment is Founder and CEO of FutureEverything, the award winning innovation lab and festival, established 1995. He is a Dundee Fellow ( Reader ) at Duncan of Jordanstone College of Art and Design, University of Dundee, and Deputy Director of the Creative Exchange, a £4M Knowledge Exchange hub supported by the AHRC. Over 20 years, his work in digital culture and innovation has been been covered by New York Times, BBC and NBC and recognised by awards from the arts, technology and business sectors, including Lever Prize 2010 ( Winner ) and Prix Ars Electronica 2008 ( Honorary Mention ). Projects include the emoto data visualisation of London 2012 Olympics and Open Data Cities which established DataGM ( Greater Manchester Datastore ). Member of the Manchester Innovation Group, the body which advises the Greater Manchester Local Enterprise Partnership ( GMLEP ) on innovation, the Editorial Board for Leonardo journal of art, science and technology ( MIT ), and has served on many international Art Juries including UNESCO DigiArts. In 1999, awarded a PhD at Lancaster University, in 2009 elected a Fellow of the Royal Society of the Arts ( UK ), and in 2010 an Eyebeam resident ( USA ). FutureEverything ( futureeverything.org ) is an internationally recognised R&D hub for digital culture, presenting industry conferences, innovation projects, artworks and live experiences which showcase a digital future. For almost twenty years FutureEverything has been at the heart of the digital debate, inspiring thinkers, city makers, developers, coders, artists and musicians to experiment and collaborate. The annual FutureEverything Festival has been hailed by The Guardian as one of the top ten ideas festivals in the world.

PLAY / Performances, Workshops & Games Tracing invisible Zürichs - werkSTADT / zURBS Friday / 18.00 – 20.00 / meeting point: Südbühne How can we re-imagine Zurich? How can we question the ( invisible ) taken-for-grantedness of our everyday life in the city, break our routines and experience our cities differently? You have the opportunity to take part in a workshop that turns you into an urban researcher and sends you on a collective expedition into the hidden and unexpected places of Zurich to find out how! On your way you will carry out game-like exercises that will help you question your surroundings and think about them in new ways. _______________________________________

Capture the Flag / Das Rudel für Neue Dringlichkeit Friday / 18.00 – 20.00 / meeting point: Stall 6 Capture the flag is a traditional outdoor game that has moved from the woods and the boy scouts to the cities. Two teams struggle for smart and fast captures of the flag of the enemies‘ team. They reinvent the urban terrain and its possibilities at the same time. The game is organised by all participants equally, there is no certain organisator or responsible person during the game. Informations for beginners and the rules of the game ( in german ), are on this website: http://nd-blog.org/capture-the-flag/ Joschua Pleep / Joschua was born in 1987 in Henstedt-Ulzburg ( Germany ). He grew up in Hamburg, where he graduated as a Chemical-Technical-Assistant. In 2009 he moved to Switzerland in order to do a Bachelor of Science programme in Physiotherapy at Zurich Unviersity of Applied Science ( ZHAW ). In 2006 he got engaged in anarchistic and environmental associations. In 2010 he cofounded the group «neue Dringlichkeit ( nD )» and has since taken part in several exhibitions, actions and festivals. _______________________________________

HEDGE KINIGHTS / machina eX Friday & Saturday / 19.30 - 21.00 and 21.30 - 23.00 / Halle August Mohr has made it: the strategy is chosen, the investors are on board. On the 47th storey of the biggest bank in the world he starts his hedge fund and begins chasing after the big buck. Over a period of 10 years «Hedge Knights» portrays the financial market system and the pursuit of profit. Deals are made, investment strategies are tested and clients are betrayed. While August Mohr and other people of his life are squandering their securities in a vortex of risk and profit suddenly financial supervision knocks on their door and the world economy is moving into crisis.

