HOMESICK ON CHRISTMAS EVE?

December 24

‘Twas the day before Christmas and Micael was worried......
Missing his family ......... the roast pork and cabbage
But I am with Isan......no need to be flurried
My friends pick me up.......there's no need to pack baggage
And no time to be lonely ..... unhappy or blue
The school’s having a party ......... “No homesick for You!!!”

I was thinking of the poem about the mouse and the quiet and the day before Christmas and what I would do for the day. Christmas Eve and Christmas Day are working days in Thailand and there had been none of the hype I am used to experiencing at home in Wollongong leading up to Christmas. Sure, there were a few Christmas trees, elaborate and beautiful; full of lights but understood by many Thais as only a marketing tool to make some money at Christmas.

I awoke wondering whether I would feel homesick on Christmas Eve .... silly boy! I am in the middle of Isan. Isan people do not let you feel lonely.

My mobile rang early (6 am) and my good schoolteacher friends Aoy and Tookie invited me to their school to see a small celebration at which Aoy’s daughter was participating as a marching girl.

“OK”; I said. Shower, dress ... toot toot and into the car for Borabu.

We picked up Aoy’s daughter and her 2 marching girl friends and drove to the middle of a village somewhere (I never get used to this... ) where at first glance I saw a couple of kids dressed up, a bit of a school drum band and some more kids with banners. Remember, I have no idea where I am!!!

Aoy and Tookta disappeared, reappeared and, seizing the opportunity I asked my usual question; “What do I do?”“Follow the children”; was the short retort and I was on my own again.

OK........

......follow them ........

......... where???

The drums starting beating: schoolkids love banging drums and so I did as I was told and followed along the narrow village street. Look! More children up ahead – time for photos..... and more drums .. and more marching girls ... and more children !! I went along a bit until my leg tired and I started limping. A schoolchild stopped his motor cycle and offered me a lift; typical of the jai dee all Isan people show me.

The procession wound it’s way through the streets of the village for perhaps 4 kilometres withparents, uncles, aunties, mothers, grandmothers (you get the idea) lining the sides of the narrow village avenues smiling and clapping the children and saying hello to the novelty of the farang.

How to describe the procession?? Three kilometres long of marching girls being led by children dressed in traditional Isan garb with a drum band to keep time, some soccer teams and volleyball teams and then more of the same, all proceeding along the village lanes proudly watched by the whole village who turn out to watch them pass by.

This is a feeling of community spirit that is repeated at the same time all over Isan. EVERYBODY participates in some way, not because they have to, because they WANT to.

Off to the school sportsground for a grand parade and march past; the ever present VERY loud PA system producing continuous commentary on the procession and sporting events throughout the day. The loud PA seems a bit much at first although it is easy to become accustomed to and really lends excitement to the day.

The assembly was impressive once they all arrived.

The march past was lots of fun to watch - the girls really stepped out in style for the appreciative crowd.

Something I really enjoyed was the sense of having competitions where the emphasis was on participation instead of individual achievement. I positioned myself close to the cold water and coffee, as you do at such events, situated just behind a trophy table which display ed a selection of magnificent trophies.
I did not notice any of the children during my time there come to the table to admire the trophies. I certainly did.

I may be wrong although from what I saw the emphasis was not on individualism as opposed to participation. There were no tantrums noticeable if a child lost a race or did not perform well. Teams were happy to win their games and teams that lost were smiling also. I think they were all their to have some fun making all participants winners.
The young girls passing the trophies to the presenters wore traditional Isan silk..... how they managed to look so fresh all day is a secret I would like to have shared.

It is just one small example of the rich culture and sense of wholehearted ISAN community spirit. I am not made to feel like an outsider; friend and stranger alike make me feel welcome, as if I have an open invitation to join in as a part of the community where I am treated as one of their own. Toyota has nothing on this feeling!!

