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Innocent, T. 2003, May 19–23. Exploring the nature of electronic space through semiotic morphism. Paper presented at 5th International Digital Arts and Culture Conference, RMIT, Melbourne.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 07/03/2006, 05:54
"...the space is interpreting the user and the user's actions as signs to be decoded and given meaning. As a result of this dynamic relationship the representation, or interpretant, can alter the associations between signs and their signifiers in response to its reading of the users [sic] actions."  
Comparing electronic spaces to real spaces and the difficulties in modelling the former: "...the starting point is a void. This presents a significant limitation..." requiring complex physica and behavioural modelling in an attempt to simulate reality.  
"...an electronic space can be seen as an expression of a subset of known semiotic systems." Therefore "electronic space is made of language" and nothing in that space is devoid of meaning.  
Describing his own game as demonstrating semiotic morphism, the physical space surrounding a player (textures, colours etc.) changes or morphs when another character is in close proximity.

This provides new meaning to the player according to the morphing of this electronic space.
Lindley, C. A. (2005). The semiotics of time structure in ludic space as a foundation for analysis and design. Game Studies, 5(1). Retrieved March 22, 2006, from http://www.gamestudies.org/0501/lindley/    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 22/03/2006, 15:10
Defines three temporal semiotic levels in games:

1. Simulation: the functional characteristics of the game. time frames, quantization, ticks per cycles etc. At the level of the game design(er).

2. Ludic or Game: patterns of player movements, player engagement with the game rules. Turns, tournaments etc. At the level of the player.

3. Narrative: Based upon the three-act restorative structure. Often, especially in action games, the second act (conflict) is the most extended with the first act (beginning) and third act (resolution) often being limited to cut scenes, FMV, display of final scores etc.
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