GAMESCENES

EVENT: 2GIRLS1COMP (JULY 5 - 18 2024, ONLINE)

Dancing Plague

digital video (1920 x 800), color, sound, 6’ 29”, 2024, Switzerland/Italy

created by 2girls1comp

In Dancing Plague, a mod for Grand Theft Auto V, the game’s traditionally gendered choreography is subverted, forcing every male NPC to dance feverishly whenever the player holds the H key. This intervention spotlights the inherent gender biases within the game’s animation system, where dance moves are primarily designed for female performers, often objectified as sex workers. By redirecting these choreographies to male characters, the mod disrupts the rigid gender binaries coded into the game, creating a spectacle where masculinity is both liberated and challenged. Interestingly, the male NPCs’s hypersexualized dance is mostly ignored by the female characters. Such an outcome becomes a playful and potent critique of the game’s inherent gender politics. To enhance the mod’s immersive experience, Azu Tiwaline, a French Tunisian musician known for blending contemporary electronic music with sub-Saharan trance traditions, was commissioned to create the soundtrack. Her work underscores the mod’s themes of ritual, trance, and liberation, providing a sonic backdrop that deepens the critique of gendered biases in digital spaces.

2girls1comp is a modding duo founded in 2023 by Marco De Mutiis (Italy, 1983) and Alexandra Pfammatter (Switzerland, 1993). Their work changes the logic of video games as an act of creative counter-play, revealing the social and economic fabric in which they are immersed: from reclaiming global digital infrastructures to commenting on free labor within the capitalist ideologies of the gaming industry, to showcasing the way play can influence its subjects through its mechanics. Their projects are distributed within the gaming and modding community, as well as cultural and artistic contexts.

WATCH NOW

BOOK: KEVIN STEBNER'S GAME GENIE POEMS (SPRING 2024)

Kevin Stebner, a Calgary-based multidisciplinary artist, writer, and musician, has consistently explored the intersection of art and video games through his project GreyScreen. This expansive artistic endeavor incorporates an array of media, from music to visual installations and poetry.

In spring 2024, Stebner is set to release a new book, Game Genie: Poems, published by The Blasted Tree Art Collective and Publishing Company. This innovative collection features oulipo-inspired lipogram poems (i.e., written works composed of words selected so as to avoid the use of one or more letters of the alphabet.), which double as working Game Genie codes for Nintendo, demonstrating a unique fusion of literary creativity and retro-gaming technology.

Here's an example, Analog (Analogue), originally published in Backslash Lit

Originally from Red Deer, Alberta, Stebner has been a prominent figure in Calgary's creative scene for nearly two decades. His journey into video game-inspired music began in 2007 while he was teaching in Korea. Facing the challenge of creating music in a small, isolated space, he discovered Chiptune, a genre that uses vintage gaming consoles to create music, and has since delved deeper into this style.

Related to his GreyScreen project, Stebner’s work often features interactive installations that blend visual art with sound through the manipulation of vintage video game equipment. One of his most remarkable projects is Glitch (2016), an interactive digital visual art installation that represents an advanced iteration of the earlier Switches Make Glitches project. This innovative piece features a circuit-bent Nintendo Entertainment System, where the video chip is intricately wired to a user-operated control box. Although the system retains its functional integrity, it has been transformed into a creative platform similar to patching a modular synth or operating a telephone switchboard. Participants can interact with the installation by configuring their own circuit bends.

GreyScreen, Glitch, 2016, presented at Beakerhead Festival, 2016. Photo (c) Kevin Stebner 

This hands-on engagement allows users to generate a unique array of visual glitches, offering a personalized experience with each interaction. This approach not only reimagines nostalgic elements in a contemporary context but also has led to collaborations with prominent institutions like the EPCOR Centre, Beakerhead Arts Festival, and Contemporary Calgary, where his installations invite viewers to experience the confluence of sound, sight, and interactive art.

LINK: Kevin Stebner

LINK: GreyScreen

EVENT: MMF MMXXIV (MARCH 11-17 2024, MILAN, ITALY)

press release

FOR IMMEDIATE RELEASE

Milan Machinima Festival MMXXIV unveils groundbreaking programs for 2024 edition

Milan, Italy - The Milan Machinima Festival MMXXIV is thrilled to announce its highly anticipated programs for the 2024 edition, showcasing the best in machinima art from around the world. The festival will feature four unique programs: Auteur Theory, Game Video Essay, Made in Italy, and Slot Machinima.

