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The Intruder
"In Natalie Bookchin's piece, The Intruder, we are presented with a sequence of ten videogames, most of which are adapted from classics such as Pong and Space Invaders. We interact via moving or clicking the mouse, and by making whateve we make of/with/from the story. Meaning is always constructed, never on a plate. The interaction is less focused on videogame play than it is on advancing the narrative of the story we hear throughout the presentation of the ten games. The story is the Jorge Louis Borges piece The Intruder with a few changes. The female in the story is "the intruder" She is as a possession of the two closely bonded miscreant brothers enmeshed in a hopeless triangle of psycho-sexual possession with homoerotic undertones. Finally one of them kills her to end the tension between the two men. Game over. Story over. Bookchin presents an awareness of being an intruder, herself, in the (previously?) male-dominated world of videogame creation and enjoyment. The videogame paradigms are subverted, mocked, and implicitly criticized for their shallow competitive and violent nature not unrelated to the nature of the violence of the males.
Mark Marino - 28.03.2011 - 15:45
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i made this, you play this. we are enemies
“i made this. you play this. we are enemies.” is an art game, interactive digital poem which uses game levels built on screen shots from influential community based websites/portals. The game interface drives the poetic texts, the colliding and intersecting images, sounds, words, movements, a forever changing, reader built poetic wonderland. And using messy hand drawn elements, strange texts, sounds and multimedia layering, the artwork lets users play in the worlds hovering over and beneath what we browse, to exist outside/over their controlling constraints. Your arrow keys and space bar will guide you, with the occasional mouse click begging for attention. Each day the internet is humming with a million small interventions. From the humoresque mocking of community content sites like Fark, to the net gate keepers Yahoo and Google, partisan political portals like Huffington Post or the open source/file sharing ‘priates’ of Mininova, the web is an easy tool/weapon for meddling/influencing and sharing/forcing/alluring your opinion on whomever clicks.
Patricia Tomaszek - 12.05.2011 - 19:07
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This Is Not A Poem
This work takes the poem "Trees" by Joyce Kilmer and, transcribing it onto a "scratchable" disk, makes it into a toy, a game, and a language engine.
(Source: Author's description)
Scott Rettberg - 20.05.2011 - 12:35
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A Slow Year: Game Poems
A collection of four one kilobyte games for the Atari Video Computer System, one for each season, about the experience of observing things. Neither action nor strategy, each game requires a different kind of sedate observation and methodical input. Accompanying the game are essays about the commonalities between videogames and poetry and 1,024 machined haiku—poetry generated by computer—8 bits worth for each season. (Source: Open Texture catalog description)
Eric Dean Rasmussen - 22.11.2011 - 09:46
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Today I Die
Today I Die is explored by movind objects and words. The game features several endings.
Meri Alexandra Raita - 13.02.2012 - 19:56
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Automatype
Howe’s new piece, “Automatype,” which can be seen as either ambient text art, a weird game of solitaire for the computer, or an absorbing ongoing puzzle for a human viewer, is an apt demonstration of some of the powers of “RiTa,” as it uses algorithms to find the bridges between English words, Six-Degrees-of-Kevin-Bacon-style — not bridges of garbled nonsense but composed of normative English. You will spend either 10 seconds or 5 minutes staring at this thing; you will also see either a bunch of random words, or occasionally, if not always, engaging samples of minimalist poetry.
(Source: The ELO 2012 Media Art Show.)
Eric Dean Rasmussen - 23.04.2012 - 15:33
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The Fundamentals of Digital Art
The book examines the way digital technology is forcing a complete rethink of creative priorities for artists in the twenty first century. Written from an artist's perspective, the author has had the cooperation of many important practitioners in digital arts in countries across the world. The book is written in an accessible style and alongside examples of work offers practical know-how that will enable to reader to begin using some of the methods described for themselves.
The Fundamentals of Digital Art has six sections and each of these takes a specific aspect of the subject.
Historical perspectives
Dynamic “live” art
The use of data sources in art
The place of programming languages
Network considerations
Hybrid practice and the blurring of specialist boundaries.176 Pages with 150 colour illustrations
Source: book presentation on accompanying website
Patricia Tomaszek - 27.08.2012 - 17:06
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Tecnopoeticas argentinas. Archivo blando de arte y tecnología
Tecnopoeticas argentinas. Archivo blando de arte y tecnología
Claudia Kozak - 16.10.2012 - 22:06
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Blind Side of a Secret
“Blind Side of a Secret” consists of three audiovisual variations, created individually by Mühlenbruch, Sodeoka, and Nakamura, on words written by Thom Swiss. The work could be considered remix culture in action, overlaying and cutting up an underlying tale—which is never given entirely as a whole, though many sections are held in common—about the unspoken parts of relationships, of coming and going. In all three pieces, alternating third-person voice-over narration by a man and a woman forms the bulk of the audio portion, and it includes parts in English, French, and Dutch.
Scott Rettberg - 18.10.2012 - 12:37
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The Glide Project
Glide is a dynamic visual language that originated in the context of Slattery's novel, The Maze Game. The materials available on the website use a strategy of multimodal means of self-presentation: narration, animation, translation, divination, game design, and appropriation of theoretical ideas that suit its purposes. Glide, at play on mutable media, modestly conceals the extravagance of its evolutionary intentions behind thin veils of noetic license.
There are several interactive sections of the website:
1) a full lexicon;
2) The Glide oracle, called The Wine of the Lilies, contains a suite of auxiliary Glide language tools: two libraries of interpretations of combinations of glyphs, one static and one dynamic, (over 2000 entries); and a rich library of graphics and music compositions;
3) the Collabyrinth, a full Glide language glyph editor. The Collabyrinth invites the user to experiment with the language by arranging glyphs, seeing how they can be linked and nested, changing their properties such as size, color, orientation, and creating animated glyphs by morphing between one glyph and another.(Source: 2002 State of the Arts gallery)
Scott Rettberg - 13.12.2012 - 16:30
