Özet:

Abstract The role of games in human social configuration has been widely researched: since the 1930s by Johan Huizinga and, later by Roger Callois in the 1950s and other authors till our days. As soon as computer science became a regular and useful tool for human endeavour, videogames appeared, playful devices created and mediated by digital technology. Ever since a group of MIT students created Spacewar in 1962, electronic gaming has been responsible for a development that has expanded in forms, technologies and purposes. Socially, videogames constitute a popular product which is used on a massive scale and a strong industry in continuous development. In addition, there is a great diversity of genres and platforms for serious games: from educational ones and those aimed at taking care of our health or our cognitive capacity, to strategy games which purpose is to train combat personnel or to improve productivity. In this article we will focus on the discursive and operative capabilities that net art pioneers saw in videogames, and how those operate in the art world and in social activism. We will analyse what are the traits that establish them in this scope of action, and some strategies they utilise.

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