Curated by Hugh Davies
October 17 to November 25th, 2018
Library at the Dock
Docklands, Melbourne Australia
Featuring artists from across the Asia-Pacific Region, the Longitude exhibition presents cultural, experimental, design and arts practices in the medium of games. Running alongside the exhibition is an event program featuring analog and digital gameplay, films, interactive objects, workshops and panel presentations.
The Longitude exhibition celebrates games and play as a broad and persistent aspect of culture with the capacity to connect diverse groups. The playful works highlight games as activities beyond escapist entertainment but as nuanced, challenging and inspiring forms of cultural expression that bring a broader understanding to the world and the people it.
The Longitude exhibition presents cultural, experimental and arts practices in the medium of games. Showcasing artists from across the Asia-Pacific Region working with games and play, the exhibition will also include workshops, film screenings, and presentations. Central to this project is the invigoration of games as activities inclusive of a broad range of audiences. This means absolutely everyone is welcome.
The title of the exhibition longitude refers to the timezone shared by Australia with the Asia Pacific region. These temporal rhythms see the entire Asia Pacific playing together at the same time. Our play is connected, not just through Internet cables, but via lines of longitude.
Curator Hugh Davies has organized a series of terrific events related to Longitude. Click here for the full list.
Yesterday is a 3D Puzzle Game that explores love and encounter from a girl’s perspective.
Appearing at the Kuso Game Jam in 2018, Sun Yu's The Hole is brutal in simplicity, gradual in difficulty and high in addition. It's creator, Sun Yu graduated is a graduate of Digital Media Design and works as a planner in a game company in Taiwan.
IP Yuk-Yui's To Call A Deer A Horse (指马为鹿) is an experimental videogame about hand-eye coordination, truth-bending and acts of complicity.
LINK: Longitude Exhibition
80 GREENWICH ST.
NEW YORK, NY 10006
October 11th - October 28th Thursday - Sunday 7:30pm - 8:30pm
Late night performances October 18th - October 20th 9:30 - 10:30
At 3LD Art and Technology Center | Studio B
October 25th - 28th Thursday - Sunday 2pm - 6pm
At 3LD Art and Technology Center | Studio B
Esperpento is an exploration about the rejection of the different and the dehumanization of the stranger. Why the foreigner (who looks different) is often shunned, despised and criminalized? Created by Victor Morales, the Digital Technical Director at 3LD NYC, this virtual universe will work primarily as an immersive interactive installation and performance its first iteration will take place on the all Fall of 2018 at 3 Legged Dog Art and Technology Center in NYC. The work was developed using the Unreal Engine, 3LD, Xsens.
Victor Morales is a Venezuelan Artist based in New York City since 1991. He completed a Master’s degree in Technology Applied to the Arts at New York University's Gallatin Division, in 1992. He is a director, performer and designer, whose work includes video animation and design, text, sound design, and digital puppetry. His work has travelled the world and he has collaborated with international artist such as Chris Kondek (Berlin), Joseph Silovsky (NYC), Jim Findlay (NYC), Findlay/Sandsmark (Norway), Joachim Schloemer (Germany), Wolfgang Mitterer (Austria) among others. He is Currently the Digital Technical Director at 3 Legged Dog in NYC. Since 2003, Victor has been obsessed with the art of video game modifications and has implemented different game engines into most of the works he has produced. His solo work consists of an exploration of video game engines as simulation environments, where death and physics are transformed into dramatic and comedic real time performance.
