Intro to Aesthetics Module - Week 1

1.1 Definitions and Applications of Aesthetics

The study of "Aesthetics" occurs across many different fields, and definitions of "Aesthetics" are varied depending on the context and the application of the term. Aesthetics is a concept discussed in fields of philosophy, art and design, and media and cultural studies, among others. Very very generally, when discussing "Aesthetics" within one of the above fields, it is utilized as a term to outline and/or hold qualities and descriptions that are intangible, so that folks can talk, write and explore them more. The image above includes the Oxford Dictionary definition of aesthetics - we will NOT be using this specific definition in this course, but we will be expanding from it. This first module is the start of exploring a dynamic “course description” or “course meaning” of “aesthetics”, so that we all have an idea of what we are discussing in this specific course.

An example of one of these intangible concepts commonly associated with Aesthetics is the concept of "Beauty". There is no clear definition or set of criteria or standards for what makes something "beautiful". It is a completely subjective descriptor, that is also fully dependent on and determined by the viewer, listener, player, beholder, etc. Exploring the aesthetics of beauty is looking at all of the tangible and intangible components that make something "beautiful". This includes analyzing both physical characteristics, and just as importantly, the individual and/or cultural experiences and understandings that shape the interpretation and perception of these characteristics.

Aesthetics is also interested in what makes things ugly, sublime, scary, funny, and - very relevant to games and gameplay - fun. {Note - we will very quickly get into aiming to move past "fun" into more descriptive and specific gameplay goals achieved via visual design choices, however, I am using it here as the most straightforward and simple example}.

1.2 Aesthetics and Vibes

Another way that I like to think of Aesthetics is the study of vibes. I'm not sure if this has made its way into any academic papers yet, so, I am presenting this here just as a way that I make sense of things in a more every day kind of situation. The vibe of a song, a party, a scene, an artwork, a class, a show, a game, a state of being, etc, might be intangible and difficult to fully define, capture, and describe. As soon as someone starts to think about it, the vibe might change, or be ruined, by trying to name it / “define” it.

But, there are possibly hundreds of tangible things, combined with the experiences and mindset of the person feeling the vibes, that construct and form the vibe{s}. Many of those tangible things can be intentionally crafted or designed toward a specific audience with the goal of producing a target vibe. And, while there isn't a set formula or 100% guarantee that these design choices will produce the exact vibe that was intended, and there are a lot of unknowns in many situations that will also influence the vibe, there is a much better chance of hitting that goal {which is itself is very intangible}, by understanding all of the factors that go into forming it.

1.3 The Aesthetics of Tutti Frutti

A through line of this course is that we will be looking at many many examples of art, design, and media that are not considered games or straightforward playable media or artworks. I will always try to draw larger concepts and ideas back to games, and definitely explore many games and interactive artworks in each of the modules, but I believe it is also important to form a broad understanding of design concepts and aesthetics, which stretches across a lot of different forms of media culture.

To kick-off our exploration of trying to understand "Aesthetic" as a term or a container for something intangible, review the videos and consider the discussion questions below. These videos present a brief history of the song - and performance of - Tutti Frutti. Written by the Little Richard in the early 1950's, the original lyrics were altered at first by Little Richard for presentation to a wider audience, while still conveying much of their original meaning to a specific audience through the aesthetics of the performance. At the same time, other performers also covered the song, further altering the perceived meaning and interpretation once again through their specific performance aesthetics.

Little Richard Performs Tutti Frutti ~ 1956

Pat Boone Performs Tutti Frutti ~ 1955

The meaning and understanding of Tutti Frutti

For the video below, watch until 5:30 for an introduction to the artist featured, Big Freedia, and then skip to 8:30 to hear her describe her interpretation of Tutti Frutti. Then watch until the end of the clip.

In the video below, Little Richard describes the differences in audiences and distribution outlets available for his version of Tutti Frutti, compared to Pat Boone’s.

For consideration after watching through all of these videos - a few questions. You do not need to answer these questions for any official assignment, but they might be things we discuss further in class time {depending on how the class time goes}

What are some of the differences between the two performances that have to do with visual design and/or some kind of creative decision or visual choice?

How did Big Freedia originally interpret and understand the song? Why?

