Search
The search found 37 results in 0.01 seconds.
Search results
-
Nobody knows but you
nobody knows but you was written for Double-Cute Battle Mode, an application prototype for a VJ (video jockey) remix battle. DCBM allows two players to combine visuals and special effects in a playful competition for screen space. Using joysticks, players plug their imagination into their computer and share a creative space in an intuitive video-game style interaction. The piece was conceived as a way to ease text back into an image-dominated culture by treating it simultaneously as a visual special effect and as a poem. The twenty-three verses appear on a plane in three-dimensional space. A cube shape displays additional visuals. Both the cube and the plane may be scaled and rotated, and the reader has control over which verse or image is displayed. You may notice in the image at top left, or while watching the installation video, a twelve-year-old girl plopped down in front of the installation. She played with the piece on and off for three hours. She began singing the words, making up melodies and turning certain verses into refrains. There is a clear lack of literature that responds to the intellectual and creative needs of young people today.
Luciana Gattass - 14.11.2012 - 17:08
-
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
-
Skindoscope
Web-art work that focus on the poetics of alterity – the game of identity and alterity. Based on interactors’ data (skin color, name, city, country, gender, height and weight) the work creates different visual kaleidoscopes intending to cause reflection about people’s differences and similarities.
(Source: Artist's site)
The artist also produced a version of the work for Second Life, where the kaleidoscope is formed by the leaves of a tree. Each avatar who interacts creates a leaf with his/her skin color and each 10 leaves created causes the tree to produce a coin of L$ 1,00, which can be taken by any avatar who touches it.
Scott Rettberg - 10.01.2013 - 00:14
-
Metamorphoses
Metamorphoses is a game about transformation and aspiration, set somewhere between our own reality and the world of forms. An exercise in simulationist IF, it offers multiple solutions to most puzzles and attempts to model interactions between objects of different sizes, shapes, and materials in a realistic way, including burning and the breakage of fragile objects.
Jill Walker Rettberg - 29.06.2013 - 09:46
-
Beyond Manzanar
Within an enclosed darkened room, the image of Beyond Manzanar's 3-dimensional space is projected onto a large, wall-sized screen. The life-sized image fills your field of view and gives you a feeling of immersion within the virtual space. A joystick mounted on a pedestal in the middle of the room allows you to move your viewpoint at will through the virtual space. Speakers mounted on either side of the screen provide stereo sound. Although only one person at a time can control movement in the space, others can watch and share the experience. We have combined techniques of computer games and theater design to create a highly symbolic, often surreal environment with a poetic reality stronger than photorealism. The mountain panorama that defines the Manzanar site forms a constant backdrop for shifting layers of superimposed context. Open doors lead viewers through spaces that react to their presence, shifting between home and prison, between paradise and wasteland, to investigate Manzanar as a layering of contradictory and complementary images and emotions for two groups of immigrants.
Anders Fagerjord - 20.08.2013 - 11:19
-
I-Text
I –TEXT (2007) Sergej Timofeev and Edmund Jasons combines elements of game as well as structural elements of text analysis . The game envisions interactive reading of poetry done with an air of playfulness, nostalgia and irony. Nostalgic component lies in immitation of the computer games of the 90’s, ironic for it contains a mix of prose, drama and poetry from all over the world starting from Hamlet to Alice in Wonderland, Broken Pines by Painis as if to aspire to create a text with seemingly universal appeal (Teksts=Attels Catalogue (KIM, Riga, Latvia (2012)
Natalia Fedorova - 04.09.2013 - 22:24
-
Nothing You Have Done Deserves Such Praise
Nothing You Have Done Deserves Such Praise is an art/ poetry/ adventuring game, a playland for exploring our ever-present desire for constant and over-blown rewards. Our worlds (digital and breathing) are filled with needless and unearned praise, we are built to love exploding trophies for fifth place. This art/poetry game satisfies your compliment addiction by celebrating your walking/ jumping/ falling through strange and wondrous anatomical lands.
Nothing You Have Done Deserves Such Praise is a 2013 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was funded by the National Endowment for the Arts.
(Source: Turbulence)
Scott Rettberg - 25.09.2013 - 15:47
-
Sc4nda1 in New Media
At heart any scandal is a story, or a thing of many stories; sc4nda1 is even more peculiar, but also begins with a telling.
What you have before you started as an essay (or intent to rant) about an observation I kept reading in recent criticism, that electronic writing has not been properly dressed for the serious table. Where, the questions ran, are the publishers, the editors, the established and establishing critics? In a time of intense experiment and innovation, who says which textual deviations make real difference, and which are just bizarre? More ominously: where are the naive, casual readers, the seekers of pleasurable text who ought to move design's desire? To spin an old friend's epigraph, just who, exactly, finds this funhouse fun?
Scott Rettberg - 15.10.2013 - 11:01
-
Złe słowa / Angry Words
Gra stanowi propozycję innej metodologii lektury: czytania jako niszczenia. Przy pomocy garści poręcznych wulgaryzmów czytelnik postawiony jest przed radosną koniecznością rozmontowywania monumentalnych tekstów kultury. Przeniesienie mechaniki Angry Birds do sfery tekstu jest drogą do nirwany. Projekt bezdyskusyjnie zwyciężył w konkursie na utwór nowomedialny ogłoszonym przez Korporację Ha!art w 2012 roku.
Piotr Marecki - 18.10.2013 - 11:56
-
Super Atari Poetry
Super Atari Poetry is a multiplayer game installation that enables players to make about 1000 different poems. The work is made of 3 Atari 2600 consoles, joysticks, self-manufactured cartridges, and old TVs. Each cartridge contains a group of verses that are constantly changing colors which can be manipulated using a joystick. In this way, the audience can either freeze/move the colors or just move forward and backward the sentences. The reading of the 3 verses printed on the screens produces an interactive and coherent poem that's always changing its meaning and chromatic structure.
Super Atari Poetry follows a non-lineal narrative system present in previous works such as The Poetic Clock, 1997; The Poetic Machine, 1998 and Poetic Dialogues, 2000-05. It is also attached to an exploration based in Atari 2600 consoles initiated by the artist in 1985. It has precedents in works like net@ari, 1985; the Atari Poetry series, 2000-2005; and Justicia, 2003.
(Source: http://www.cibernetic.com/indexart.html)
Alvaro Seica - 18.02.2014 - 13:58
