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Autori projektu Vĺčatá.sk otvárajú konštruktívnu diskusiu s rodičmi, pedagógmi a psychológmi v problematike vzťahu videohier a detí. Podľa riaditeľa IMEC – Centra mediálnej gramotnosti pri Fakulte masmediálnej komunikácie UCM v Trnave doc. Mgr. Norberta Vrabca, PhD: “je projekt Vĺčatá.sk užitočný a prínosný pre rodičov v tom, že im umožňuje lepšie sa zorientovať v problematike, s ktorou často nemajú žiadnu alebo iba minimálnu osobnú skúsenosť. Dôsledkom tejto nevedomosti bývajú často nie príliš efektívne prístupy spočívajúce v rôznych extrémoch – napríklad v úplnom zákaze hrania hier alebo naopak v extrémne benevolentnom prístupe, keď sa rodičia o to, čo ich dieťa na počítači robí vôbec nezaujímajú.”

Správne vybraná videohra môže dieťaťu poskytnúť umelecký zážitok, sprostredkovať sociálny kontakt s rovesníkmi, rozvíjať kognitívne schopnosti či prispieť k zručnostiam a veľkému množstvu vedomostí. „Hrať sa je pre deti prirodzené a ak dokážeme prekonať naše predsudky o počítačových hrách a hlavne vstúpime spolu s nimi do tohto sveta, môžeme im odovzdať svoje skúsenosti a pohľad na svet dospelákov. A uvidíme aký svet by chceli vidieť a tvoriť v budúcnosti oni,” tvrdí podpredseda Slovenskej komory učiteľov, Mgr. Miroslav Sopko.

Projekt vlcata.sk vznikol s podporou Pixel Federation, slovenského herného developera. “Nakoľko sami sme tvorcami viacerých pc hier, považujeme za dôležité, aby sa o tejto téme hovorilo a to nielen v negatívnych súvislostiach.  Máme záujem naštartovať celospoločenskú diskusiu na odbornej úrovni a veríme, že iniciatíva Mladého psa môže byť jedným z prvých impulzov. Herný priemysel totiž prináša široké spektrum produktov, ktoré je potrebné začať kategorizovať rovnako, ako to robíme pri hudbe, filme alebo knihách,” hovorí Šimon Šicko, CEO spoločnosti.

Partneri projektu: Pixel Federation, (www.pixelfederation.com), Zuzana Motúzová advokátka (http://www.akmotuzova.sk/), IMEC – Centrum mediálnej gramotnosti (www.medialnavychova.sk), Edulab (http://www.edulab.sk), Hemisféra (www.hemisfera.sk)

Aké je byť rodičom, ktorý prišiel do kontaktu s počítačom až v dospelom veku a vychovávať dieťa, ktoré ovláda mobil lepšie ako on sám? Aký postoj zaujať k videohrám, ak som sa s nimi nikdy v praxi nestretol a nikdy žiadne nehral?

Na tieto otázky a mnohé iné sa budeme snažiť nájsť na Vĺčatá.sk odpoveď. Ambíciou Vĺčatá.sk je priniesť prehľad zaujímavých videohier, ktoré majú vysoký edukatívny potenciál a estetickú hodnotu. Chceme začať konštruktívnu diskusiu s rodičmi, pedagógmi, psychológmi a všetkými zainteresovanými v problematike vzťahu videohier a detí. Vnímame hry ako súčasť kultúry a spoločnosti 21. storočia. Netreba sa ich báť, rovnako ako pri filmoch, existujú dobré, zábavné, edukatívne ale i zlé, nudné a škodlivé. Správne vybraná videohra môže dieťaťu poskytnúť umelecký zážitok, sprostredkovať sociálny kontakt s rovesníkmi, rozvíjať kognitívne schopnosti či prispieť k zručnostiam a veľkému množstvu vedomostí.

Vĺčatá.sk vám budu prinášať názory odborníkov, recenzie na videohry ale i odpovede na často kladené otázky, ktoré sa celej problematiky týkajú.

Naším zámerom je, aby vznikla otvorená generácia rodičov, ktorá bude zodpovedne a triezvo pristupovať k rozvíjaniu vzťahu dieťa a videohry. bude vnímať aj ich pozitívne stránky, Možno sa dokonca aj vy samy niečo zahráte!

Prečo názov “Vlčatá”?
Vĺčatá sú hravé tvory, ktoré sa hrou učia zručnosti využiteľné v reálnom svete. Nad ich hrou však dozerá silná a nekompromisná matka vlčica, pretože jej na deťoch záleží.