1.4 Aesthetics in Games

As we direct the ideas of aesthetic design towards games, things get a little more complicated in that the term Aesthetics is also utilized by two prominent game design frameworks, and in ways that are a little different than how we will be applying and thinking about the term for this course. Frameworks are ways of exploring and understanding complex ideas or the expression of ideas, in this case, games and other interactive artworks. They can provide methods for navigating ideas in a certain way - like a map - or outline guides for interpreting an idea - like a lens - that can offer unique insights and ways of understanding it. The next few sections will summarize these two frameworks, and discuss how "Aesthetics" is defined and used in these specific contexts. These are very useful frameworks to be introduced to as game designers, and, moving forward, this exploration will also help differentiate between these usages and how we plan to use the term Aesthetics in this course.

The images below are all from games that have a unique visual aesthetic that is a powerful contributing factor to their overall aesthetic, and impossible to separate from the overall player experience. From Top left to Bottom Right, PaRappa the Rapper, Jet Set Radio, Journey, Return of the Obra Dinn, A Short Hike and Disco Elysium - The Final Cut.

The MDA Framework - Mechanics, Dynamics and Aesthetics

This framework was first developed in the early 2000's by several prominent game designers and artists, including AGPM Professor Robin Hunicke. The MDA framework proposes that game designers define and determine a set of mechanics via a game foundation and set of rules, and a player interacts with these mechanics mostly via gameplay {but not only gameplay}, which produces a set of dynamics. The experience{s} that this interaction and these dynamics produces in the player is the resulting Game Aesthetic, which can be further organized into descriptive categories such as sensation, fantasy, narrative, challenge, fellowship, discovery, expression and submission.

In this framework, the term Aesthetics is used to define and further expand on a resulting player's experience. Aesthetics are not just about gameplay / narrative goals and/or achievements, and rather the intangible experience of playing a game, the many moments of gameplay that build into an overall feeling or vibe. These aesthetics can change over time, both short-term and longterm, and are not necessarily dependent on game progression. The resulting game aesthetics are defined as the expressive affect of the game content and mechanics interfacing with its own system and the player.

The DDE Framework - Design, Dynamics and Experience

The DDE framework emerged in the 2010's, as a direct response to the MDA framework and the resulting interpretation of games. This framework is more complex and detailed than the the MDA framework, and further expands on and redefines what components construct and affect the mechanics, dynamics and aesthetics of MDA. In a very general and shortened summary, it proposes that the choices and resulting game structure that game designers, artists, and programmers form and compile into a game {before it is played by anyone}, need more specific definitions and an expanded description beyond game "mechanics", which many understood as limited to the algorithmic logic of a game or an interactive system, into a category of "Design".

The Design of the DDE framework includes the categories of "architecture" or "blueprint", "mechanics" and "interface". Within this framework, while some of these components are more or less interpreted by the player, they are mostly defined by the game designers and artists first. Many of the elements within the "architecture" and some of the elements within the "interface" categories will be discussed in this class.

The critique of MDA embedded within DDE is that there are many other choices that designers, programmers, and/or artists make while developing a game that impact a set of dynamics and resulting player experiences, beyond what the "mechanics" of the MDA outlined. I agree with this critique, as it acknowledges that there are many elements beyond gameplay, narrative content, and interaction design that form meaning to players. And, while there are some components outside of a designers control that can impact a game or artwork's overall aesthetic, there are many aspects that can be directly influenced via intentional design choices and an informed understanding of an audience.

1.5 Aesthetic Design In This Course

This course will explore the mostly visual elements that partially compose a game's overall design aesthetic. These components include color, texture, framing, layout, form, format, movement, typography, style and visual mechanics. They will be discussed and presented from a few different perspectives - conceptually, historically (looking at a variety of examples in art and design that includes but is in no way limited to games and interactive artworks), critically in many cases, and also technically. Lecture assignments and readings will primarily cover the conceptual, historical and critical discussions, while studio projects will cover the technical exploration. This will be the "making" part of the course, and this "creative practice" is really at the center of all of the other content.

Other AGPM courses will focus on the interactive and gameplay-centered aspects of games that make them very unique media forms and give them the potential to be powerful and expressive artworks. This course will focus on the visual aspects common across a wide range of artworks and designs that can also be utilized to communicate deep meaning. Understanding and implementing an intentional visual aesthetic in a game is crucial to designing an overall effective game aesthetic. Additionally, as we will explore throughout this course, visual aesthetics are often "preloaded" with already-understood associations and/or meanings that can be either powerful tools for expression if used intentionally, or confusing obstacles if included unknowingly.

Case Study - Choosing Art Before Making a Game

Watch the entire video below up to the Q+A {which is optional}. While watching the video, consider the differences in the two approaches the game designers describe.

If you have ever worked on a game or interactive artwork before, how did you decide on the visual aesthetic and artwork? How do you think this process would have worked for you?