Any views expressed within media held on this service are those of the contributors, should not be taken as approved or endorsed by the University, and do not necessarily reflect the views of the University in respect of any particular issue.


    Reflective analysis on play

Let me start by answering the question scenario posed this week.

The biggest problem with art at the moment in this country [the United States], and obviously in France as well, is that there is no spirit of rebellion, no new ideas appearing among young artists. They follow the path that has been beaten out by those who have gone before them and try to do better what has been done before. In art, there is no such thing as perfection. There is always a creative stagnation when an artist of a period is content to pick up where his predecessor left off and try to continue his work. On the other hand, when you pick up something from an earlier period and adapt it to your own work, the approach becomes creative. The result is not new; but it is new because it is a different approach.(Duchamp, 1946)

On the one hand: I disagree with the artist’s view that there are no new ideas among young artists. I think some young artists draw on constructivist-like approaches to learning when making art – social constructivism is ubiquitous in art learning in ways that are often ‘unconscious’. For example, there is a widespread assumption that art students should gradually move away from structure (in the form of instruction or art assignments) and be encouraged to pursue their own learning paths, an assumption rooted in Vygotsky’s concept of ‘scaffolding’. Social constructivists believe that learning is experiential: students learn by doing. We use prior experience for new experience and attempt to reconcile the two. In this, social constructivists draw a great deal of support from the work of the American philosopher John Dewey (1859-1952), particularly his book Experience and Education (1938). Dewey’s theory of experiential learning had a profound impact on arts education in the United States, emphasising the school as an institution of social change and a pioneer of social practice in North America. helguera, Pablo (2012). Socially engaged education in the arts. New York. Jorge Pinto Books .So I think that for the artist, previous experiences or previous ideas or works by other artists serve as experiences that bring a certain imagination to the artist, and the artist creates new ideas from the previous experiences to create new works.

On the other hand, I agree with the blogger that when artists pick up previous works at different times, they get a new approach. This is because artists often get different perspectives based on different situations, and this perspective may be a new idea, or a different view of the same issue, or a different way of looking at the same work of art. These ‘new’ things are in a sense something new based on previous experience but independent of it, so it is a different approach. For contemporary art will re-emphasise the concern and involvement of art with social, cultural and political issues, the relationship between art and the public and the broad participation of the public in art.

For this week’s lesson topic: ‘play’, initially my group members and I had no idea what to do when we were given the task, as we had difficulty understanding the content of the task and, unsurprisingly, the first group work discussion was fruitless. We then decided to each come up with a game idea and format to present our views in the next class.

The second time we conferred, when we sat down, we had different thoughts and ideas about the completion of the group assignment. The reason for this was that our understanding of the game Score and Conclusion was quite different, so during the discussion we each had our own opinions and it was difficult to align our thinking, so we spent a lot of time on deciding on the format of the game to present. However, we had to decide on the presentation of the game for the group before the deadline was reached, which meant that we didn’t have much time to discuss it, so we had to try to accommodate everyone’s ideas as much as possible. As a result, some members had to abandon their plans so that the task could be completed in time for the deadline. The final form of the game was unified: playing cards. Using playing cards as a vehicle for presentation.

I was happy and excited when we got together again, which meant we had more work to do. So we distributed the tasks and I felt very happy and thought we were smart enough to complete the assignments with quality and quantity. But when I realised that we were now behind schedule, I was frustrated because we didn’t have much time to think and correct. I felt guilty that some members of the group had to give up their ideas, so I think it is more important that we take the group work on ‘play’ seriously and complete it. However, looking back on how I felt about completing the assignment, I feel very satisfied.

We use playing cards as a vehicle for assigning scores. 52 cards are assigned a number card such as “1, 2, 3” for “degree”, a card of hearts for “like”, a card of spades for “dislike”, a card of clubs for “trouble” and a card of diamonds for “help”. The card of spades is “annoying”, the card of clubs is “trouble” and the card of diamonds is “help”. The 21 playing cards are drawn and placed in order. Participants were asked to imagine a reference and to look at the cards to see what the reference thought of them.

The game went very well because of the high level of agreement on the game, the quality of the tasks assigned by everyone before the agreed deadline and the fact that we tried to take into account everyone’s emotions and opinions in every discussion.  I think this is the most important part of being in a group. This incident also taught us to learn to listen and compromise when doing group work. We assumed that the group members would all be uncompromising in their positions and it was clear that we would ultimately fail in our task.

At the same time, we worked together on a piece of work and although we had different schedules, we all sacrificed our time for the overall presentation of the work, piecing together individual fragments of time in order to devote more time to the discussion and completion of the work. So in a team, I think it is important not to be a refined egoist.

However, as the task progressed, many areas for improvement emerged.