Lunch was provided by the school and everybody joined in together. The picture at right is of a part of the kitchen.
Food does not get much fresher than what is provided in Thailand.
I have been here since November 1 and the only tin I have opened is the one containing the shoe polish. Oh! Did I mention it hasn't rained either but there is still plenty of water about.

Volleyball,
soccer volleyball,
soccer,
foot races,
relays,

lawn bowls on a gravel rink with
steel bowls

and we'll have a measure on

that one

and plenty of water and shade provided for everyone.

Even a little fat farang man showed up to bring some extra entertainment and to join in the festivities.

I made many, many new friends that day.

More importantly I was once again treated to a hospitality from the Isan people which I have never experienced in any western culture.

I am not saying it is better, I am saying it is something which keeps me smiling every day here in Thailand

I did not forget about my family home in Australia on Christmas Eve, but definitely

...... "No time to be lonely
..... or homesick or blue
The school’s having a party
......... “No homesick for You!!!

PS. My good friends surprised me with Christmas decorations, a Christmas tree and a small party after the day’s festivities ...... more Isan jai dee !!!!

Thanks Tookie..Thanks Aoy ... Thanks Eve ... you are in my heart forever.

III – Carbon Credits: The Rich Get Richer

The issue of Carbon credits is of great interest to me as well as a lot of others. I will not beat about the bush here. I am of the opinion that the introduction of Carbon Credits is simply another tool to line the pockets of capitalists world wide.

Reading an article from The Nation, a Thai based newspaper in English, I came across this article whereby the Thailand Greenhouse Gas Management Organisation has called for the Thai Board of Investment (BOI) to interpret Carbon credits as a “product”. At the moment the BOI “considers carbon credits as a side benefit of the main investment project”. By classifying Carbon Credits as a “product”, the BOI can approve tax breaks to firms wishing to participate in clean development mechanisms.

The concept of referring to carbon credits as a product is an interesting one. Moving right along and getting a bit closer to home here in Oz there seems to be little happening in the press at the moment in regards to carbon credits, although there is some interesting information to be shared.

Of particular interest is the proposal of the Oz government to implement the new CPRS (Carbon Pollution Reduction Scheme) sometime in 2010. Remember, the thrust of this blog to argue that the use of Carbon Credits is just a simple method to introduce a new world wide market using Carbon Credits as a commodity under the disguise of for the greater good by making the atmosphere of this planet a “cool place” in which we can all live happily ever after.
Firstly, as mentioned in my blog on the Garnaut Report, the basis of this CPRS comes from a report that takes basic scientific assumptions about climate change as given facts. This will not be argued here. What will be argued is some evidence I think is pertinent to the argument towards the creation of a “new” market which will benefit capitalism world wide.

Seeing as the whole process here seems to be guided by economists, a group that seem to have successfully crossed the socially constructed border into science (see Thomas Gieryn and boundary work) , therefore situating themselves in a position of power by interpreting science through economics. The interpretations produced by the “new scientists” (economists) are in turn used as reference by governments to produce public policy on dealing with Climate Change.
Why have the economists gained so much agency in the Climate Change issue? The simple answer is capitalism. There has to be a middle man.

Enter stage left (or right) the Bureaucracy....... more later today ...

OLDER PEOPLE ARE ALSO GAME TO GAME

Video Game History: Interview

My mother B and her friend JC (a grand name for an ex-pat Kiwi), have 3 computers in the unit they share. One laptop recently purchased, one in JC’s room with the third PC in the dining room which is now the entertainment centre of the unit. All computers are less than two years old. The main computer is an up to date version; they have a high speed, 1500kps, broadband connection as well as wireless. They average about 25 gig of broadband usage per month.

The PC in the dining room has a 24” LCD screen and is now the entertainment hub of the house. The television/DVD/video cassette/CD /digital set top box unit in the lounge room has not been switched on for the last eighteen months by my recollection.

Mostly both sit in the dining room at the main PC watching the other although if there is a clash and each wants to use the same machine for different purposes lively negotiation ensues as to who relocates to use the PC in the back room.