Kto je autorom projektu?

Mladý pes
Organizačný tím Vĺčat: Maroš Brojo, Michal Božík & Michal Štasse
Tím nezávislých recenzentov

21. 5. 2015 | 18:00 | Goethe-Institut Bratislava, Panenská 33 | FB event | vstup voľný
Sprievodné podujatie festivalu ô – festival zvukovej poézie.

Neformálny večerný ne-formát, kde pozvaný hosť, ktorý vidí ďalej ako za svoj nos, rozpráva o tom, prečo, ako a čo robí. V príjemnej atmosfére sa môžete porozprávať a socializovať s inšpiratívnymi ľuďmi z art / sci / tech scény.

Felipe Cussen je spisovateľ a hudobník zo Santiaga, Chile. Publikoval niekoľko kníh, vizuálnych a zvukových básní. Felipe má doktorát z humanitných vied na Universitat Pombeu Fabra (Barcelona, Španielsko) a momentálne učí na Instituto de Estudios Avanzados, Universidad de Santiago de Chile. Je taktiež súčasťou skupiny “Foro de Escritores”, ktorá sa venuje experimentálnej poézii a spolupracuje s elektronickým hudobníkom Ricardom Lunom. Na Krakatoa – talk club bude Felipe hovoriť o jeho akademickom výskume medzi zvukovou poéziou a mysticizmom, a taktiež o jeho pripravovanej EP zvukovej poézie “Quick faith.” Sprievodné podujatie Festivalu zvukovej poézie ô, organizuje Mladý pes, n.o. v spolupráci s Multiplace a OZ Hurhaj.

Interview s Felipem

Felipe, you create sound poetry. Could you please describe what does it mean? What are the differences between creating songs and sound poetry?

All poetry, all language, in fact, has an aural dimension. But sound poetry, as Dick Higgins proposes, is a kind of poetry “in which the sound is the focus, more than any other aspect of the work”. Some poets achieve this by experimenting only with the voice (fragmenting or inventing new words, producing other non linguistic sounds with the mouth, or incorporating the whole body and the stage, like in a performance) and others draw on analog or digital technologies to record and modify the voice and mix it with other voices or sounds.
The difference with the conventional songs is that sound poems usually don’t have such a closed structure and there’s no clear difference between the lyrics and the music, but sometimes sound poems seem similar to experimental music or sound art.

How was your journey towards experimental & sound poetry?

When I came to study my PhD. in Barcelona I was very lucky to attend to Proposta, a great experimental poetry festival directed by Eduard Escoffet, in which I learned a lot. Back in Chile, I became a member of Foro de Escritores, a group inspired in London’s Writer’s Forum, and since then it has become a wonderful place to exchange ideas and projects.
Before that, when I was in school, I started studying the recorder and kept on in the University and played in a lot of early music ensembles for more than twenty years. I also learned to play other instruments and 5 years ago I started taking lessons of electronic music production with Ricardo Luna. I think this is very related with my interested in different kinds of literature that are related or mixed with music, visual arts, digital technologies.
In the last years, I’ve been working in a combination of elements from sound poetry with electronic music, and I use some strict rhythms and sequences to produce some effects that might sound somewhat similar to dance music.

In your opinion, which countries are leaders in sound poetry? How is the situation in Chile and how does audience respond to it?

The circuit of experimental poetry works very differently from the national or official literature systems. There are very few practitioners in the world and almost all of them are connected in some way; paradoxically, the language is not a barrier because we’re all making equally indecipherable sounds or writings! Of course there are some countries with stronger traditions, like France, England, Sweden, Canada, but I like to pay more attention on the international exchanges that emerge in magazines like Huellkurven  or in “ô” festival organized by Zuzana Husárová, who invited me to Bratislava.
In Chile there’s not too much tradition in sound poetry, but a lot of members of Writers Forum, like Martin Bakero, Martín Gubbins and Gregorio Fontén have been performing and releasing works for more than ten years. The first reactions, especially from other poets, weren’t good (“this is not poetry”, they said), but there was a warm reception from artists and musicians. Curiosly, since last year there’s been a sudden and more general interest in sound poetry and the fusion of music and poetry (such as Orquesta de Poetas). In any case, I hope that one day all these kinds of experimentations may be seen not as something strange but only as one of the multiple possibilities of literature.

Your academic research focuses on sound poetry and mysticism. Could you tell us briefly something about it?

