jonCates
Monday, January 25, 2010
Art Game Studies resource
i am releasing a new + open collaborative/community-based resource on/for Art Game Studies here:
http://bit.ly/5GdzNL
this list is primarily drawn from classes that i teach at the School of the Art Institute of Chicago where i have developed the New Media curriculum in the department of Film, Video & New Media. the list includes works that i + others have taught, played, researched, written on, developed, screened + exhibited as well those that have been developed by my students, colleagues, peers, fellow artists + myself. as such, this resource is subjectively crafted from my own experiences but hopefully objectively useful as a contribution to the field of Art Game Studies + Media Art Histories.
the resource will be used in my upcoming course Art Game Studies, a new Media Art Histories course being offered by the Art History, Theory & Criticism department + Film, Video & New Media. this course is both an overview of Art Games as well as introduction to the theories + discourses of Game Studies. the research for this resource also comes from + contributes to my ongoing work in this field, such as my essay, Running and Gunning in the Gallery: Art Mods, Art Institutions and the Artists that Destroy Them, which will appear in From Diversion to Subversion: Games, Play, and Twentieth-Century Art, edited by David Getsy, to be published by Penn State Press.
i am offering this resource freely + openly to anyOne who wants to contribute to or comment on these histories. i will be revising the version that i use in my classes based on your contributions + comments. i hope that artists, academics, researchers + theorists of Art Mods, Art Games, Artware + New Media Art (1) in general find this resource engaging + useful as an open + collaborative/community-based resource that we can develop together, to help document these emerging theorypractices. (2)
jonCates
CHICAGO.US
2010.01.20
1. a note on taxonomies + my approach: in my thinking/feeling on the subject, Art Games are a subset of Artware (or Software Art) which itself is a subset of New Media Art. i will use the term New Media Art, as it is used in the field by authors such Michael Rush in his New Media in Late 20th-Century Art from 1999 or Mark Tribe + Reena Jana in their collaborative book simply entitled New Media Art. i am also using the phrase "New Media Art" as we use it in the Film, Video & New Media Department. When we use the phrase New Media we refer to time, screen + code based Digital Art that is connected to the histories + theorypractices of Media Art, i.e. Film Art + Video Art. we are primarily concerned with experimental Media Art + we see New Media Art in relation to all other forms of experimental Media Art such as Film, Video, Animation, Installation, Art Games, Machinima, Realtime Audio Video, Web Art, Software Art + Free & Open Source Software. i also take this perspective from two of my own professors, Lev Manovich + Sean Cubitt. For Cubitt + Manovich Video Art and New Media Art are (respectively) both hybrid categories of creative cultural work, meshworks of interconnections that are socially situated technological forms. i am similarly motivated to understand Art Games in this manner.
2. a note on the contents of the Art Game Studies resource: this resource is not intended to be comprehensive but rather as i described above, collaborative + open. not all works in this list can be included in any given syllabus, courseware, research project, published essay, book, etc. still, i believe it is very important to openly compile + discuss such lists in order to respect + encourage multiple parallel Media Art Histories to develop. in this initial version i have not included many commercial mainstream or mass market gaming products or services in terms of chronologies of hardware (i.e. particular consoles) or software (i.e. specific games). in the cases where i have included these they are primarily in place to document the development of a genre (such as the First Person Shooter) or a crossovers between markets (such as in the case of Electro Plankton by Toshio Iwaii).
COPY-IT-RIGHT 2010
http://bit.ly/5GdzNL
this list is primarily drawn from classes that i teach at the School of the Art Institute of Chicago where i have developed the New Media curriculum in the department of Film, Video & New Media. the list includes works that i + others have taught, played, researched, written on, developed, screened + exhibited as well those that have been developed by my students, colleagues, peers, fellow artists + myself. as such, this resource is subjectively crafted from my own experiences but hopefully objectively useful as a contribution to the field of Art Game Studies + Media Art Histories.