This year, a concurrent event is FOTOLUDICA, the first Italian conference on in-game photography (March 14-15 2024). Both are free and open to the public.

The Game Video Essay program will present thought-provoking pieces by Cat Bluemke and Jonathan Carroll, Guilhem Causse, Ekiem Barbier, and Quentin L'helgoualc’h, Gina Hara, and Yemen Liu that explore the intersection of gaming and critical analysis. These works delve into the cultural, social, and political implications of video games, offering fresh perspectives on the medium and its impact on society. The program aims to foster a deeper understanding of the potential of video games as a tool for artistic expression and social commentary. The Game Video Essay program will be screened on Thursday March 14, 2024, in the Sala dei 146 (IULM 6).

Made in Italy will celebrate the ingenuity and craft of young Italian machinima artists. This program features three films that showcase unique aesthetics and styles, highlighting the vibrant and thriving Italian machinima art scene. The featured filmmakers, Alberto Calleo, Simone Fiorentino, and Elia "marasma" Strazzacappa, utilize real-time computer graphics engines to craft artworks that challenge traditional notions of cinema and transgress the boundaries between virtual and real-world spaces. Made in Italy will be screened on Friday March 15, 2024, in the Sala dei 146 (IULM 6).

The Auteur Theory program will highlight three exceptional works by leading machinima creators — Jacky Connolly, Lawrence Lek, and Total Refusal — examining the role of the individual artist in shaping the medium. This program celebrates the unique visions and styles of these artists, emphasizing their distinctive contributions to the field of machinima. The Author Theory program will be screened on Friday March 15, 2024 in the Sala dei 146 (IULM 6).

The Contemporary Exhibition Hall will host Slot Machinima, an immersive program featuring eight video installations that will be presented in a loop from March 11-15, 2024, featuring works by renowned artists such as Adonis Archontides, Steven Cottingham, Kara Güt, Thomas Hawranke, Andy Hughes, Carson Lynn, Stephan Panhans and Andrea Winkler, and Bram Ruiter. This special program is designed to immerse viewers in often absurd and deranged virtual environments within the video game imaginary, showcasing the incredible range and depth of avant-garde machinima.

“We are excited to present these groundbreaking programs that showcase the incredible talent and diversity within the machinima avant-garde community,” said festival director Matteo Bittanti. “The Milan Machinima Festival MMXXIV aims to push the boundaries of what is possible with this medium and inspire both artists and audiences alike. Through these four distinct programs, we hope to foster a deeper appreciation for the art of machinima and its potential to shape our understanding of the world around us.”

These year’s submission were judged by an international panel of scholars, critics, artists, and curators: Marco De Mutiis, Henry Lowood, Jenna Ng, and Martin Zeilenger.

The poster of the 2024 edition was designed by artist and musician Babak Ahteshamipour. Babak’s vivid new poster design epitomizes the festival’s ethos of propelling machinima into unmapped creative frontiers. Electrifying colors and fantastical shapes blend gaming visuals with mysterious organic shapes, suggesting unexpected artistic dimensions virtual worlds could unlock.

For more information about the Milan Machinima Festival MMXXIV and its programs, please visit the official website at https://milanmachinimafestival.org

About Milan Machinima Festival:

The Milan Machinima Festival MMXXIV is an annual celebration of the art of machinima, featuring works by established and emerging artists from around the world. The festival aims to promote the creative potential of real-time computer graphics engines and foster a global community of machinima creators and enthusiasts.

Contact:

Artistic director: Matteo Bittanti

Communication Manager: Colleen Flaherty

IULM Eventi: Caterina Angeretti

Directions to IULM University

News:

For updates, follow us on Patreon, Instagram, Twitter/X and the Festival’s website.

More:

Would you like to get involved? Drop us a line!

