TREATING MAP EDITORS FOUND IN VIDEO GAMES AS VIRTUAL SOUND STAGES, FOCI + LOCI CREATE IMMERSIVE ELECTRO-ACOUSTIC SPACES WITH VIRTUAL INSTRUMENTS AND TIMED AUDIOVISUAL EVENTS.
foci + loci (Tamara Yadao and Chris Burke) are a duo living and working in New York. Saving and replaying digital game data, camera movement in space can be disassociated from time, changing traditional filmic relationships. They are are interested in exploring the topological treatment of time and space afforded by game engines. They received a NYSCA grant in 2013 for their game performance installation Bal(l)ade and have given workshops at 8static in Philadelphia, the Babycastles Summit at the Museum of Arts and Design (NYC) as well as lecturing on game sound and mashup culture at the Polytechnic Institute of New York University and the New School. Among others, Chris and Tamara have performed at Babycastles, Centre Pompidou, Cluster New Music festival, CultureHub, DistENDed Cinema at Outpost, Diapason Gallery, Peter Kirn’s Handmade Music series, Joe’s Pub, Secret Project Robot, The Stone, Vector Game + Integrated Arts Festival in Toronto and Game Play Festival 2011 at the Brick Theater in Williamsburg, Brooklyn.
The video interview was produced by the students of IULM's Master's Program in Arts, Markets, and Cultural Heritage. Editing and Subtitles: Mariacristina Maffeo
foci + loci' F.T. Mari0netti is currently on display in the ASSEMBLAGE level of GAME VIDEO/ART. A SURVEY.
Roc Herms, Postcards from Home, 2015
As part of the collateral events series of GAME VIDEO/ART. A SURVEY, an exhibition about the intersection between video games and video art currently on display at Milan's IULM University, the curators are happy to announce the second presentation by Spanish artist Roc Herms. Free and open to the public, the event will take place on Friday, May 6, 2016.
Full details below:
Roc Herms, Postcards from Home
Date & time: Friday, May 6, 2016, 6 - 7.30 pm
Location: Room 112 (IULM 1), IULM Milan, Italy
Free and open to the public - how to reach IULM
Please RSVP (write "Roc Herms" in the subject line - limited seating)
Event description: Join us for a fascinating presentation by Spanish artist Roc Herms, whose photographic practice oscillates between different layers of reality.
The Speaker: Roc Herms (Spain, 1978) has been taking photographs since 2002. Herms explores the increasing digitalization of the human race and the ongoing relationship between the self and its mediated expressions. In 2008, he won the Editor's Award for Excellence awarded by PHOTO ICON Magazine. Herms’ series Are You Sure You Want To Log Out? was exhibited at the 2014 Noorderlicht Photography Festival: An Ocean of Possibilities. Herms is the author of several books, including Postcards from Home and <Yo> <Yo> <Yo> <Yo> (2007-2015). His most recent work in on display at fotomuseum in Winterthur, Switzerland, as part of the ongoing sersi SITUATIONS_PLAY.
LINK: Roc Herms
LINK: GAME VIDEO/ART. A SURVEY
One of the most interesting trends in machinima these days is contemplative, land-art inspired video work. Consider Ashley Blackman. To create Walking through my back garden, the artist explicitly mentions Richard Long's practice of recording his walks...
Richard Long, A Line Made by Walking 1967, source: TATE
... but also laments the intense radiation that put an (abrupt) end to his exploration. Blackman is referring, obviously, to Fallout 4. If Long's works developed through a physical involvement with landscape, Blackman is virtually engaged with his surroundings. Both artists are "present" in their respective environments and their performance is equally "real".
At the same time, Walking through my back garden reminds me of something that I've read last February on Will Self's blog, a description of his student psychogeographic experiments and situationist dérives:
Some of the students undertook virtual rather than actual dérives. A young man who is studying games design took us for a wander around the world of Fallout 4. He had created his own rules for this exercise: his avatar had to keep moving, couldn’t re-up any supplies, had to avoid being killed and was forbidden to attack any other avatars. In essence, he had created an anti-gaming game.
...And what is machinima if not "an anti-gaming game"?
Consider another of Blackman's work, Clouds.
This work reminds me of Sol Lewitt's sky photographs - a static cloudscape - produced in the late 1970s:
Sol LeWitt, Clouds, 1978, fifty-four chromogenic prints mounted on board, 31 5/8 x 22 1/4
Machinima is a game stripped bare.
LINK: Ashley Blackman
A video excerpt of Morales' new project, Quantum Joy, which will premiere in New York on December 4th 2015 at Dixon Place.
