This essay must have an introduction that orients your reader and identifies a problem or question. It needs an analytical claim that is explored in a logically structured argument and that relies on textual evidence in the form of quotation and paraphrase. This assignment should also attend to transitions, both in and between paragraphs. In addition, you must also establish – either explicitly or implicitly – your motive for choosing the exhibit you did.
While you are permitted to use more than 2 of our texts to create your textual conversation, you are not required to do so (and please remember that, in some cases, more isn’t necessarily better). If you would like to incorporate an additional source of your own choosing, please seek approval from me before doing so.
An “exhibit” can be many things: an image; a work of art (visual or literary, still or moving); a news article; a performance; a legal case; an event; a speech; an advertisement; a consumer product. Your primary criteria when choosing your exhibit should be the potential for close reading, deep analysis, and sustained engagement. In other words, it should lend itself to analysis rather than simply affirming or exemplifying the arguments of your sources.
This picture is from Google’s recent announcement of Stadia, the company’s upcoming gaming platform. As will become clear, Stadia in fact represents far, far more than a mere gaming platform. Given the detailed preamble necessary to explain and contextualize Stadia, here, up front, are this essay's aims: Stadia will likely be the very exemplification of usemonopoly while yet allowing for artistic inspiration. While this dualism may be a crippling blow to Jonathan Lethem's arguments, the larger concern is what Stadia means for 'soft', non-market notions of ownership, with radical implications for art and culture. In more macro-cultural terms, by redefining Kwami Anthony Appiah's notion of cultural appropriation, Stadia's reductionist essentialism and its Arnoldian bent may herald the beginning of the end of at least one art and culture.
First, some context: From their inception, video games have been creations tied to the particular physical platforms for which they were developed. Atari games, back near the medium’s inception, could not be played on what passed for PCs; you could not share your Nintendo cartridge with your Sega-owning friend; and platform-exclusive titles, such as the Halo series for Microsoft’s Xbox, or God of War for Sony’s PS4, have defined their respective platforms, as well as, crucially, their respective gaming audiences. Even in the age of AAA blockbuster titles, such as Grand Theft Auto and, more recently, Red Dead Redemption, developed for more than one major platform—PC, Xbox, or PS4—and resonating culturally far beyond the confines of gaming, one constant has remained: In-home hardware, in the form of a PC or gaming console, was required to do the intense computational work needed to run games, whether they were ancient, monochrome, and pixelated-blocky, or whether they are the...
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