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
Sunday, December 28, 2008
N. Katherine Hayles + Marilyn Manson
this morning i was reading Edward A. Shanken's essay NeMe: Hot to Bot (originally published in Technoetic Arts 3:1) which is now on NOEMA > IDEAS. Shanken begins his essay in part by saying that he intends to discuss the "prevailing attitudes towards robots and other surrogate beings at a certain place and time tell us about the values of that culture." He continues in this beginning, stating that he will be discussing the intersections of art + automata ++ that this discussion will be in relation to our contempary posthuman condition as defined by "social critics from Katherine Hayles to Marilyn Manson..."
i love this pairing so much
while reading this essay i was reminded of Shanken's lecture at the Media Art Histories program in Krems, Austria. Shanken began his lecture in a similar way, mentioning this pairing. he had misplaced his slides + was describing what slides he would like to show, saying that at this point he would show an img of N Katherine Hayles + Marilyn Manson. i excitedly asked him if he actually had an img of N Katherine Hayles + Marilyn Manson together to which he replied no, that he had img of N Katherine Hayles _+_ an img of Marilyn Manson
even though this beautiful chance encounter of a sewing machine and an umbrella on an operating table (as the Surrealist saying goes) may not have happened or @ least was not documented by the photo i had imagined Shanken would have liked to have shown, i still imagine that mtg + the discussion they would have b/c like Shanken i think of them both as influential/inspiring social critics...
this morning i was reading Edward A. Shanken's essay NeMe: Hot to Bot (originally published in Technoetic Arts 3:1) which is now on NOEMA > IDEAS. Shanken begins his essay in part by saying that he intends to discuss the "prevailing attitudes towards robots and other surrogate beings at a certain place and time tell us about the values of that culture." He continues in this beginning, stating that he will be discussing the intersections of art + automata ++ that this discussion will be in relation to our contempary posthuman condition as defined by "social critics from Katherine Hayles to Marilyn Manson..."i love this pairing so much
while reading this essay i was reminded of Shanken's lecture at the Media Art Histories program in Krems, Austria. Shanken began his lecture in a similar way, mentioning this pairing. he had misplaced his slides + was describing what slides he would like to show, saying that at this point he would show an img of N Katherine Hayles + Marilyn Manson. i excitedly asked him if he actually had an img of N Katherine Hayles + Marilyn Manson together to which he replied no, that he had img of N Katherine Hayles _+_ an img of Marilyn Manson
even though this beautiful chance encounter of a sewing machine and an umbrella on an operating table (as the Surrealist saying goes) may not have happened or @ least was not documented by the photo i had imagined Shanken would have liked to have shown, i still imagine that mtg + the discussion they would have b/c like Shanken i think of them both as influential/inspiring social critics...
Labels: 2005, Edward Shanken, Marilyn Manson, Media Art Histories, N Katherine Hayles, posthuman, robots
¶ 9:21 AM 1 Comments
Sunday, November 23, 2008
The Zero Of Form responds to Phil Morton
The Zero Of Form blog has a great post that responds to the Phil Morton Memorial Research Archive blog that i develop
in particular, The Zero Of Form writes that "our relationship to what precedes us is essential. Like one’s memory is their most useful tool, OUR collective memory is OUR greatest tool - and that is why the Electronic Freedom Foundation, Creative Commons, the GPL, the FOSS movement, and the accompanying philosophies are so important. And his pioneering of these worlds is why Phil Morton is so important."
it's wonderful to read/hear that this Media Art Histories hyperthread, the cultural work of Phil Morton, is getting reconnected to current Free Culture concerns such as those listed above through the Archive
thnx The Zero Of Form!
The Zero Of Form blog has a great post that responds to the Phil Morton Memorial Research Archive blog that i develop
in particular, The Zero Of Form writes that "our relationship to what precedes us is essential. Like one’s memory is their most useful tool, OUR collective memory is OUR greatest tool - and that is why the Electronic Freedom Foundation, Creative Commons, the GPL, the FOSS movement, and the accompanying philosophies are so important. And his pioneering of these worlds is why Phil Morton is so important."
it's wonderful to read/hear that this Media Art Histories hyperthread, the cultural work of Phil Morton, is getting reconnected to current Free Culture concerns such as those listed above through the Archive
thnx The Zero Of Form!
Labels: archive, CC, COPY-IT-RIGHT, EFF, FLOSS, FOSS, GNU, GPL, Media Art Histories, Phil Morton
¶ 10:08 AM 0 Comments
Wednesday, November 12, 2008
my Graduate Seminar next semester
next semester (SPRING 2009) i am teaching a Graduate Seminar on the topic of experimental Media Art Histories as filtered through Chronophobia (both the book Chronophobia: On Time in the Art of the 1960's by Pamela M. Lee + the condition which is the fear of the duration or immensity of time). in particular we will compare these issues with their manifestations in New Media Art, particularly Art Games. to do this we will read from Game Studies + Game Theory the ways in which time plays out in games. time in games is often measured against the threat of one's own "imminent symbolic death" in the game. this will be the conceptual framework for our readings, screenings + discussions.
next semester (SPRING 2009) i am teaching a Graduate Seminar on the topic of experimental Media Art Histories as filtered through Chronophobia (both the book Chronophobia: On Time in the Art of the 1960's by Pamela M. Lee + the condition which is the fear of the duration or immensity of time). in particular we will compare these issues with their manifestations in New Media Art, particularly Art Games. to do this we will read from Game Studies + Game Theory the ways in which time plays out in games. time in games is often measured against the threat of one's own "imminent symbolic death" in the game. this will be the conceptual framework for our readings, screenings + discussions.Labels: Chronophobia, edu, FVNM, Media Art, Media Art Histories, new media art, SAIC
¶ 3:38 PM 0 Comments
Tuesday, November 11, 2008
Disappearing Music for Face - Mieko Shiomi (1966)
Disappearing Music for Face - Mieko Shiomi (1966) from joncates on Vimeo.
Disappearing Music for Face - Mieko Shiomi (1966) from joncates on Vimeo.
Labels: 1964, art, artist, artware, constraint, film, film art, fluxus, instruction set, Media Art, Media Art Histories, Mieko Shiomi, musics, rule set, smile, Yoko Ono
¶ 10:17 AM 0 Comments
Wednesday, November 05, 2008
COPYing-IT-RIGHT presentation (web vrsn)
i have a web vrsn up of my recent presentation @ DOCAM's Media In Motion Symposium on the Phil Morton Memorial Research Archive blog. the web version is linked to references and sources but of course also differs slightly from the presented version: http://copyitright.wordpress.com
i have a web vrsn up of my recent presentation @ DOCAM's Media In Motion Symposium on the Phil Morton Memorial Research Archive blog. the web version is linked to references and sources but of course also differs slightly from the presented version: http://copyitright.wordpress.com
Labels: archive, DOCAM, Media Art Histories, Phil Morton
¶ 11:43 PM 0 Comments