An exhibition of games and playthings exploring the aesthetics of computer errors and data corruption. In an increasingly digitized world happy accidents can contami̵n̵a̴t̷e anything: gli̵t̸ch music, glic̷h̸ ̶p̴a̸i̷n̶t̸ing, ̷g̵l̷i̷t̶c̸h̷ ̸k̸̛̰n̴͔̂i̶̭̿t̸̟͝t̵͍̐ḯ̶̳n̶̥̆g̷͉͂,̷̺̌ ̸̖͑g̴͔̒l̶̟̊í̸͜t̶̘̑c̸̨̀h̶̗̑ ̶̖̀ả̵̪̹̀̂͝r̵̳̹͓̟̓͊̄̕̕c̷̟̈́̐̕h̸͔̲͍͚͔͐͆͛̎̇i̴̲̊t̴̺̋͋͗e̷̺̒̐̓̉̆c̸̻͊̿̉͘ͅṫ̸̯̙̜̖̲ṵ̸̂̍̚r̸̡͈̪̫̐̓e̴͕̣̼͍̱̓́̍͒̕.D̵̼̬͎̞̍̒͝ò̸͔̫̬͔̜n̵̢̨̳͗̍̎’̴̲̒̔̏̚͝t̶̠̤̅̒̀́̚ ̵̠̆͆͌͠͠m̷̮͖̙̰̂͊̄̈́͠ị̶̻̱̱̪͂̅̅̇s̵̯̟̎͒̕̚ș̴̚ ̷̢̧̋ṱ̴̙̆h̶͔̃ẻ̵̞̪͒ ̵̹͉̜͍̯̔͂̈́̈̚l̸̛̰͎̮͚̝ȃ̷̜͒͋̚s̸̞̯͔̤͋͌̒̍͜t̵̢̛͐̒̿ ̵͎̝̜̠̺̄̇L̶̨̩͈̺̝̀̍Î̴͙́K̵̛̙̈̏Ė̸̟̭̃̽̈́ͅL̷̟̝͖͑͜Ḯ̷̦̳͆̔̃̚K̵͉̞͇̓͛͛͜͝E̶̺̮̤̊͜ṡ̷͙͉͍͓̟̳͓̥̱̿̈́̈́̑́̔͊͌̈́̆̏̆͋̃̿̃̈̓̒̆̇̏̈́̽́́̚ḩ̶̛̲͚͚͉̬̲̼̫̩̥̻̫͔̇̋̈̓̉͗͋̽́̈́͗͆̀̏͒̏͛̐̆͐͗̏̔̈́̏͆͠ơ̸̡͙͍͕̜̯̼̬̠͉̙̥͓͙̦̮͕̬͎̗̘͙͉̰̤̣̹̱̞̘̞̱͔̊͑͐̒̋̂̓͐̔̿̑́́̾͒͑̀̎̕̕͘̕͘͠ͅw̵̡̨̡̨̛̛̗͍͍̞̞̣̗͍̯̲͙̙͖͎͇̤̦͇̫͙̗̯͙̬̬̬̞̮̉̍̿̽͂̌̈́̎̓̆̌̈́̌͊̄̎̀̉̀̓̅̂̔͑͐͊́̀̽̀͋͂͝͠ͅͅ ̷̧̛̜̬̤̥͈̠͕̻͎̠̹̙̳̣̆̎̐̇̈́͑͗̍́͊͊͊͒̇̈̒̈́́͐̄̂̀́̚͘͠͠o̶̧̹͕̹̘͕͉̝̻̻̐f̵̢̨̡̢̛̟̠̙͚̬̟̹̭͍̺͙̳͚̟͚͖̖̥̲̼͓̠̺͕̻͈̜̜̳̗͈̀̉͆́̐̈́̾͑́͐̒̅̍̓̑̈͛̋̏͋̔̀̈́̐͊̕̚̕̕̕͝͝͝ ̴̡̢̧̡̛̛͚͓̠̤̠̣̹̝̘̺̻͈͈̠̦͚͍̥̲̜̙͉̪̻̭̬͖̦̀̉́̿̈̎̔̎̔͊̈͛̇̄́͊̎̑̊̃̄͐͂̔͘͘2̶̡͆͊͋͒ͅ0̸̧̧͍͈̦̰̝̤̺͚̭̣͎̹̘̞̳̯̰̞͈̞̰͎̘̞̙̿̾̋̋͑̀̅̓͝͝͝͝1̷̡̨̡̛̹͍̻̜͖̜̠͙̖̩͍͙̜̣͚̩̳͉̮͚̤̣̖͉̤͖͙̠̉͑͐̇̓̽͑̽̔̓͋͌̂̀̓̽̔̒̿̓͌́̂̔̓͌̄̀͘ͅ8̴̴̛̛̛̛̠̪̪̣̯͇͚̪͓̥̤̦̲͚̩̯̮͔̱͙̼̭̳̠͙̖̼̟̭͔͍̰̫͉͛̅̅͋͒̇̂̀͋̍́̈́̎̈́̂̋͛̍̐͊́͂̒̈̃̂̑̍̈́̔̌͒̒̇̋͐̔͗̇͛͘͜͝͠ͅ
Works by: Andi McClure /// Michael Brough /// XRA /// Farbs // Rachel Simone Weil /// Molleindustria + Infiknit Loop
26.09.2018, 16: 00-21: 00 (opening)
11: 00-15: 00 & 16: 00-21: 00
Mariannenplatz, Berlin, Germany
music BEN LUKAS BOYSEN & SEBASTIAN PLANO
programming DAMIEN QUARTZ & EZRA HANSON WHITE
Sound Design EDUARDO ORTIZFRAU
narration: ALAN WATTS
Idea & curatorial consulting STEPHAN SCHWINGELER
The creation of the universe in less than two hours - the new interactive work of artist and game designer David OReilly takes us on a journey through billions of years of history from the moment before the Big Bang through the evolution of life to our modern world. The result is a multi-layered experience that oscillates between dramatic and meditative, abstract and familiar, chaotic and orderly. Real-time simulation is driven by a series of interconnected systems inspired by musical compositional processes. Always moving and producing infinite variations, they create complex and evolving shapes and structures - each moment unique and unrepeatable.
