2019

QUESTIONS 2019

  1. The relationship art-economy-power has marked, albeit in very different ways, the history of art in all historical, ancient and modern economic systems: if, in the past, the aristocracies that held economic power tended to finance the high culture for reasons of prestige, today the great capitals seem more interested in the promotion of "pop" culture, for both profit and the management of public consent. How does the present development of video-games fit into the relationship between art, entertainment, and capital?
  2. The distinction between sales success and critical success is a recurring theme in the discussion on artistic genres belonging to the sphere of high culture. Not always what "experts" like meets the favor of the general public and vice versa. Is it possible, even from concrete cases, to decline this distinction in the field of video games?
  3. The sales and marketing of entertainment items (cinema, TV series, genre literature, comics, videogames, etc.) have common traits and distinctive features. What distinguishes the videogames market in a distinctive way? What does the videogames market have in common with other entertainment sectors?
  4. State intervention is massively present in the field of "traditional" media, radio and television. Don't you think that the  States/Governments should take an explicit interest in the universe of videogames? If so, how? With stable interventions, as in the case of television, or with special game-commissions or targeted interventions for specific projects?
  5. Economy influences the videogames industry, but is the opposite also true today? Can we find video-ludic models in the structuring of the contemporary global economy? Is gaming culture transforming the economy with cryptocurrencies and virtual economy?
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