In this chapter, locative games rely on mapping technology and communication. Many projects need mass participation. There’s an interest for locative media that falls under the public sphere like parks, news broadcastings, and many forms of advertising. Using certain technologies overly rely on compromised communication mechanism on social control.
Recent papers focused on this kind of use to be much used by military and other industries. The current social landscape as well as technological presents characteristics and unique challenges to locative games. Steve Symons’s Aura, 2004, relies on GPS for his sound installation, which creates a live three-dimensional space for sound.
Participants wear backpacks with a small computer and walk around to engage with the work. Moving around various positions gives off particular sounds. Spaces can be mapped by the participants. His work is stage around Europe and North America. He mentions the interaction between the participants becomes a cooperation as a whole. Each participant moves around in relation to one another.
It’s good to reflect on the location in terms of relationship to play. Boundaries can be created. Huizinga’s Homo Luden states play always has a meaning, a process of signification or interpretation of play in one’s space. The experience is tied to the location and the culture.
Activist-artists’s movement described space as a political action, in which protests are carried out urban spaces. Inspired by Dada and Surrealism, they used everyday acts of urban life. Guy Debord made notions that society based on shock of grand displays, known as psychogeography. This consciously helps document the events and experience of the environment on emotions and behavior. His method of minding your surrounding keeps an open mind and explore the environment. The Situationists core purpose is to examine the psychology of urban landscape.
Their observations are purely based on assumptions according to statehood and human rights. Play can be empowered, build a community, and foster collaboration on cultural change. This motivates location-based media projects. As technology and tools involve computing on physicality and location, locative media is driven to create scenarios, interactivity, and games.
Artist are repurposing the GPS, communications and mapping technologies to create a diverse experience. Players get to explore different types of participation like events that occur often or in familiar places. Play is fabricated on various locations and may have a fixed length. This can help with city tourism, like pokemon with pokestops. Locative media can link social institutions, organizations and group, even friends together. Like hopscotch, mapscotch, 2007, is game that focuses on the players environmental interpretation in ways of mapping.
Players are asked to draw through instructions from a card on pavement. The patterns can address different themes which embodies the players interests. Artists need to understand the spatial effects of a site, they look into cultures and rituals that define the space. The work and the site must go hand in hand, otherwise the work can be damaged from external elements. Artists must be careful in order to work on site specific locations.
Institutions create their own space, perse territory. There’s plenty of media-rich experiences that separates the space from its historical significance, meaning, and history. Locative games like Cruel 2 B Kind (C2BK), used partners to “kill” their partner through acts of kindness. Players can complement other players as well. This helps to dismantle the notion of an enemy. This human-centered locative game contributes the resurgence of thinking in terms of relations to the urban game.