"This is just a test with Game Boy pixel art style with glitch effects. I made the glitch effects myself using a programming language called Processing. It is a Java based programming language with the emphasis on ease for visual artists with interesting ideas. Turtle Boy is just a goofy character I made. I hope you get a laugh out of this GameBoy Glitch inspired video. Just in time for Halloween for maybe an lil unexpected spook."
Keita Takahashi: Zooming Out
Curated by Harry DeLorme, Senior Curator of Education
January 24 - July 14 2019
207 W. York St.
Savannah, GA 31401, USA
Telfairs Museum is hosting a major retrospective on Keita Takahashi between January 24 through July 14, 2019. Curated by Harry DeLorme and subtitled Zooming Out, this first-ever museum survey exhibition of the legendary Japanese video game designer’s work is organized in conjunction with the museum’s annual PULSE Art + Technology Festival. So far there have been a relatively scarce number of exhibitions focusing on single designers (Jason Rohrer comes to mind), which makes Zooming Out even more compelling.
Keita Takahashi, Wild Rumpus and Venus Patrol, Tenya Wanya Teens, 2013
Initially trained as an artist, Takahashi received a degree in Fine Art and Sculpture from Musashino Art University in Tokyo. At the beginning of his professional career, he was hired as a design artist at Namco, where he became the lead developer of Katamari Damacy, a now-iconic game that won awards, spawned sequels, influenced popular culture beyond the game world, and was one of the first video games acquired for the permanent collection of the Museum of Modern Art.
The exhibition highlights Takahashi’s outside-the-box approach to game development, game mechanics, aesthetics, and music. Included will be playable versions of all of Takahashi’s major games, such as the original Katamari Damacy and its newly remastered edition, KatamariDamacyREROLL, We Love Katamari, Noby Noby Boy, and the eagerly awaited Wattam (Developer: Funomena, Publisher: Annapurna Interactive). In addition to his major game releases, the exhibition includes several of his independent games and collaborative installations, including Tenya Wanya Teens, operated with two 16-button controllers, and a reimagined, immersive take on the classic game PAC-MAN (with Clement Shimizu and Babycastles). The artist’s early sculpture work, animations, and playground designs will also be on view.
Keita Takahashi and Adam Saltsman, Alphabet, 2013
Image: Wattam, 2018, Publisher: Annapurna Interactive, Developer: Funomena
Woorld, 2016, Augmented Reality Game, Developer: Funomena
LINK: Telfair Museums
Minh Trung Nguyen's re-imagines one of Epyx' most successful games. The video was produced by ELMØ, an independent, creative studio in Paris. Among their clients are "the Queen of England" and "the grocery store down the office."
Milan, September 29 2018 - The MILAN MACHINIMA FESTIVAL is delighted to announce its 2019 Jury panel, comprising an international cadre of critics, curators, and scholars: Valentino Catricalà, Marco De Mutiis, Stefano Locati, Henry Lowood, and Jenna NG. The judges will award a Critics’ Prize to the most original, groundbreaking, creative machinima of 2018.