Here's the show description:
Victor Morales takes his audiences for the ultimate digital performance ride, where particle robots, computer vision, digital puppets, and mapped dynamic projections are used to answer universal questions about purpose in art and life. Morales’ experience as a puppeteer and theatre performer adds a humorous and humanizing touch to his digital creations. The artist interacts with his digital environments, as they exist in the way they would with traditional puppets and sets. Hi-tech medium notwithstanding, storytelling is at the core of the project. (source)
LINK: Victor Morales
Submitted by Matteo Bittanti
With Finding Fanon, artists Larry Achiampong and David Blandy wander through the world of Grand Theft Auto V to understand the role and function of humanity. As the artists explain,
The Finding Fanon series is inspired by the lost plays of Frantz Fanon, (1925-1961) a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation. Throughout the series, artists Larry Achiampong and David Blandy negotiate Fanon’s ideas, examining the politics of race, racism and decolonisation, and how these societal issues affect our relationship amidst an age of new technology, popular culture and globalisation
Finding Fanon Two collides art-house cinema with digital culture’s Machinima, resulting in a work that explores the post-colonial condition from inside a simulated environment – the Grand Theft Auto 5 in-game video editor. This video work combines several stories, including how the artists’ familial histories relate to colonial history, an examination of how their relationship is formed through the virtual space, and thoughts on the implications of the post-human condition.
Finding Fanon was commissioned by Brighton Digital Festival, supported by Arts Council England, and. produced by Artsadmin.
This is truly brilliant.
Previously: an interview with David Blandy
LINK: David Blandy
LINK: Larry Achiampong
Submitted by Matteo Bittanti
A landmark of Game Art, courtesy of UBERMORGEN. Chinese Gold was made more than a decade ago... But it still speaks to us. In many ways, it is more relevant today than in 2004.
The second series (Chinese Gold – World of Warcraft, Belgrade Session N°1 – N°8) comprises several screenshots produced during a game session in Belgrade, at a large arcade where Serb videogamers spend a large part of their day (read more)
Transitio_MX 06: Cambios Compartidos
National Arts Center
Av. Río Churubusco No. 79 (on the corner of Calzada de Tlalpan)
Col. Country Club. Del. Coyoacán
Mexico City, Mexico
Cambios Compartidos (Shared Changes) is the theme of the sixth edition of Transitio_MX, Mexico's largest festival of Electronic Art and Video. As Artistic Curator Ricardo Dal Farra explains, the festival critically explores both the bright and dark sides of play:
"The pleasure of play. Happiness and fun, entertainment and escape. But games can also be used to manipulate, to alienate. TRANSITIO_MX 06 could be an excellent laboratory for proposing a different approach—one that lets us experiment with the possibility of learning from our errors and then sharing what we know, in search of dynamic, rich, creative, ethical and aesthetic balance in the largest of all multi-user gaming networks—our society.
Somewhere between illusion and reality, through games we cross borders as we explore our sensorial selves and challenge our understandings. We develop specific skills and achieve levels of concentration not present in other activities we undertake.
Games and the electronic arts have been hybridizing, flirting with one another for some time. In an accelerated world, where it would seem that if we do not run we cannot win, games often spur that acceleration, but at other times they help us to reflect and take time out. They can help us sharpen our wits, exercise memory and explore new paths."
The Festival is accompanied by a massive International Exhibition featuring six events in total and dozens of artists from all over the world, including Paolo Pedercini, Joan Leandre, Arcangel Costantini, Eva and Franco Mattes, Paolo Cirio, Yoshua Okón, Gonzalo Frasca, Lucas Pope, Lisa Ma, COLL.EO and many more:
Puntos de Fuga curated by Maria Bello;
This is, by far, the most diverse, daring, and intriguing Game Art exhibition of the year and it also features a series of Playable Debates organized by Leonardo Aranda, Eurídice Cabañes, and María Luján Oulton and a Symposium curated by José Luis García Nava.
(Re)Sounding the City is an interactive performance on body language and the psycho-geography of urban spaces presented by Masters students at New York University’s Tisch School of Arts. The performance uses "Kinect for Windows to project the performer’s body onto the screen and visually convey the synthesis of body language and mental state of mind and how deeply intertwined both elements are." Created by MFA first-year Ansh Patel and students from other graduate departments at Tisch School of the Arts.
"(Re)Sounding the City invites the audience on an immersive journey to reimagine the ways our bodies could move in a utopian city. Drawing inspiration from the Situationist International Manifesto (1960), our project aims to rewrite the psycho-geography of the city by re-situating urban bodies in an emancipatory soundscape."
Free to the public, but RSVP is required.
LINK: (Re)Sounding the City
Submitted by Matteo Bittanti via NYU Game Center