Besides my interest in experimental literature and more recently sound poetry, I’ve also been studying about different mystical traditions since I studied with Victoria Cirlot and Amador Vega at Universitat Pompeu Fabra, in Barcelona. My approach is neither religious, nor philosophical: I’m interested in the aesthetic qualities of the text written by the mystics and I try to relate them with the work of some contemporary poets, artists and musicians. I propose that mystical texts can be read as experimental poetry.

What are your nearest future plans & projects?

In a few days I’m about to release my first sound poetry record, “quick faith”, and I’ll perform in London and Bratislava. I’m also preparing a new research project about nothing, which is one of my favorite subjects, specifically when it comes to some contemporary poets and conceptual artists.

Do you read more poetry or prose in your free time?

I try to read very different kinds of literature, not only experimental but other kinds of poetry, and I do read a lot of novels. When you teach and research, it’s difficult to read books apart from what you’re investigating, but it’s very important to read a book just for the pleasure it gives (it’s a regret that most literature teachers seem to have lost that pleasure). But what I like more than anything else is to hear music, specially disco, house or pop music. My favorite musician is a chilean singer and producer, Javiera Mena, which I recommend very much!

Can poetry survive in 21st century?

I’m sure it will survive, as it has always survived along history: in new procedures, in new forms, in new mixtures.

This event is supported by Goethe-Institut Bratislava.

How would you briefly describe your research focus?
I research what makes life a richer and more enjoyable experience. Throughout my university education I studied many different topics and disciplines. It’s only recently that I understood what is behind this quest: the beauty of life. I studied video gaming in the past and I am now shifting to stories and their role in self-development. Hence, I’m writing my first book in English about my travels. Its working title is “The Nerdy Rolling Stone” ☺.


What surprised you during your research about video games and its impact on teenagers life?
The most surprising fact in my research on video gaming is the lack of trust of parents in their children. First, parents don’t spend much time with their children who therefore dedicate this time to what they love doing: playing games. As a result, parents demonize video games although they were the one refusing spending time with their offspring. Hopefully, parents do realize that playing games with their children is a wonderful opportunity to share time, to know them better and to pass on values when discussing the games played. Teenagers I interviewed proved how skillful they are in giving meaning to their in-game actions. When you trust people, they do amazing things.

How do you see video games, what it means to you?
Video games are an opportunity to explore the world with a playful and open mindset. They are a window that I enjoy looking through.

Are you a gamer? If yes, what are your favourite video games?
I’m a gamer in my heart. I played my first video game when I was 5 and the last one a few days ago. My favorite games are Age of Empires, Tetris, Sim City, Mario Kart, Arkanoid and The Sims and so many others!

Age of Empires 1.


How do you see future of video games in frame of society and culture?
I think that we already hit the peak time of video gaming as the average age of the video gamer today is around 33 years old depending on countries. This average age proves that video gaming is a mature activity. What I believe is that this success is the tip of the iceberg. The core of this big icy floating mountain is the reason why people play games. According to me, the real question is why people lost their ability to see the fun in their daily life and filled their need for fun with video gaming. Video gamers are joy seekers.

Could you pick some positive and negative aspect of digitalization as a socio-cultural phenomenon?
The most positive aspect of digitalization in my life is the possibility to travel with all resources being available. Books are heavy and hard to carry when you live with a suitcase. Additionally, I previously thought that the Internet helped people to connect to each other worldwide. Now, I observe that the more we embed the digitalization associated with the Internet to our daily life, the more we lose contact with what is essential: the Now and Here. When I see people checking their phones while having a social interaction, I feel sorry for these human beings missing what is happening in their life. This very instant only exists now and here.

This event is supported by Goethe-Institut Bratislava and will be a part of festival [fjúžn].

Neformálny večerný ne-formát, kde pozvaný hosť, ktorý vidí ďalej ako za svoj nos, rozpráva o tom, prečo, ako a čo robí. V príjemnej atmosfére sa môžete porozprávať a socializovať s inšpiratívnymi ľuďmi z art / sci / tech scény.

Pascaline Lorentz má doktorát zo sociológie a ako výskumná pracovníčka sa venuje online gamingu na Inštitúte výskumu detí, mládeže a rodiny Masarykovej Univerzity. Predmetom jej výskumu počas doktorandského štúdia, ktoré dokončila v roku 2012 na Štrasburgskej Univerzite vo Francúzsku, bol vplyv hrania The Sims® na socializáciu násťročných. Na Krakatoa bude hovoriť o témach, ktorým sa ako výskumníčka venuje. Tieto zahŕňajú rôzne aspekty hrania videohier v dnešnej spoločnosti, najmä formovanie identity človeka. Príďte s nami hľadať odpoveď na otázku, ako môžu videohry ovplyvniť náš život.