Read the jurors’ profiles below:
Scholar, curator of contemporary art, and critic, Valentino Catricala received his PhD at the Roma Tre University, where he currently works as a Post Doc Researcher. He is also a researcher and coordinator of the Art and Media programs at the Fondazione Mondo Digitale and is artistic director of the Media Art Festival of Rome (MAXXI). He has carried out research in important centers such as the Karlsruhe ZKM, the Tate Modern, the University of Dundee. Catricalà investigates the relationship between art, technology, and filmmaking. He has written several essays published in books and academic journals and has participated in international conferences. He is the author of the book Media Art. Art perspectives towards the 21st century. Stories, theories, preservation (Mimesis, 2016), Catricalà is the curator of the Creative Europe project ENLIGHT for SPECTRA Festival (Aberdeen), Media Art Festival (Rome), Article Biennale (Stavanger).
Marco De Mutiis is an artist working with different media and technologies and with an interest in issues of perception and communication. Often re-engineering and transforming old analog and mechanical devices, De Mutiis creates kinetic installations that concern with communication, language and physicality. Graduated with distinction from the MFA program at the School of Creative Media (City University of Hong Kong), he has shown his works internationally in festivals and galleries. He has been the recipient of the Bloomberg Digital Arts Initiative in 2013. He has worked as a senior research associate and part-time lecturer at City University of Hong Kong and he is currently working as Digital Curator at Fotomuseum Winterthur. He is currently working on his PdD at the University of Lucerne, Switzerland and IULM University in Milan.
Stefano Locati is a Teaching Assistant at IULM University in Milan. He is a member of the Scientific Committee of the Ca' Foscari Short Film Festival in Venice, Italy and the Co-Director of the Asian Film Festival in Bologna. Locati received his Doctorate in Literature and Media: Narrative Theory and Languages. His research focuses on transmedia storytelling and Asian cinema. He is the author of Il nuovo cinema di Hong Kong: Sguardi dopo l’hand-over (2014, with Emanuele Sacchi) and Evolution. Darwin and Cinema (2014, with Elena Canadelli). He is currently working on a new book on Asian cinema.
Henry Lowood is Curator for Germanic Collections and Curator for History of Science & Technology Collections in the Stanford University Libraries. As a curator, he is part of the Humanities Research Group in Green Library, the Department best known for the Lane Reading Room and a wonderful group of colleagues. Henry Lowood has written several essays on such topics as game studies, game preservation, and machinima. Among his most recent books are The Machinima Reader (2012) with Michael Nitsche and Debugging Game History (2016) with Raiford Guins, both published by MIT Press and Machinima! Teorie, pratiche, dialoghi with Matteo Bittanti in 2013, published by Edizioni Unicopli.
Jenna NG is an Anniversary Research Lecturer in Film and Interactive Media in the Department of Theatre, Film and Television at the University of York, in the UK where she designed and taught a wide range of cinema and digital media courses, including convening and teaching the module, "Coding the Frame: Space and Time with Digital Media", for the Screen Media and Cultures MPhil at Cambridge, and supervised several MPhil essays and theses. Jenna NG works primarily on theoretical, cultural and critical analyses intersecting digital and visual culture, with particular interests in the imaging technologies of CGI, mobile media, haptic devices, motion and virtual capture systems. Her research interests also include the philosophy of technology, the posthuman, computational culture and the digital humanities. Among her many publications, she edited Understanding Machinima, Essays on filmmaking in virtual worlds published in 2013 by Bloomsbury.
LINK: MILAN MACHINIMA FESTIVAL
Monica Maria Rohtmaa aka Motsonian's latest project shows interactions on VRchat, a massively multiplayer online virtual reality video game. performs as Motsonian as Barry Benson from Bee Movie (2007), documenting the VRchat community’s meme culture via the strange popularity of the character’s “Ya like jazz?” catchphrase as a conversation starter. Colony Collapse has been exhibited in Halfway to Somewhere, a group show by the Collective Studio (29.09.18 – 27.10.18) in Newbridge Project Gateshead. A preview can be seen here.
Motsonian is the username for Monica Maria Rohtmaa, an artist based in Gateshead, UK. As well as working with video, her practice combines contemporary technology with sculptural installation by using virtual reality, concepts from video games and drone footage to create installations about the intersection of the physical and virtual worlds. Recent work also uses projected video onto physical structures, in reference to what’s known in 3D digital environments as texture mapping, along with the visual symbol of knitting, a tradition drawn from her Estonian heritage, as a metaphor for a video game aim system or player’s view.