EVENT: DIFFERENCE MACHINES: TECHNOLOGY AND IDENTITY IN CONTEMPORARY ART (JANUARY 6 - 27 2024, CHICAGO, IL, USA)

Danielle Brathwaite-Shirley, WE ARE HERE BECAUSE OF THOSE THAT ARE NOT, 2020
Digital game displayed on projector; gaming chair; pink lights; and vinyl text
Courtesy of the artist

Difference Machines: Technology and Identity in Contemporary Art

Hours:
Oct 13-Dec 16, 2023
Friday 12-7 pm and
Saturday 10 am-5 pm

Jan 6-27, 2024
Saturday 10 am-5 pm

Closed for the Holidays
Dec 17, 2023-Jan 5, 2024

659 W. Wrightwood
Chicago, IL 60614

press release

"Difference Machines: Technology and Identity in Contemporary Art addresses the complex relationship between the technologies we use and the identities we inhabit. The exhibition presents the work of 17 contemporary artists who ask some of the most urgent questions we face today: How is technology changing the way we see ourselves, and each other? In what ways does it contribute to—or allow us to resist—prejudice and systemic forms of oppression? What role should it have in our lives and in our communities?When the web first emerged in the 1990s, many people imagined that it would allow us to escape our bodies. Some celebrated the idea that attributes like our race, ethnicity, gender, sexual orientation, and dis/ability would become irrelevant. Instead, the opposite became true: Our offline and online selves have fused. We upload our identities when we put our real names in our Facebook profiles, post selfies to Instagram, or use hashtags like #BlackLivesMatter and #TransDayofVisibility to advocate for our communities.

While the internet allows us to express ourselves and connect with each other, there is also a darker side to digital technologies. Some governments and corporations are creating databases that surveil and monetize our identities, as well as biased algorithms that perpetuate discrimination in everything from education and healthcare to employment and the justice system. The forerunner of the computer was called a “difference engine,” as it was used to calculate the differences between numbers. Today, we are surrounded by “difference machines,” or computers that are used to encode the differences between us.

The artists in this exhibition explore our newly digitized identities by creatively adapting both familiar and emerging technologies. Their projects span the last three decades, and range from software-based and internet art to animated videos, bioart experiments, online games, and 3-D printed sculptures. Many examine how digital systems contribute to the exclusion, erasure, and exploitation of marginalized people. Others emphasize how digital tools can be repurposed to tell more inclusive stories or imagine new ways of being. Dynamic and interactive, these projects transform the space of the museum into a laboratory for experimenting with our increasingly powerful “difference machines,” as we strive to invent a more equitable future.

Difference Machines: Technology and Identity in Contemporary Art is organized by the Buffalo AKG Art Museum.

Difference Machines is co-curated by Tina Rivers Ryan, PhD, Curator, Buffalo AKG Art Museum, and Paul Vanouse, Professor, University at Buffalo.

The exhibition is presented by Alphawood Exhibitions at Wrightwood 659."

LINK: Difference Machines: Technology and Identity in Contemporary Art

EVENT: CORY ARCANGEL'S ERRORS AND OMISSIONS (NOVEMBER 3 2023 - JANUARY 31 2024, SHANGHAI)

Cory Arcangel

Errors and Omissions

Lisson Gallery

3 November 2023 – 31 January 2024
2/F, 27 Huqiu Road, Huangpu District, Shanghai

Lisson Gallery is delighted to present Errors and Omissions, Cory Arcangel's highly anticipated second show in Shanghai, following his 2019 solo exhibition, Topline, at CC Foundation. This thought-provoking exhibition is curated as a focused survey of the artist's work, showcasing a diverse array of multimedia projects that span video games, single-channel video, inkjets, and industrially-coated aluminum 'paintings.' Arcangel employs cutting-edge techniques, including AI, machine learning, and machine code, to push the boundaries of art and technology.

Highlights:

Cory Arcangel, Modded Tetris game cartridge, 2004

• Super Slow Tetris (2004): In a mesmerizing twist, Arcangel hacks an original copy of the Nintendo Entertainment System game Tetris, slowing it down to the extent that it takes nearly a day for a group of blocks to fall to the bottom of the screen. This unique reinterpretation of a classic game remains playable while offering a captivating new experience.

• /roʊˈdeɪoʊ/ Let’s Play: HOLLYWOOD (2021): In a modern take on extended gameplay, Arcangel introduces a bespoke Deep-Q machine-learning super computing system to play the casual Android game 'Kim Kardashian: Hollywood.' This captivating 3-hour single-channel screen capture video, recorded on December 14, 2021, provides an engaging commentary on celebrity culture and digital entertainment.

• Things I Made: In this new series, Arcangel transforms various webpages from coryarcangel.com into prints on paper, incorporating pages ripped from an HP Deskjet 2710e manual. These prints serve as a retrospective, tracking Arcangel's creative journey over the past two decades. Notable works like Photoshop Gradient and Smudge Tool Demonstration (2007) and Self-Playing Nintendo 64 NBA Courtside 2 (2011) take center stage, demonstrating his evolution as an artist.

