GAME as CRITIC as ART. 2.0. (Part III)

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Episode III of the summary/translation of Laura Baigorri' essay for GAME as CRITIC as ART. 2.0. (see Part I and II.)

Educating with games. Against the simplification proposed by the game industry

The works previously mentioned explore the three main strategies adopted by the creators for the creation/modification of computer games. The following games, although they are game mods using weapons, elude explicit violence to show the player a multiple and exhaustive vision on an aspect of the everyday life of a population.

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- Nina Czegledy and Maia Engeli's Medieval Unreality (2003) is a project aimed at initiating an artistic discourse on Albania’s "Blood Feud" by editing the first-person shooter game "Unreal Tournament". In the '90s, Northern Albany faced a series of kidnapping and murders between families, due to an ancestral code of conduct. Although it was abolished during the Socialist Period, the economical collapse of the the State in 1989 gave free way to the re-introduction of the archaic rules and social relationships, but also rancors and vengeances. That year, about 1500 families (800 children) wouldn't venture out of their house.

Medieval Unreality wanted to use games to re-establish the contact between barricaded families and the rest of the world by using virtual media: art, culture and new technologies. The first phase called "E-mail from the Medieval Ages": providing isolated families with 100 computers with Internet connection.

The second step was to start a debate on Albania’s "Blood Feud", through the modification of Unreal Tournament. The game environment was plain geometry and behaviour, all white without decoration. The participating artists had to add images, costume players, and edit the game space itself. The goal was to achieve an artistic expression in this quite unusual format.

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- Escape from Woomera (2003): a Half-life mod designed ...

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Originally posted on we make money not art by Rhizome


Volte-face

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Volte-face

QuickTime Volte-face (QuickTime) [Reynald Drouhin]

Volte-face represents one type of videomosaic: each frame of the video clip is composed of smaller images within a grid that come together to resemble a larger image. Here, two rotating faces and heads are represented using a mosaic of clouds. See Nuages-Visages for photos and information on an installation version of Volte-face.

[....] It's a deliciously fitting representation of watching clouds float by and seeing fleeting, formless faces among them.

Check out Reynald Drouhin's works. You can see his other videomosaics as well as web-based mosaics such as Des Frags and Timescape.

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Originally posted on Split Screen by James Seo


Biomediale

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Contemporary Society and Genomic Culture

In order to find its autonomy, Bio Art (a term described by Jens Hauser, curator of the "L'Art Biotech" exhibition, as an "etymological disgrace") is passing through the necessary evolutionary phases towards a complete definition, conquering a conceptual autonomy independent from the means used. The image that comes to mind is that of a 'chimera', a hybrid creature that is a mix of different species, which expresses a peculiar compositive coherence, both paradoxical and efficient. The facets implied by dirtying one's own hands with the basic elements of organic material (genes, cells, proteins, etc.) are many, as is analyzing the female body as a contemporary technological laboratory (in the performances by the subROSA collective), conceptually challenging the current eugenic development models, or the application of the usual schemes of knowledge hoarding, as is done by Eugene Thacker with his Open Source DNA.

The ferment created by the Critical Art Ensemble and Eduardo Kac can now be recognized by filtering the media flow of relevant announce(ments) by the industry, made here by Ricardo Dominguez, or reconstructed through the reflections on clones and their mediatic reproductions by Birgit Richard. This way, it's possible to feel the pulse of the silent conflict surrounding these subjects. In times when human intervention on organic creatures is as big as what nature does in decades, and building life is a fact, the definition of shared critical positions becomes the social fulcrum the cultural development of these technologies revolves around. (edited and curated by) Dmitry Bulatov, The National Publishing House "Yantarny Skaz"
ISBN 5740608537 [via NEURAL]

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Originally posted on networked_performance by jo


poietic feed aggregator

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a cool treemap-like HTML visualization that is capable of representing the keywords present within several RSS feeds, for instance those from various Internet sites (e.g. wikis, blogs, news websites, search engines). the map represents multiple feeds as smaller rectangles, that in turn contain the individual entries. the different colors (or 'imagettes') are associated to various user-chosen keywords discovered within the text entries. the last modified entry is positioned in top on the left, the oldest in bottom on the right. source code is available. [km2.net|thnkx Olivier!]

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Originally posted on information aesthetics by infosthetics


Car Games

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For his solo show in NYC, Brody Condon created a “full size 85′ lamborghini countach (pictured) from cast plastic branches. the original wireframe model came from the game need for speed.

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Originally posted on coin-operated by Rhizome


Can You Feel Me Now?

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Mobile communication technologies like cell phones and wireless broadband internet access hold out the promise of an always 'on' society. Coupled with the accessibility of information archives and instant data retrieval, these technologies are realizing the dream, or nightmare, of ubiquitous computing. Yet, with all this newly available information, are we really forming more meaningful connections with the world around us? Paris-based net artist Christophe Bruno's improbable WIFI-SM project responds to such a question with a darkly rhetorical humor. Through the application of a small wifi-enabled device to the skin, like an internet nicotine patch, users will be delivered an electric shock whenever a real-time scan of news sources reveals specific keywords related to violence, such as 'war' or 'death.' WIFI-SM is exhibited in a new solo show of Bruno's work, which opened 10 January at Galerie Sollertis in Toulouse, France. Along with other internet-based works by the artist, the opening featured a live performance of 'Human Browser,' a physically embodied and culturally contextualized text-to-speech translation of Google searches. If you want not only to know the pain of others but to also feel it, you should check it out. - Ryan Griffis

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Wargame

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Wargame is a piece that Leif Rumbke has concieved as an installation at KHM in Cologne. It refers to the 1993 game Cannon Fodder by Sensible Software. The game was highly sarcastic (although I hardly remember anyone noticing) in the way that you were in control of a crosshair, randomly cutting down soldiers that entered your view on the screen.

Wargame takes on the same aesthetics, keeps the "very high grade of graphic violence" and lets two armies collide on screen. In contrast to the original, it uses generative algorithms and sophisticated particle systems for the "fountains of blood", but this time the bloodshed develops autonomously. The only way to intervene is through "snappily reduced means of interaction" represented by a big red bumper that will after a countdown (complete with before-death snapshots of some soldiers) eradicate the whole screen so the battle can start over again.

Rumbke sees his work as a critical commentary on both classic and contemporary war-simulations and other war-related media. The contradictions that arise to gamers are especially interesting since even obviously condemnable games often still provide highly enjoyable entertainment. Don't miss the hillarious video at the bottom of the page!

Recommended by //////////fur////

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Originally posted on we make money not art by Rhizome


Candy Factory at Printed Matter, NYC

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Printed Matter Inc. is pleased to present a screening of internet projects from Japanese artist collective candy factory this Saturday, January 14 from 5 to 7 PM. The screening will feature candy factory's most recent release,  Tokyo Rose Advertising along with other work from the past few years. Join us to meet *candy factory's Takuji Kogo, who will be present to answer questions. Printed Matter is located at 195 Tenth Avenue at 22nd Street.

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Originally posted on post.thing.net - A lean, mean, media machine. by Rhizome