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This paper examines work in cultural and human geography that theorises temporality in terms of events. Moving from humanist phenomenology, to non-representational and assemblage theories and current geographies of encounter, it suggests these accounts of events tend to analyse the past and future through the lens of the present. Building upon these literatures and the work of Tristan Garcia, the paper argues for an expanded notion of the event, where past and future events can be considered as both distinct from, and linked to, the present moment. Here, time comes to be defined as the ordering and stacking of events, where events are understood as sites of comprehension, in which entities are differentiated. The paper suggests this position is useful in order to trace temporal causality across and between entities and events. Tracing the causality of entities and their ordering and stacking across events enables a closer analysis of what the paper terms the temporal power of non-human things. To illustrate this argument, examples from an ESRC project on digital gaming and in-game purchasing are analysed. [ABSTRACT FROM AUTHOR]

Recently cultural geographers have become increasingly interested in postphenomenological ways of thinking. This article develops a distinct postphenomenological style of analysis. Such a style is twofold, referring both to a style of conceptualizing and writing about objects and a concern for those objects' style. Drawing on the example of the television show In the Night Garden, the article demonstrates two postphenomenological styles of thought—allure and resonance—and how these styles enable us to understand the style of these objects and the role they play in the construction and experience of different cultural worlds. [ABSTRACT FROM AUTHOR]

While videogames have been a popular form of entertainment practice for a number of decades, it is only recently that they have been paid much attention by academics. Although there is a burgeoning body of scholarship that deals with videogames in new media and games studies, human geography is only just beginning to offer its own take on the medium and the practices associated with it. This essay outlines ways in which scholars (both within geography and beyond) have traced out the geographies in videogames (in terms of the representations and politics within videogames), the geographies of videogames (in terms of the production and consumption of videogames) and videogames as a cultural geographical practice (in terms of the technocultural practices through which videogames and videogamers are produced). We argue that approaching videogaming as a (techno)cultural practice can enrich the cultural geographies in and of videogames. [ABSTRACT FROM AUTHOR]