• Alus: Diamond Plate (2023): The exhibition concludes with a remarkable floor installation and a series of aluminum paintings called Alus. These pieces feature abstract shapes and signatures cut by a robotic CNC fiber laser cutting machine, offering finishes reminiscent of Apple's product lines for both casual and professional users. Industrially painted in hot pink, each work is unique, with inspiration drawn from the iconic tracksuit motif, a long-standing interest of Arcangel.

About Cory Arcangel:

Cory Arcangel, born in Buffalo, NY in 1978 and currently residing in Stavanger, Norway, is a multi-faceted artist, composer, curator, and entrepreneur. His work explores the potential and failures of both old and new digital technologies, emphasizing their obsolescence, humor, aesthetic attributes, and their intriguing influence on contemporary life. Arcangel employs a semi-archaeological approach to investigate the structural language of video games, software, social media, and machine learning, treating them as both subject matter and medium. Notable works in his extensive portfolio include Totally Fucked (2003), Permanent Vacation (2008), Drei Klavierstücke op.11 (2009), Working on my Novel (2009), Various Self Playing Bowling Games (2011), and Flatware (2018-). His most recent and ongoing projects include Worldbuilding: Gaming and Art in the Digital Age, exhibited at renowned institutions worldwide.

LINK: Errors and Omissions (press release)

EVENT: AUX FUTURS ANCESTRAUX (OCTOBER 14 2023 - JANUARY 21 2024, BOUROGNE, FRANCE)

Aux futurs ancestraux

Curated by Isabelle Arvers

Rye de la Varonne

90140 Bourogne, France

 

Curated by Isabelle Arvers, Aux futurs ancestraux adopts a decolonial perspective, showcasing art and games from outside the Western canon to expand representations, narratives and cosmologies. Specifically, the exhibition seeks to decolonize imaginations and co-create narratives drawing from oral traditions, indigenous knowledge and video game worlds.

press release

“When we say that the future is ancestral, it has more to do with DNA than genealogy. It’s worldview: it’s the ability to go back to an event that created the world and is alive in you. We want a constant creation of everything and ourselves. This is what happens in DNA, the code handed down by our ancestors. This can reintroduce us to the constellation of life within the planet, where we stop being specialists and realize that we have a common origin”. Ailton Krenak, philosopher and leader of the Brazilian indigenous Krenak movement and author of the book Futuro Ancestral en 2021

The global games market is still dominated by Europe, the United States and Japan.The exhibition Aux futurs ancestraux adopts a decolonial perspective on art and games in order to echo works conceived on the periphery of this global and globalizing culture. Aux futurs ancestraux immerses us in other types of representations, cities, landscapes, narratives and cosmogonies, conceived and expressed in other languages, and seeks to decolonize our imaginary through the co-construction of narratives born of the encounter between oral tradition, endogenous knowledge and the virtual universes of video games.

This necessary dialogue between these different modes of knowledge requires a paradigm shift. Science and human thought are no longer the only sources of knowledge; it is now possible to think of knowledge “beyond the human” (Eduardo Kohn). “This implies that nature thinks, that animals think, and that non-humans can teach us techniques and knowledge, by changing our perspective. (Viveiro de Castro).

Between photo installations, drawing, performance, video installations, immersive, interactive and video game, an exhibition that invites us to reconnect with what connects us to our ancestral futures: the living.

Featured artists and artworks

High in the Sky and Beneath the Stars, Laura Palavecino, (AR), interactive installation

Laidaxai, Daniela Fernandez, (AR) video game

Paramo, Eulalia De Valdenebro Cajiao, (CO), Installation drawings video

Water Divinity, Henri Tauliaut (Martinique), Video game

Atuel, Matajuegos, (ARG), Video game

Coca para comer, Aniara Rodado, (CO), Installation, Performance

Epiculus Garden, Tania Fraga, (BR), Video Installation

Liquid Forest, Isabelle Arvers (FR) Machinima Gaël Manangou, Sound creation (RDC)

Spectographie, VR film & installation : Carole Chausset Myriam Mihindou &Annie-Flore Batchiellilys, Daniely Francisque, Florence boyer / cie Artmayage

eFa, interactive installation by Technorisha Collective: Livia Diniz, Benjamin Abras, Bruno Creuzet, Michel Petris, Henri Tauliaut, M’vwâma Diop, Annabel Gueredrat, Isabelle Arvers.