YET ANOTHER WORLD / Extraleben Thursday / 18.00 - 19.30 Friday & Saturday / 20.00 - 21.30 / Studio 3 The New York described by Jonathan Lethem in his novel «Chronic City» is a box of bricks for sensational media culture and over-dramatic PR channels. The city and its inhabitants are marionettes of invisible world masters and puppeteers. The inhabitants and protagonists become playing pieces of an alternative reality. In «YET ANOTHER WORLD», through a digital city walk, the audience dives into a virtual New York and meets Lethem’s protagonists. Extraleben divert the video game «Grand Theft Auto 4» into a virtual stage and develops an interactive multi player Machinima Performance. _______________________________________

WIR WÜRDEN HIER SEIN / Invisible Playground Morning Hike with Uchronic Research Society, PREMIERE Saturday & Sunday / 06.30 - 11.00 / Zivilschutzanlage Hirzelstrasse 11 Shortly before sunrise. The yellow traffic lights are flashing. No one to be seen. We leave the shelter to go into a new present, holding a new biography. How do we know if we are still in the same Zurich after this weird night in the bunker underneath the city? What if our story was different? Uchronic Research Society ( U.R.S. ) explores uchronic alternative worlds: playable variants of history that lead to new presents. The society’s members are real Zurich uchronists: the fantasy author, the extreme hobbyist, the urban planner, the migrant from Eritrea… They all write history – no matter whether real or fictitious, private or relevant to all of us. Based on conversations, using elements of board and computer games, audio-walks and performance, gameable situations emerge at extraordinary places: spiritual bowling in a temple above the city, democracy inside the decision-laboratory, speed-dating between utility vehicles. For the total experience including a night at the shelter: 10pm the previous evening. _______________________________________

One-way Ticket to the Dance Floor / Philipp Meier & Daniel Späti Friday / 22.30 / meeting point: Stall 6 Fly high in a guided safari to the wild and fabulous nightlife of Zurich. Accompanied by two experts of subversive strategies and hidden pleasures. Zurich‘s nightlife has developed tremendously in the last 20 years. The number of so called «night venues» with prolonged opening hours has grown from 88 to 624 in this period. Zurich has become famous for it‘s party life and it‘s said to have one of the highest club densities in the world. What are the reasons for this development, which potentials and problems does it cause the city and how does the actual club scene present itself today? In this guided tour we will give you an insight about the development of the club scene by visiting a few «historical» places as well as showing you selected parts of today‘s hotspots. One of the main subjects will be to observe and discuss the party as an interactive cultural event that follows his own rules from selection at the door to the DJ who sets the rhythm. It‘s all a game and you will be one of the players. Philipp Meier / Philipp Meier was a landscape gardener before he started to study fine arts at the private F+F university in Zurich. Besides he trained himself autodidactically to become a club curator. Since then he has organised in several teams and various locations countless conceptual club nights. For eight years he was director of the Cabaret Voltaire in Zurich and one year ago he co-founded the so called «Party Partei» where he is vice-president for now.

Daniel Späti / Daniel Späti studied design at Zurich University of the Arts. He worked in the fashion industry and started organising concerts and club events on a experimental level since 2002. For more than 10 years he is also a lecturer at Zurich University of the Arts mainly in the department of design, for example at the MA Event / Ereignis, but also in various interdisciplinary and transcultural contexts. He is project leader in a research initiative about the development of «event culture» in the city of Zurich. _______________________________________

DER POLDER - FINAL GAME: FINDING MARCUS / NEURO-X derpolder.com, :digitalbrainstorming Sunday / 14.00 / City Reality was yesterday. Following their strategy of success «We fuck brains» the three Madsen brothers, young entrepreneurs of the NEURO-X corporation, scan the neurological tissue of their users. When the ingenious game developer Marcus disappears, the situation gets out of hand. With help of the POLDER-APP you can prevent the looming catastrophe and find out about Marcus’ position. For further information go to www.derpolder.com