Podujatie bude v anglickom jazyku.
——

Informal evening discussion, where an invited guest, who can see further than the end of his nose, talks about why, how and what he does. In a pleasant atmosphere you can talk and socialize with inspiring people from art / sci / tech scene.

Pascaline Lorentz has her PhD in Sociology and is a Postdoctoral Researcher working on online gaming at the Institute for Research on Children, Youth and Family at Masaryk University. Her doctoral research completed in 2012 at the University of Strasbourg in France investigated the teenage audience of The Sims®. She will talk about her research interests which garner manifold aspects of video gaming in nowadays societies. The construction of identity with video gaming leads her scientific curiosity. An emphasize is made on how individuals life change with practice of video gaming. The event will be held in English

Redaktor by mal mať skúsenosti s recenzovaním alebo publicistikou, nie však nevyhnutne v oblasti hier. Dôležitá ja najmä zodpovednosť a schopnosť dodržiavať zadané termíny. Redaktor by mal byť taktiež schopný vcítiť sa do zážitkov detského hráča a problémov, ktoré zaujímajú jeho rodičov. Na projekte spolupracujeme s odborníkmi, máme vytvorené guidlines, ktoré ti pri recenzovaní pomôžu. Vítaná je základná zbehlosť a záujem o oblasť hier a vlastnenie aspoň dvoch platforiem, na ktorých sa dá hrať (PC, iPad, Android, Xbox One atď.).

Videohry vnímame ako súčasť dnešnej doby a chceme pomôcť rodičom orientovať sa v možnostiach, ktoré videohry ponúkajú. Ak si na jednej vlne, ozvi sa nám.
V prípade záujmu nám posielajte ukážky z vašich už napísaných textov, bližšie info o sebe alebo CV na maros.brojo@gmail.com

What should we imagine under the notion of “digital poetry”?

I quote the definition we have used in the p0es1s project: Digital poetry refers to creative, experimental, playful, and also critical language art involving programming, multimedia, animation, interactivity, and net communications.

Do mostly poets themselves transform pieces into digital form or do they collaborate with programmers? What is the typical background of digital poets?

The poets or language artists I appreciate are programming their works by themselves – or they are working in collaborative groups. I think to achieve an interesting result of a project it is most important that each of its aspects is conceptually reflected and realized with the best skills necessary for this concept.

Which artists would you recommend as good digital poets?

Those ones who are continuously presenting unique, innovative, touching works. With some of them I have been cooperating for years, like André Vallias, Johannes Auer, Jörg Piringer, Simon Biggs, John Cayley, Aya Karpinska, Romy Achituv or Eduardo Kac, to name a few, others like Eugenio Tisseli, Tobias Leingruber or – from the post-digital field – Aram Bartholl came into my perspective more recently. Jörg Piringer’s art for instance is so fascinating because he combines a lot of skills – programming, visual and sound aspects of language, video, performance and fuses them in quite concise ways, and while doing so, he is quite aware of the poetic traditions his work is related to.

Eduardo Kac – Genesis project

You organise the festival p0es1s, could you shortly introduce the festival? What are your near future plans with the event?

p0es1s is not a festival – like the biennial E-Poetry-Festivals – but a series of international exhibitions of media poetry in combination with theoretical discourse. The project started with the first international exhibition of digital poetry in 1992 organized by André Vallias and myself. We came from the tradition of concrete and visual poetry. More recent projects have again opened the field of digital poetry to a broader perspective on all media of language art. A future exhibition (we are just trying to find the needed resources) would reflect crucial aspects of digital language culture in this fascinating broad and diverse field of the verbivocovisual.

How do you see the future of text? Will it be become mostly digital or do you believe that paper will survive?

Let me answer in this way: Scientists have considered which medium would be appropriate to store written information about the danger of our nuclear waste for the generations in a far future – and they have argued that papyrus would fit best.

This event is supported by Goethe-Institut Bratislava.

Na budúci týždeň prinášame študentom EUBA ďalšie pokračovanie kariérnych workshopov v spolupráci s ČSOB a s Centrom severoamerických štúdií  Ekonomickej univerzity v Bratislave. 4. marca budeme hovoriť o tom, ako napísať Vaše CV, aby ste zaručene zaujali. Registrácia na http://www.mladypes.sk/seminar/ a nezabudnite si priniesť svoj životopis so sebou! Tešíme sa na Vás!