La Puissance des arbres, vidéo portaits directed by Isabelle Arvers, Livia Diniz, Bruno Qual

LINK: Aux Futurs Ancestraux

EVENT: CHRIS KERICH (OCTOBER 27 - NOVEMBER 9 2023, ONLINE)

THREE IMPOSSIBLE WORLDS

digital video, color, sound, 2022, 11’ 14”, United States

Created by Chris Kerich

October 27 - November 9 2023

vral.org

 

A speculative digital art project that probes the underlying logic and limitations of procedural world generation Three Impossible Worlds was developed with/in the popular video game Minecraft. The artist began by conceptualizing a series of thought experiments: worlds deemed “impossible” within Minecraft’s existing generative framework. By subverting the game’s expected parameters, Three Impossible Worlds surfaces latent politics and ingrained assumptions coded into procedural systems. 

Chris Kerich is a programmer and artist living and working in Lethbridge, Alberta. Kerich is interested in systems, constrained art, information, critical science studies, and video games. Chris is currently an Assistant Professor at the University of Lethbridge. He received his doctorate from the program in Film and Digital Media Studies at the University of California, Santa Cruz, and he has received a Master of Arts from the Massachusetts Institute of Technology (MIT) in 2017 and a Bachelor of Science from Carnegie Mellon University in 2013. Kerich’s creative endeavors have garnered international recognition and have been featured in retrospectives and events like the Milan Machinima Festival (2021, 2019, Milan, Italy) and Vector Festival (2018, Toronto, Canada).

WATCH NOW

MOD: 2GIRLS1COMP'S SANANDREAS.TXT (2023)

 

In recent months, the modding community has been abuzz with the groundbreaking work of the elusive collective known as 2girls1comp. They have redefined the practice of altering, customizing and reinventing Grand Theft Auto V (GTA V), pushing the boundaries of what is possible at the crossroad of the avant-garde and the vernacular. In a manner reminiscent of the Situationist International, their work is both ironic and iconic, infused with elements of culture jamming and tactical media. Their perspective on modding is simultaneously political and playful.

Their latest mod, titled Sanandreas.txt turns GTA V’s replica of California, i.e., San Andreas, into a social media platform. In other words — no pun intended — this modification allows players to write messages all over the map of GTA V. Those “captions” can be read by everyone who has the mod installed. To utilize the mod’s messaging system, all the players must do is press F10 to open a text box, type messages of up to 94 characters, and press ENTER to share them with all mod users, making their messages visible at the specified location within the game world, enabling a collective and shared textual experience.

Possibilities are endless: San Andreas can be transformed into a poetic space. Haikus could be disseminated everywhere. Hints and tips. Casual observations. Instructions. Revelations. Meta play. However, early experiments with the mod have taken a more prosaic turn, with players dropping insults and expletives as they did in previous social media. “We welcome users leaving Twitter/X to SanAndreas.txt” the collective state with an (un)intentional dose of recklessness. By transforming GTA V’s game world into a platform for social commentary, 2girls1comp actively disrupted the prevailing norms and encouraged players to participate in virtual dialogue. The resulting (asynchronous) conversations, in turn, shed light on the key values, top priorities, and main interests of the GTA V community. As they state in their communiqué:

“we do moderate hate speech, but so far, we decided to leave everything in, because we are looking at the mirror of the GTA V gamer community […] we will post screenshots of the less offense and more creative ones on the mod site. the game is […] a messaging service for friends, a piece of concrete poetry, a meme.”

By now, the collective’s modus operandi is clear: their prankish attitude is loaded with social criticism. For instance, last Summer, 2girls1comp introduced a mod titled F*** the Policy. When the player’s avatars are being actively sought by the in-game cops, they are read their rights, which amusingly includes the verbose Rockstar Games End User License Agreement (EULA). This clever twist not only injects humor into the game but also serves as a satirical commentary on the often overlooked legalities in the gaming industry. 

2girls1comp’s repertoire extends beyond the realms of satire. Their modding experiments include titles like Towards and Philosophy of the Photo Daddy which combines Vilém Flusser’s theories on the medium of photography with the stereotypes surrounding the so called “photo fanatics”. Specifically, this mod challenges the dogmatic ideas of what constitutes a “good photograph” advanced by the infamous daddies. On the other end of the spectrum is The GTA V Piano of the Dead a more whimsical and zany creation that defies conventional gameplay norms. As of today, it’s the collective’s oldest and most popular mod, with approximately 800 downloads. All of their creations received 5 stars out of 5 and a variety of colorful comments.

