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RafaelFajardo

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  • [In the writing of his history of the video game industry, Replay, author Tristan Donovan conducted a series of important interviews which were only briefly excerpted in the text. Gamasutra is happy to here present the full text of his interview with SimCity creator and gaming pioneer Will Wright.] In this, the last in the…

    May 28, 2011
  • crookedindifference: It is so strange to me that there is a growing contingent of computer users that have never physically handled one of these.

    May 28, 2011
  • Here’s an example: The industrial age worked hard to separate “work” from “home.” Everything about the common or public schools started in the mid-nineteenth century reinforced that division: from the school bell ringing for each child at the same time of day, of each child entering school at age 6 whether they were ready or…

    May 28, 2011
  • In this essay, we begin with a theoretical articulation the worked example as a form of invitational scholarship that provides new media scholars, in particular, an important outlet for their work. A worked example leverages purposively-selected instances and multiple modes of discourse (e.g., videos, pictures, expositions, games, quotes, etc.) to establish an invitation, in response…

    May 27, 2011
  • Pop culture now tends to stress production and not just consumption, as well as expertise certified and earned within digital communities and not only via professional forms of degrees and certification. The Legend of Zelda and Philosophy: The Hero of Timelines | James Paul Gee

    May 27, 2011
  • i knew then, and i affirm now, that to get into this industry, you need to be a skilled at one of two things: art or programming. It’s very unusual to skip the queue, so don’t hold out hope. Instead, devote yourself to being useful or talented at something. Lesson: Is this really your dream?…

    May 27, 2011
  • Most modern theories of art hold that all forms of art and all media are interactive, that there is an implicit conversation between any audience (despite the original roots of the word in just “listening”) and any creator — that the act of interpreting the work even in the most shallow way means that there…

    May 27, 2011
  • Most modern theories of art hold that all forms of art and all media are interactive, that there is an implicit conversation between any audience (despite the original roots of the word in just “listening”) and any creator — that the act of interpreting the work even in the most shallow way means that there…

    May 27, 2011
  • However I think the other side of the coin is that most programmers – and, I would sadly argue, designers too – don’t really know how to improve the abstract thing that is ‘game play’. There are many who’d love to create better stories, emotions, AI, and so on, but don’t have the knowledge or…

    May 27, 2011
  • However I think the other side of the coin is that most programmers – and, I would sadly argue, designers too – don’t really know how to improve the abstract thing that is ‘game play’. There are many who’d love to create better stories, emotions, AI, and so on, but don’t have the knowledge or…

    May 27, 2011
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About us

Rafael Fajardo (he/him) is an artist, designer, researcher, and educator. Born in Colombia, he migrated with his parents to the United States in 1968 and grew up in San Antonio, Texas. Through his work with SWEAT, Rafael has been creating boundary-blurring videogames as an art form since 2000. Rafael has also collaborated with artists Adán De La Garza and Justin Ankenbauer under the moniker of Dizzy Spell to curate a series of pop-up artist game arcades.

https://rafaelfajardo.com/links.html

https://sudor.net

https://dizzyspell.xyz

Latest posts

  • Tunic – 03
  • Tunic – 02
  • Tunic 01
  • Discord may be taking our data
  • Yurupari documentary series

Categories

  • books
  • code drawings
  • commissions
  • communities
  • games
  • toys
  • tumblr archive
  • words

RafaelFajardo

ludo ergo sum