the resource will be used in my upcoming course Art Game Studies, a new Media Art Histories course being offered by the Art History, Theory & Criticism department + Film, Video & New Media. this course is both an overview of Art Games as well as introduction to the theories + discourses of Game Studies. the research for this resource also comes from + contributes to my ongoing work in this field, such as my essay, Running and Gunning in the Gallery: Art Mods, Art Institutions and the Artists that Destroy Them, which will appear in From Diversion to Subversion: Games, Play, and Twentieth-Century Art, edited by David Getsy, to be published by Penn State Press.
i am offering this resource freely + openly to anyOne who wants to contribute to or comment on these histories. i will be revising the version that i use in my classes based on your contributions + comments. i hope that artists, academics, researchers + theorists of Art Mods, Art Games, Artware + New Media Art (1) in general find this resource engaging + useful as an open + collaborative/community-based resource that we can develop together, to help document these emerging theorypractices. (2)
jonCates
CHICAGO.US
2010.01.20
1. a note on taxonomies + my approach: in my thinking/feeling on the subject, Art Games are a subset of Artware (or Software Art) which itself is a subset of New Media Art. i will use the term New Media Art, as it is used in the field by authors such Michael Rush in his New Media in Late 20th-Century Art from 1999 or Mark Tribe + Reena Jana in their collaborative book simply entitled New Media Art. i am also using the phrase "New Media Art" as we use it in the Film, Video & New Media Department. When we use the phrase New Media we refer to time, screen + code based Digital Art that is connected to the histories + theorypractices of Media Art, i.e. Film Art + Video Art. we are primarily concerned with experimental Media Art + we see New Media Art in relation to all other forms of experimental Media Art such as Film, Video, Animation, Installation, Art Games, Machinima, Realtime Audio Video, Web Art, Software Art + Free & Open Source Software. i also take this perspective from two of my own professors, Lev Manovich + Sean Cubitt. For Cubitt + Manovich Video Art and New Media Art are (respectively) both hybrid categories of creative cultural work, meshworks of interconnections that are socially situated technological forms. i am similarly motivated to understand Art Games in this manner.
2. a note on the contents of the Art Game Studies resource: this resource is not intended to be comprehensive but rather as i described above, collaborative + open. not all works in this list can be included in any given syllabus, courseware, research project, published essay, book, etc. still, i believe it is very important to openly compile + discuss such lists in order to respect + encourage multiple parallel Media Art Histories to develop. in this initial version i have not included many commercial mainstream or mass market gaming products or services in terms of chronologies of hardware (i.e. particular consoles) or software (i.e. specific games). in the cases where i have included these they are primarily in place to document the development of a genre (such as the First Person Shooter) or a crossovers between markets (such as in the case of Electro Plankton by Toshio Iwaii).
COPY-IT-RIGHT 2010
Labels: Art Game, Art Game Studies, Media Art Histories, new media art
¶ 3:49 PM 0 Comments
Thursday, January 21, 2010
Art Games: Mods - Chris Reilly (2010)
Art Games: Mods
Chris Reilly
Spring 2010
FVNM 4270 001
Monday and Wednesday 6 PM - 9 PM
Film, Video & New Media department
The School of the Art Institute of Chicago
Art Games: Mods, Video Game Modification, explores the popular use of Video Game engines as environments for the production of New Media Art. Modifying games by building and changing in-game elements, environments and characters presents artists with the ability to create Art Games, Media Art works, performance tools and spaces, non-narrative storytelling techniques and render experimental architectures in 3D. Students will create and design new maps, levels and characters using current Video Games and their authoring/editing tools, and have opportunities to explore their created worlds through real-time performances, documentation and play.
CONTACT: creilly AT saic DOT edu
http://www.chris-reilly.org
Art Games: Mods
Chris Reilly
Spring 2010
FVNM 4270 001
Monday and Wednesday 6 PM - 9 PM
Film, Video & New Media department
The School of the Art Institute of Chicago
Art Games: Mods, Video Game Modification, explores the popular use of Video Game engines as environments for the production of New Media Art. Modifying games by building and changing in-game elements, environments and characters presents artists with the ability to create Art Games, Media Art works, performance tools and spaces, non-narrative storytelling techniques and render experimental architectures in 3D. Students will create and design new maps, levels and characters using current Video Games and their authoring/editing tools, and have opportunities to explore their created worlds through real-time performances, documentation and play.