PLAY 7 - 11 Nov / Gessnerallee It is nothing new that a theatre is a place for play. In our focus on games PLAY,however, you become a player – inside and outside of the Gessnerallee. On October 24th NEURO-X launches the long awaited transmedia experiment «Der Polder» that will run for almost a month. During one weekend between November 6 – 11 various gaming techniques and perspectives for the stage as well as the city are gambled, discussed, and challenged. The interdisciplinary symposium «rePLAYCE:theCITY»explores the possibilities and visions for societal questions that come up when place becomes play and city becomes a playfield. As a response, the production«Wir würden hier sein» (We would be here) by Invisible Playground presents their city-games adaptation in Zurich. The guest performance «Hedge Knights» by machina eX invites us to stock market speculations and «YET ANOTHER WORLD» by Extraleben brings a playable version of New York onto stage by diverting the computer game «Grand Theft Auto 4». PLAY is an event by Gessnerallee Zürich in collaboration with trans4mator, derpolder.com, NEUROX, Institut für Designforschung, course of studies Cast / Audiovisuelle Medien, Interaction Design and the exploratory focus PUBLIC CITY (all ZHdK) plus the series of events :digital brainstorming of Migroskulturprozent

THURSDAY NOV. 7 18.00 20.00

YET ANOTHER WORLD, Extraleben, Studio 3 Halle

KEYNOTE 1 «MY FACE IS A CITY» - Urbanity as a Spatial Quality and Human Virtue Robert Pfaller ( Wien )

20.45

Halle

KEYNOTE 2 Making and Breaking Rules: The Meaning of Game Design Eric Zimmerman ( New York )

21.30 22.00

Q&A and Discussion

Restaurant Reithalle Conference Dinner

FRIDAY NOV. 8 09.30 – 10.30

Halle

KEYNOTE 3 Learning in the City through Pervasive Gaming Nikolaos Avouris ( Patras )

10.30 – 11.00

Stall 6 Coffee Break

11.00 – 13.00

PART I: PLAYING PUBLIC

11.00 - 13:00

Studio 1

Panel 1: Education Gamification in Education Ian Dunwell ( Coventry ) Video games - Towards Ludic Constructivism Jörg Hofstätter ( Wien ) Hacking Gessnerallee – Fostering Collaboration through Real-Life Point n’ Click Games machina eX ( Berlin )

11.00 – 13.00

Südbühne

Panel 2: Spectacle Playing Society - Participatory Future Research for Urban Space Daniela Kuka ( Berlin ) We would be here – Game Design at the Intersection of Site-Specific Art and Urban Politics Sebastian Quack ( Berlin ) Playing in Location: The City is a Material Ben Barker & Sam Hill ( London )

11.00 – 13.00

Halle

Panel 3: Narrative ( sponsored by CAST / Audiovisuelle Medien ) Playing with Story: Blurring Games and Narrative Matt Adams ( London ) DER POLDER Samuel Schwarz ( Zürich ) POLDER MASSACRE NOW!! Neuro-X ( Zürich )

13.00 – 14.15

Stall 6 Lunch Break

FRIDAY NOV. 8 14.15 – 16.15

PART II: PLAYING PLACE

14.15 – 16.15

Halle

Panel 4: Citizen: Play! ( sponsored by Institute of Design Research) Urban Games Ready-Played Margarete Jahrmann ( Wien ) Transparent City – Audible City: You are being watched! Beat Suter ( Zürich ) Playground City. Paper Prototype it! René Bauer, Mela Kocher Lennström, Philomena Schwab, Markus Rosse ( Zürich )

14.15 – 16.15

Studio 1

Panel 5: Architecting Play ( sponsored by Interaction Design ) Architecting Play ( Introductions ) Karmen Franinovic ( Zürich ), Heather Kelley ( Wien ), Nathalie Pozzi ( New York ) and Eric Zimmerman ( New York ) Push the City! Heather Kelley ( Wien ), Nathalie Pozzi ( New York ) and Eric Zimmerman ( New York ), Karmen Franinovic ( Zürich ) Mis-scale, Mis-scent, Mis-move, Mis-behave! Nathalie Pozzi ( New York ) and Eric Zimmerman ( New York ), Karmen Franinovic ( Zürich ), Heather Kelley ( Wien )

14.15 – 16.15

Südbühne

Panel 6: Urban Transformations PlastiCITY: Games as Tools for Urban Transformations and Redefining our Environment Matthias Fuchs ( Lüneburg ) Rezone the Game: Playing for Urban Transformation Rolf van Boxmeer / Tessa Peters ( Amsterdam ) invisible Zürichs - a Playful Approach to Re-defining our City zURBS ( Zürich )