This interview is about the gaming experiences of B and JC. The medium of the interview was through Skype video and took about 45 minutes. Each of us took snapshots of the screen during the interview.

The interview questions were as follows. They were sent to the interviewees through Skype chat thirty minutes before the actual on-line interview.

1. Can you tell me how long you have been involved with gaming on computers?
2. What was your major form of leisure entertainment before you played digital games?
3. What are your favourite games and where do you get them from?
4. What would be the most money you would pay to purchase online games. i.e. would you be willing to pay a monthly subscription?
5. What factors are involved in your enjoyment of these games and how big a part do they play in your entertainment space?
6. What changes have you noticed in your “entertainment space” since you started playing these digital games?
7. There is currently a maximum rating of 15+ in Australian video games that can be purchased. There is no R or 18+ rating. Any game rated above 15+ is automatically banned from sale in this country. Do you agree with this and why?
8. I assume you are familiar with the modern shoot ‘em up games which portray varying degrees of violence and varying degrees of graphic representation. Do you think these games affect behaviours shown in the younger generation and in what ways?
9. Is there educational value in games? Why?

“These questions are to do with your online gaming experiences. It is OK if you cross over into digital technology as we go but the emphasis here is on games. Hopefully we will explore your gaming experiences through computers (digital technology).

Are you sitting comfortably? Then we’ll begin.”

1. Can you tell me how long you have been involved with gaming on computers?

B: 12 years
JC: 12 years, since about 1998

2. What was your major form of leisure entertainment before you played digital games?

B: watching television, CD’s and some video
JC: television, card games, going to the club and playing snooker or poker machines which were quite expensive hobbies.

3. What are your favourite games and where do you get them from?

B: Card games, patience, mah-jong, Eldorado, Peggle
JC: Age of Empires, games from Gamehouse which include casino games such as poker, keno, poker machines. Some games have been purchased such as Peggle, Eldorado. The advantages are that I can now play gambling games as much as I like without using ‘real’ money.

4. What would be the most money you would pay to purchase online games. i.e. would you be willing to pay a monthly subscription?

B: I do not pay anything, I play the games that JC installs, although I have paid up to $70 for a set of CD’s.
JC: I would pay no more than $50. I have no interest in paying a monthly subscription fee for a range of games. I am particular about which games I choose to play.

5. What factors are involved in your enjoyment of these games and how big a part do they play in your entertainment space?

B: I am not very mobile so games play a big part in my entertainment. I sit at and watch JC play games as a sort of background entertainment while I sketch or paint using acrylics.
JC and myself also have a ‘satisfying competiveness’ in regard to playing similar games. I have time to enjoy the games, I take my time and I feel that the playing/watching JC play games creates a sense of harmony within the household.
I use the internet to explore my personal interests as well as to communicate and share pictures with my family both here and overseas through Skype video or e-mail.
JC: Playing games provides more stimulus than reading (books). There is friendly competition between us although I do not watch B play games. By stimulus I mean it helps with co-ordination functions and it keeps my brain active. I disagree slightly with the harmony creating aspect B mentions, more a distraction.

6. What changes have you noticed in your “entertainment space” since you started playing these digital games?

B: I have noticed it can be very time consuming. I really should only play in my spare time – which are my waking hours - and understand it can be habit forming. I regularly let other things go in favour of playing games but I do not feel guilty about it.
JC: Playing the games is time consuming and sometimes other duties are ‘left out’ although I really don’t feel too guilty about it. I enjoy the anticipation of playing games.

7. There is currently a maximum rating of 15+ in Australian video games that can be purchased. There is no R or 18+ rating. Any game rated above 15+ is automatically banned from sale in this country. Do you agree with this and why?