For example, when we assigned tasks, we did not divide them according to each person’s strengths and weaknesses, and did not take into account individual personality traits and skill strengths. Through this experience of dividing tasks, I think that I prefer to complete tasks related to my interests and areas of expertise, and I also randomly asked my buddies within the same group what they thought, and found that they shared my thoughts, so I think that in subsequent assignments, we should Therefore, I think we should take this factor into account in our future assignments.

Secondly, we showed a distinct lack of reference to the literature. We should find theories to back up our ideas based on our personal ideas, rather than imagining them out of thin air. I think this is particularly important. This also means that we need to read a lot of literature to find cases and theories that fit our ideas in order to prove their validity. But I was pleased to find that Katie Salen and Eric Zimmerman’s The game design reader : a rules of play anthology gave me a lot of insight into this topic, especially the idea of seeking newness in games, but not one-sided newness. In The game design reader : a rules of play anthology states that” we pander to our audiences, feeding them a concoction that is Rather than striving for something new and wonderful, we go with the tried and true, making assumptions about what players want and need based on what they’ve wanted in the past-what they’ve told us they want with their dollars”.(Katie Salen et al , 2006,p.1)

For the subsequent study and research and teamwork, firstly I believe that we should not be intimidated when given a task and unable to step out of our comfort zone, but should be brave enough to analyse and delve into tasks that are different from our past experiences, although the process is tough, it is undeniably a good way to grow. Both in terms of the way we think and the way we learn.

Secondly, when assigning tasks, I discuss with the group members the strengths of each individual and make the most of them in the group work; it allows us to get acquainted quickly. It also helps us to complete our group tasks efficiently.

Again, when completing tasks, we should plan our time well and not meet deadlines so that we have more time to refine our work and implement the group’s ideas, while leaving more time to think about what we can do differently to make our work better.

Finally, I think that in our studies, we should keep the habit of reading literature, take good notes on our reading, and reflect on it frequently, and of course, group discussions with peers are also a good way to achieve a collision of ideas, so that we can really “have something to say and a way to go” when we finish our theoretical and practical works. Don’t just imagine things.






helguera, Pablo (2012). Socially engaged education in the arts. New York. Jorge Pinto Books

Tekinbas, Katie Salen, and Eric Zimmerman, eds. The game design reader: A rules of play anthology. MIT press, 2005.


5 replies to “第3周&4:Play”

  1. s2248556 says:

    This blog is very in-depth, and I found a lot of points worth learning and in-depth research from the blogger’s articles. It is very good to participate in the whole process. But maybe you should write some more reflections on the content after finishing the game.

  2. s2313334 says:

    In Xiaotong Wu’s text, I was very interested in Christopher Burke’s comments in her Weird research, and I will try to follow up later. She broke down the weird music to understand what weird is and how it works from the perspective of theme, deconstruction and charm, which explained the definition of weird studies in a more concrete way and gave me great inspiration.

  3. s2313334 says:

    In Xiaotong Wu’s text, I learned that they are engaged in a way of using digital cards to build “games” and scores. They complete different scores through different card definitions. To some extent, they have explained the meaning of play figuratively. Even though I am not very clear about the complete logic of their digital cards, I think this is a very good way to explain play – that is, let people participate in the game, This also makes me have a critical reflection on our orange.

  4. A few comments on what you have posted for Theme 2:

    The opening of your post needs some work. The problem statement you begin with was something said by Marcel Duchamp 76 years ago. You don’t acknowledge who Duchamp was: he was not a ‘blogger’, there were no blogs in 1946, he was an artist. When you pick up on this thread – some young artists draw on constructivist-like approaches to learning when making art – you are not actually addressing the theme (play) here. Duchamp is advocating adaptation as a form of play…here: pick up something from an earlier period and adapt it to your own work, the approach becomes creative.

    You pick apart the creation of the playing cards game, describing its genesis. While creating the game could have benefited from some more insight into game-design, really what you should focus on here is what you can reflect on having attempted to create a game. To do that, you need to consult the literature. I’d like to know, for example, how the principles outlined in Lawrence & Anna Halprin’s ‘Summary of the Characteristics of Scores‘ (1969) relate (or not) to what you created as a group. Clearly there’s a scoring element to the design – what was that and how could Halprins’ model help to conceptualise that?

    You need to add a page number to the citation for Helguera, Pablo (2012).Socially engaged education in the arts. New York. Jorge Pinto Books and use quotation marks. You need to polish all of the references in the blog. List all the sources you cite at the bottom of the page in a Bibliography just as you would in an essay. See:

Leave a reply

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>


Report this page

To report inappropriate content on this page, please use the form below. Upon receiving your report, we will be in touch as per the Take Down Policy of the service.

Please note that personal data collected through this form is used and stored for the purposes of processing this report and communication with you.

If you are unable to report a concern about content via this form please contact the Service Owner.

Please enter an email address you wish to be contacted on. Please describe the unacceptable content in sufficient detail to allow us to locate it, and why you consider it to be unacceptable.
By submitting this report, you accept that it is accurate and that fraudulent or nuisance complaints may result in action by the University.