CONTACT: creilly AT saic DOT edu
http://www.chris-reilly.org
Labels: Art Game, ArtMod, Game, mod, new media art
¶ 12:18 PM 0 Comments
Friday, November 28, 2008
Night of the Cephalopods! - Spooky Squid Games (2008)
Night of the Cephalopods! - Spooky Squid Games (2008)
/* this indy game looks great + im xcited to play it. the documentation video below made by the developers of the game details the unique waze in which audio/dynamic voice over is used in this game:
Night of the Cephalopods! gameplay documentation video - Spooky Squid Games (2008)
also, in this game health is a measurement of a madness to sanity ratio while madness is also a form of enlightenment in the Lovecraftian Cthulhu Mythos. in the video above there is a moment when this concept is annotated/explained:
Night of the Cephalopods! - Spooky Squid Games (2008)
/* this indy game looks great + im xcited to play it. the documentation video below made by the developers of the game details the unique waze in which audio/dynamic voice over is used in this game:
Night of the Cephalopods! gameplay documentation video - Spooky Squid Games (2008)
also, in this game health is a measurement of a madness to sanity ratio while madness is also a form of enlightenment in the Lovecraftian Cthulhu Mythos. in the video above there is a moment when this concept is annotated/explained:
"The face shows how mad the player has been driven."
i love this concept. b/c madness is enlightenment in the Lovecraftian Cthulhu Mythos + the complete abject destruction of the world is an inevietability, i am wondering about the waze in which success or winning is constructed in this game... i will have to download, startup windoze + play thru it... */
Labels: 2008, Art Game, Cthulhu Mythos, games, Lovecraftian, madness, Night of the Cephalopods, Spooky Squid Games, video, YouTube
¶ 2:23 PM 0 Comments
Monday, August 11, 2008
i H4+3 WoW!
Jesper Juul writes in his "Ludologist blog entry Indie Games (like Braid) are Punk Rock" that we should rly wear “I hate World of Warcraft” t-shirts to exxxpress an anti-commercial digitalPunk approach to indy gaming + (i would add) a critical approach to Art Games, as a hystorical reference to a 1970's punk refusal of the bourgeois values, decadence, scale, supposed grandeur + escapism of 1970's psychedilic, symphonic, prog +/or stadium rock. this hystorical reference is specifically to Johnny Rotten of the Sex Pistols wearing a handMade/defaced "I Hate Pink Floyd" t-shirt... this is the fast, cheap + small scale commitment to "dirty new media art" that we are also attempting to articulate in various projects such as jake elliott's "Dirty New Media" presentation @ the most recent (+ perhaps last) HOPE (Hackers On Planet Earth) conference, our collaborative projects such as 4RtcR4x0Rz + our open, ongoing + decentralized organization of (A) r4WB1t5 micro.Fest
Jesper Juul writes in his "Ludologist blog entry Indie Games (like Braid) are Punk Rock" that we should rly wear “I hate World of Warcraft” t-shirts to exxxpress an anti-commercial digitalPunk approach to indy gaming + (i would add) a critical approach to Art Games, as a hystorical reference to a 1970's punk refusal of the bourgeois values, decadence, scale, supposed grandeur + escapism of 1970's psychedilic, symphonic, prog +/or stadium rock. this hystorical reference is specifically to Johnny Rotten of the Sex Pistols wearing a handMade/defaced "I Hate Pink Floyd" t-shirt... this is the fast, cheap + small scale commitment to "dirty new media art" that we are also attempting to articulate in various projects such as jake elliott's "Dirty New Media" presentation @ the most recent (+ perhaps last) HOPE (Hackers On Planet Earth) conference, our collaborative projects such as 4RtcR4x0Rz + our open, ongoing + decentralized organization of (A) r4WB1t5 micro.Fest
Labels: Art Game, digitalPunk, dirty new media, r4WB1t5
¶ 3:33 AM 1 Comments
Wednesday, July 30, 2008
QQQ - nullpointer (2002)
QQQ - nullpointer (2002)
http://nullpointer.co.uk/qqq/
QQQ - nullpointer (2002)
http://nullpointer.co.uk/qqq/
Labels: Art Game, digitalPunk, dirty new media, glitchery, realtime
¶ 9:41 AM 0 Comments
gameboy_ultraF_uk - Baily & Corby (2001 - 2002)
gameboy_ultraF_uk - Baily & Corby (2001 - 2002)
http://www.reconnoitre.net/gb_ultraf_uk/gb.html
"The work consists of a Free Software GameBoy emulator whose rendering system has been (pathologically) rewritten to degenerate over time. Game entities mutate into background and interface elements, or appear as fragments of the games binary code. Text begins to emerge as a jumble of characters, sprites and binary data. Scanline bytes are miscopied, transformed and duplicated. Memory is blitted into sections of the screen, as the inside of the game seeps to the outside. Variations in the rendering behaviour are triggered by user interactions implicit in the game play and are manipulated by a Cellular Automata 'metabolism' giving rise to inter-related rendering symptoms. The emulator displays an unpredictable agency that injects a subjectifying process into the rendering of the software instructions it executes.