16.15 – 16.30

Coffee Break

16.30 – 17.30

Halle

18.00 – 20.00

public werkSTADT-Langstrasse, invisible Zürichs, zURBS,

PLENUM DISCUSSION: PLAYING PUBLIC PLACE

Südbühne ( Meeting Point ) 18.00 – 20.00

Capture the Flag - Public Game, Das Rudel für Neue Dringlichkeit, Stall 6 ( Meeting Point )

19.30 – 21.00

Hedge Knights, machina eX, Halle

20.00 - 21.30

YET ANOTHER WORLD, Extraleben, Studio 3

21.30 – 23.00

Hedge Knights, machina eX, Halle

22.00 – 11.00

WIR WÜRDEN HIER SEIN, Overnight Experience and Morning Hike with Uchronic Research Society, Invisible Playground, PREMIERE

22.30 – 03.00

One Way Ticket to the Dancefloor, Guided Tour with Philipp Meier & Daniel Späti & Guests, Stall 6 ( Meeting Point )

SATURDAY NOV. 9 06.30 – 11.00

WIR WÜRDEN HIER SEIN, Morning Hike with Uchronic Research Society, Invisible Playground, PREMIERE

10.00 – 12.00

PART III: PLAYING POWER

10.00 – 12.00

Halle

Panel 7: Military and Violence Spaces in War- Games and Their Impacts on the City Stephan Günzel ( Berlin ) Disappearing Death: The Military-Industrial-Entertainment Complex and The New Military Urbanism Dominic Huber Game of War Bachelor of Arts in Theatre, ZHdK ( Zürich )

10.00 – 12.00

Südbühne

Panel 8: Surveillance and Control From Panopticon to Retargeting : Surveillance and Gamification in the Age of Big Data Wolfie Christl ( Wien ) Surveillance Chess: Hijacking CCTV Cameras in London !Mediengruppe Bitnik ( Zürich/London ) Game of Control Bachelor of Arts in Theatre, ZHdK ( Zürich )

10.00 – 12.00

Studio 1

Panel 9: Theatre and Revolution Playing Revolution Christian Rakow ( Berlin ) RLF – the Game Friedrich von Borries ( Berlin ) Live Roleplay in the City Rémi Jaccard ( Zürich )

12.00 – 13.30

Stall 6 Lunch Break

13.00 – 17.00

Ask the Bat, invisible Zürichs, Südbühne

13.30 – 14.30

Halle

KEYNOTE 4 Art, Play and the Pop-up City – Prototyping Urban Futures Drew Hemment ( Manchester )

14.30 – 15.00

Stall 6 Coffee Break

15.00 – 18.00

Zürich falzen ( walk ), invisible Zürichs, Üetliberg

15.00 – 16.30

Halle

FINAL DISCUSSION How does physical and social space change when the city is turned into a playground?

19.00 – 23.00

Zürich falzen ( reflection ), invisible Zürichs, Südbühne

19.30 – 21.00

Hedge Knights, machina eX, Halle

20.00 – 21.30

YET ANOTHER WORLD, Extraleben, Studio 3

21.30 – 23.00

Hedge Knights, machina eX, Halle

22.00 – 11.00

WIR WÜRDEN HIER SEIN, Overnight Experience and Morning Hike with Uchronic Research Society, Invisible Playground

�essnerallee ZÜRICH

Grafik: komun.ch

An interdisciplinary conference of trans4mator ( Imanuel Schipper & Cecilie Sachs Olsen ) in collaboration with Gessnerallee Zürich, Institute for Design Research ( ZHdK ), Interaction Design ( ZHdK ), Institute for Contemporary Art Research ( ZHdK ), Cast / Audiovisual Media ( ZHdK ) MA Transdisciplinary Studies ( ZHdK ), BA in Theatre Education ( ZHdK ). Supported by «Mobile. In Touch with Digital Creation», a programme initiated by the Swiss Arts Council Pro Helvetia