In a prior modification, aptly named Every thing, 2girls1comp draws inspiration from the innovative concepts of game designers Keita Takahashi and David OReilly. This mod ambitiously transforms San Andreas into a boundless realm of possibilities. Its core function involves systematically spawning every object within the GTA V prop database, pushing the game to its limits until it inevitably succumbs under the sheer weight of “every thing,” resulting in a spectacular crash.

2girls1comp’s modding endeavors in GTA V represent a unique blend of artistic expression and sociopolitical commentary, deliberately disseminated within vernacular rather than avantgarde spaces, i.e., one of GTA V’s most popular modding sites. Their work challenges the conventional boundaries of gaming, inviting players to engage in critical discourse within the virtual world and the Artworld.

As they continue to push the envelope with their innovative creations, the modding community eagerly anticipates what 2girls1comp will offer next, bridging the gap between the virtual and the real in thought-provoking ways. Their upcoming creation (release date: “soon”) is titled “MEANWHILE IN LOS SANTOS (DISSOCIATION NATION)”.

Read more about 2 girls 1 computer, a force to be reckoned with in the modding-sphere.

EVENT: INTELLIGENCES OF THE WORLD (OCTOBER 11 - NOVEMBER 10 2023, ARLES, FRANCE)

ONFM 2021, Exhibition view, Theo Triantafyllidis, Pastoral, Église des Trinitaires.

Octobre Numérique – Faire Monde

October 11 - November 10 2023

Arles, France

Various locations and times

Full program

Octobre Numérique – Faire Monde is a month-long festival in Arles, France, at the crossroads of video games and arts, advocating towards more inclusive, open and sustainable virtual worlds.

press release

From October 11th to November 10th 2023, exhibitions, conferences, performances, and workshops, will take place in the emblematic places of Arles and its region.

2023 EDITION: INTELLIGENCES OF THE WORLDS

As chatter around AI develops, the 2023 edition of the festival explores what constitutes our world’s very diverse intelligences: human, artificial, but also animal, vegetal & planetary.

On our quest, we will be joined by artists, makers, technologists who play with these various forms of intelligences in virtual worlds.

The exhibitions and workshops are free for all.

OPENING DAYS: FROM OCTOBER 11 TO 15, 2023

The conferences, workshops and performances of the opening days question and explore the interventions of AI in the manufacture of virtual worlds, video games and immersive experiences.

What does artificial intelligence really change? Artists, researchers, and makers take up the question. Looking at technologies: a mirror of ourselves. Beyond the simple opposition "human/machine": what do we call intelligence? What place do we give it within the living world? From these questions flow infinite possibilities in a creative effervescence. Come and take part!

The opening days are free for all.

Since 2021, the Communauté d’Agglomération Arles Crau Camargue Montagnette (ACCM) has entrusted the Faire Monde association with the organization of Octobre Numérique, within the framework of a call for projects.

The objectives of the festival are to promote and develop the know-how of local companies in the "Cultural and Creative Industries" sector, to strengthen the influence of the region and to make a reference digital event at the regional and national level.

Faire Monde is a non-profit association bringing together cultural and technological actors such as Actes Sud, the Biennale Chroniques, Extramentale and Fabbula.

LINK: Octobre Numérique – Faire Monde  (special thanks to Vincent Moulinet)

LINK: Faire Monde: full program

MOD: 2GIRLS1COMP'S F*** THE POLICY (2023)

The rumors are true. The elusive collective 2girls1comp strikes back with a new mod for Grand Theft Auto V that makes the police read the player's rights - that is, Rockstar Games' End User License Agreement (EULA)-  when their avatars are being actively sought by the cops. We can't think of a more punitive measure.

Download the mod here and start informing your best friends about this very important policy because they might be infringing it without even knowing it (imagine that!).

Live life at its fullest potential: embrace modding. 

Last but not least, if you enjoy this kind of tactical subversion via popular culture, we strongly recommend Robert Sikoryak's masterful graphic novel Terms and Conditions.

previously, by 2girls1comp: Every Thing, Towards and Philosophy of the Photo Daddy and The GTA V Piano of the Dead. 

LINK: F*** The policy