Code as readymade/open source as network
As software, the emulator is provided as open source code available for others to extend; the binary, source and documentation can be considered as component parts of the work. Thanks to Gilgamesh and Laguna for releasing their Free Software 'gnuboy' from which this modification is derived. Rather than a project that has been written from scratch, the code in this sense may be considered a 'readymade' into which an artistic intervention has been made. The recast code exists as a dysfunctional branch of the gnuboy emulator's project tree and in this sense may be considered as arising from the activity of a network of authors.The interventions in the code have been documented and commented, allowing for others to add their own attitudinal elements and rendering ailments.
Domains of the image-the generative image
From post-structuralism we have known for a long time that the image is not a self contained entity, with a fixed meaning, but rather a network of tendencies (a text), that is fluid, whose meaning derives from its context. Our concern lies with the overlap of language (image codes in the semiotic sense) with the possibilities offered by written code (software).
The project is proposed as a special class of image, able to integrate unexpected metaphors, image codes, interactivity, multiple (and sometimes unknowing) authors and software processes, and may be described as a semi-autonomous instrument or generative image, productive of all manner unexpected conjunctions, movements and image outputs."
gameboy_ultraF_uk - Baily & Corby (2001 - 2002)http://www.reconnoitre.net/gb_ultraf_uk/gb.html
"The work consists of a Free Software GameBoy emulator whose rendering system has been (pathologically) rewritten to degenerate over time. Game entities mutate into background and interface elements, or appear as fragments of the games binary code. Text begins to emerge as a jumble of characters, sprites and binary data. Scanline bytes are miscopied, transformed and duplicated. Memory is blitted into sections of the screen, as the inside of the game seeps to the outside. Variations in the rendering behaviour are triggered by user interactions implicit in the game play and are manipulated by a Cellular Automata 'metabolism' giving rise to inter-related rendering symptoms. The emulator displays an unpredictable agency that injects a subjectifying process into the rendering of the software instructions it executes.
Code as readymade/open source as network
As software, the emulator is provided as open source code available for others to extend; the binary, source and documentation can be considered as component parts of the work. Thanks to Gilgamesh and Laguna for releasing their Free Software 'gnuboy' from which this modification is derived. Rather than a project that has been written from scratch, the code in this sense may be considered a 'readymade' into which an artistic intervention has been made. The recast code exists as a dysfunctional branch of the gnuboy emulator's project tree and in this sense may be considered as arising from the activity of a network of authors.The interventions in the code have been documented and commented, allowing for others to add their own attitudinal elements and rendering ailments.
Domains of the image-the generative image
From post-structuralism we have known for a long time that the image is not a self contained entity, with a fixed meaning, but rather a network of tendencies (a text), that is fluid, whose meaning derives from its context. Our concern lies with the overlap of language (image codes in the semiotic sense) with the possibilities offered by written code (software).
The project is proposed as a special class of image, able to integrate unexpected metaphors, image codes, interactivity, multiple (and sometimes unknowing) authors and software processes, and may be described as a semi-autonomous instrument or generative image, productive of all manner unexpected conjunctions, movements and image outputs."
Labels: Art Game, dirty new media, glitchery, machinima
¶ 4:08 AM 0 Comments