B: I was not aware of this. We do not need any more explicit games. I have seen games that my grandchildren play and they are explicit enough. I do not really like the banning of games but at the same time I do not want them for my grandchildren.
JC: I agree with it. There is no need for explicit sex or violence; all you need to do is watch the news or other television shows. It is unnecessary in a gaming environment. Gaming is a fantasy environment and does not need extremes of sex or violence. For example; I have seen a violent game with stick characters in it. This is totally unnecessary.

8. I assume you are familiar with the modern shoot ‘em up games which portray varying degrees of violence and varying degrees of graphic representation. Do you think these games affect behaviours shown in the younger generation and in what ways?

B: ‘Desensitising’ is not good for the ‘very impressionable young’. I suggest you read newspapers about mortality rates and types of crime in relation to age groups.
JC: Younger people spend hours in control of a game which passes on into real life. There are control issues. In a car racing game nothing happens (when you crash) but in real life there are real life consequences. There is a difference. It is a false representation of real life.
Note: When asked if young people separate ‘fantasy’ and ‘reality’ both disagreed immediately.

9. Is there educational value in games? Why?

B: There is the question of how to entice 16-17 year olds to buy these type of games. They need to be entertaining enough. I consider Simtower to be an educational game and my grandson (20) still plays it.
JC: Yes, there is educational value in games. E.g. Age of Empires: If you do not defend, provide for your people or show progress you lose. You learn skills to overcome adversity. In Simtower you need to keep building, you need to adapt. Learning skills are learnt from having to clean rooms, maintain the building, supply food etc. B’s grandson has a game where you sell lemonade. It is easy to sell lemonade outside your house but you do not progress. It teaches business skills such as supply and demand, marketing, location etc. It can be used by smart people as a business tool. If you cannot beat these simple games you cannot transpose to the real world. There is real educational value in these games.

End of interview.

A brief analysis of this interview reveals that these two people have embraced and adapted modern digital technology in a way that might surprise a researcher. There is evidence of a familiarity with digital technology and a learning curve over time which has rid this ‘older’ generation of any fears of the use of it. Neither have undertaken any specific courses in use of the technology so it can be surmised they are self-educated, a graphic illustration of the educational value of the internet.

Digital video games pay a very large part in the production of entertainment value within the household. The PC is now the entertainment centre. The “old” entertainment centre comprising television, DVD/video player and set top box has stood idle in the lounge room for eighteen months and is used rarely, if at all. Although the main thrust of the interview was slanted towards video gaming there were many other aspects of digital media that were touched on and not written up. Of special interest to the interviewer was the familiarity and use of digital technology in the adaptation to suit particular preferences in entertainment and communication.

It is of importance to note the transition over time towards the full employment of digital technology within this household, not only for entertainment, but also for communication and production. This illustrates agency offered and accepted by the household members in their own personal development related to their leisure time enjoyment experiences. Besides the obvious convergence of media genres, there is also a convergence of the human experience. The experience has enabled the consumers here to cross over into the arena of production and self education, not necessarily by necessity, rather by choice.

During the interview using Skype video there seemed to be an air of informality or familiarity, a sense of satisfying interactivity as well as, in the interviewer’s opinion, a small sense of pride that the interviewees had ‘control’ over the technology and have no fear of exploring and adapting digital technology to their own personal use.
















All in all, a most satisfying experience for all concerned.

ON GENDER AND VIDEO GAMES

Any uneasy feelings that a feminist may have when exploring gender issues in the gaming world, whether it be console or online games, are not assuaged evidentially in many journal articles.

This short blog will indeed argue that gender differentiation and re-inforcement of typical gender bias existing in real life spills over into the virtual world of gaming, described in a review of a Women in Games Conference (Westecott, 2006, p.212) as “deep-seated presumptions that still shape the sector”[animation, film and television].

An explanation of the domination of male orientated content, narrative and design is arguably found within the actual work practices and labour force contained within the industrial production of games. Long hours are expected of those working in the gaming industry. Sixty-five to eighty hour working weeks are common during crunch times (close to the deadline for a project. This representation of the “dark side” of gamework with “passionate pay slaves, precarious global developers and networked labour (modders and fans)” (Deuze et al, 2007, p. 347) has historically developed through exploitation of the passionate or dedicated gamers. The hours required and the pressures of crunch time naturally exclude many from the industry.

The attraction of gamework for young, unmarried male urban professionals who envisage ‘work as play’ employment provide the large majority of the workforce. It is therefore obvious that a masculine culture will develop which will flow through to the work produced (ibid).

Heather Kelly argues with most producers being male, they can’t be bothered developing games for girls for three reasons, Firstly, “so called girl’s games have a bad reputation .. and rightly so” (Kelly in Deuze et al 2007, p. 345) Secondly, the budgets for such games are commonly much less than for male games and thirdly, when these games are created they are “usually full of dumb clichés”. (ibid)

The observation can be made from Kelly’s comments of the reflection of attitudes of the male programmers in the re-inforcement of gender stereotyping. i.e. the games are developed from the male’s presumption of what games would interest their niece. The issue of small budgets provided for girl’s games is interesting as it is possible that there could be an untapped market in the genre of girl’s games. It is reasonable to assume that young females have just as much disposable income as young males, perhaps the product is simply not available.

Further evidence of gender issues are literally illustrated when a brief quantitative survey was carried out on the Intothepixel web site. This site showcases video game art and has been chaired for the last three years by Nichol Bradford, Global Director of Strategic Growth at Vivendi Universal Games (VUG).


Investigating contest winners art from 2008 back to 2004 reveals only one example of art representing females (shown below). The stereotypical cultural representation of the helpless young female is in contrast with the many male warrior type representations in many of the eighty examples of art showcased from 2008 to 2004 on the intothepixel site.

Pictured left: Crimson Butterfly : Artist Name : Keisuke Kikuchi, Hitoshi Hasegawa, and Makoto Shibata Game : Fatal Frame 2 : Crimson Butterfly Software : SoftImage, Photoshop, (Source: http://www.intothepixel.com/artwork-details/winner_details.asp?idArtwork=536 ; Accessed 19 May, 2009)




It can be argued these two pictures are typical cultural gender representations




Pictured left: Ryu Hayabusa : Artist Name: Tomonobu Itagaki and Hiroaki Matsui Game : Ninja Gaiden Software : SoftImage3D 3.922, Maya 4.5, Photoshop 7.0 , (Source: http://www.intothepixel.com/artwork-details/winner_details.asp?idArtwork=517 ; Accessed 19 May 2009)


The above illustrates some of the problems within the gaming industry concerning gender. Particularly in games, it seems the dominance of male gameworkers will continue to create imbalances in gender representation throughout the digital gaming industry until the following description of a typical gameworker is altered somehow:
“white, male, heterosexual, not disabled, 31 years old, working in the industry just over five years,university/college educated, is a programmer, artist or designer”, (Source : http://igda.org/diversity (quote taken from pp. 9–10)(accessed 8 June 2007)), in Deutze et al, 2007, p. 351.


References:

• Deutze, M., Chase Bowen, M.,& Allen, C., 2007, ‘The professional identity of gameworkers’, Convergence: The International Journal of Research into New Media Technologies, Sage publications, London, Los Angeles, New Delhi and Singapore pp. 335 – 353.
• Westecott, E., 2007, ‘Review: Women in games conference, University of Tesside, 10 – 11July 2006, Animation:An Interdisciplinary Journal, Vol. 2., Sage Publications, pp. 209 – 213.
• Intothepixel: an exhibition of the art of the video game, collection archive; URL: http://www.intothepixel.com/artwork/index.asp , (Date of access 19 May, 2009).
• Beyond Barbie and mortal Kombat: New perspectives on Gender, Games and Computers; Workshop Participants; URL: http://www.gseis.ucla.edu/faculty/kafai/conferences/barbie/participants.htm , (Date of access 19 May, 2009)

A NEW CHALLENGE

Newsletter

IRO Home Page

FYI