An introduction to game photography with artist overview by Hart Fowler published on Digital Trends.
Artist and curator Eron Rauch's latest project is Such is the Power of the Empty lot, a companion volume to the recently released Heterotopias 7, a wonderful publication on architecture and video games by Gareth Damian Martin.
As Rauch write, "The book uses a wide mixture of real and virtual photographic methods (including multiple types of video game screenshots) to link the fictional versions of Tokyo, real estate bubbles' effects on urban landscapes, the weirdness of video game historical recreations, and photography's nebulous role in the age of screens." Rauch contemplating a limited physical run of the 100+ page book. Text is by Justin Reeve.
Eron Rauch is an artist, writer, and curator based in Los Angeles whose projects bridge the shadowy hinterlands between fine art, fandom, digital imaging, landscape history, and video games. Among his game-photography work is Glitchscapes and A Land to Die In. He received his MFA in Photography and Media at the California Institute of the Arts, where he teaches an inter-media photography course. His projects often repurpose platforms and spaces outside of traditional fine arts venues to bring disparate audiences into new conversations. His writing has been featured in eight languages and his artwork has been shown in the United States, France, and Japan. Eron is a collaborating curator for the contemporary photography section of William's College Art Museum's upcoming Repro Japan exhibit, and has worked with Glitch City in curating at IndieCade West’s 2019 Night Games.
LINK: Eron Rauch
The most powerful in-game photography tool ever? That's Eric Adams' main argument in his long video essay:
Thanks to its fast "slew mode" and clever drone functionality, it allows users to move through the earth precisely, and to set up scenes with their preferred time, date, and weather conditions, giving photographers the ability to scout locations remotely in ways that Google Earth can’t even touch. You can experiment with lighting and weather to find out when you want to be there, how much time you’ll have to do your shooting before the light disappears, and what your optimal compositions might be as you slew around the environment exploring different angles and elevations and viewpoints. You can move with spooky ease to find your absolute best compositions.
Eric Adams is a professional photographer and writer living in the United States. His work - text and images - was featured in Wired, The Drive, Gear Patrol, Men's Health, Popular Science, Popular Mechanics, Forbes, and other magazines. His photographs also appear in the upcoming book Air Time: Watches Inspired by Aviation (Rizzoli, 2021).
Photo: Sebastian Moring, 2016 (physical gallery, via Twitter)
July 16, 2020, 6 pm CET in Mozilla Hubs (best access via Firefox / Chrome, no login required) and on Twitch
We have the pleasure of inviting you to the opening of the real virtual DIGAREC In-Game Photo Gallery which shows a number of in-game photographical works which were produced by students of European Media Studies – a joint program of University of Potsdam and University of Applied Sciences Potsdam. The exhibition presents the results of their practical explorations of the medium of in-game photography as participants of three university seminars on the subject focusing on different topics: “Medial Environments, Milieus and Landscapes” (class of 2016), “Machines_ _Ethics; _Poetry; _Politics; _Poetics” (class of 2018), “Media Reflexivity” (class of 2019/20). This exhibition exists only online and makes use of the virtual meeting tool Mozilla Hubs. It is designed by Lars Pinkwart and curated by Sebastian Möring.
The opening starts with a brief reception and an introduction after which there will be a guided tour through the gallery. If you join through Hubs you will then be able to explore the virtual gallery space on your own and even start a conversation with other exhibition visitors over microphone.
Aaron Richmond, Alexandra Günther, Barış Aydınlı, Celine Pilch, Christine Laqua, Daniel Latzel, David Gatidis, Dulguun Shirchinbal, Elise Kunze, Emily Hadrich, Fabian Brandtner, Finn Wittforth, Friederike Sophie Schulz, Hendrik Fischer, Jasmin Lehmann, Karoline Mushak, Laura Willikonsky, Lennart Mackies, Lisa Hein, Luzie Müller, Marian Billing, Marie-Lena Höftmann, Maurice Matthieu, Nadja Scherfy, Oliver Thurau, Philipp Röbke, Pia Zdila, Sandra Buttress, Sarah Töteberg, Stefanie Löbel, Till Schöneich, Ugur Yildirim.
In-game photography has been a research focus of DIGAREC (Digital Games Research Center at the University of Potsdam) since 2016: We have been researching the subject in the context of international workshops and university seminars. In recent years the scholarly, artistic, as well the economic interest in in-game photography has been on a constant rise. More and more academic literature gets published, exhibitions are being held in prominent museums such as the Centre George Pompidou, and ever more games come equipped with a photo-mode by default. In-game photography“describes a multitude of practices and technologies in which photography and video games Interact“ and it contains diverse practices such as „placing a DSLR in front of the unfolding events on the screen, using a video game's photo mode to take a picture, or playing a game where the use of the camera is simulated“ (Möring & de Mutiis 2019:70).
How to participate?
Option a: Participate with your avatar which you can control on your own (limited to 30 places). For this please sign up here: https://forms.gle/
Option b: Participate as a viewer of our live stream on https://twitch.tv/digarec.
The compare-and-contrast reality vs simulacra trope is one of the most popular in game photography and The Last of Us Part II does not disappoint. Robert Robinson is remapping Seattle by juxtaposing photographs from the real thing and the game. The result looks, oddly, like an episode of Dark.
Now Play This 2020 – Open Call
Now Play This is returning to Somerset House in London from April 3rd – 5th as part of London Games Festival. Ahead of this year’s festival we’re once again opening up a call for playful makers and creators to tell us about their work.
The submission deadline for the open call will be midnight, 3rd February.
As a festival of experimental games and playful media we welcome the submission of games, installations, workshops, photography, films, performances or works in other mediums that directly connect to the subject of play. You can view festival line-ups from previous years here which will help provide an insight into the range of works we have showcased previously.
The theme for the festival this year is ‘breaking point’. We are looking for works which break or subvert rules or systems.
This might include games or works which…
– subvert, disassemble or break real world systems
– hack, remake, remix, modify existing games or works
– that foster creation through destruction or subversion
We are open to other interpretations of the theme, but do ask that you demonstrate clearly how work submitted connects to it.
To submit works please complete the open call form here.
If you have accessibility concerns regarding the form or the deadline please email [email protected].
- We strongly welcome submissions from marginalised and underrepresented creatives within games and playful media.
- The festival pays a £75 honorarium for exhibited works and provides all hardware required for display (where applicable). We can also cover any additional expenses required to showcase work.
- Creators are not required to attend the festival for their work to be exhibited. If a work is dependent on your presence to be shown, e.g. a performance, then we will cover travel and accommodation expenses.
- We will respond to all submissions by late February. Due to the volume of submissions we receive we sadly cannot provide individual feedback.
If you have any other queries, comments or feedback then please email [email protected]
LINK: NOW PLAY THIS
Explorer Award"Go, where nobody has gone before! This is the award for all forms of experiences beyond the boundaries of contemporary ways to play or develop games. Here, we are exploring alternative controllers, interactive installations, creative coding experiments, robotics and tech performances, as well as interdisciplinary teams, collaborations with science, makers, engineers, researchers, theater and writers."The submission fee is 30€ and even if artists don't get nominated, they will receive a 25% discount on the festival ticket and will be asked first for spots in the Open Screens program of the exhibition, so that everyone has the chance to exhibit. Every entry will be visible on the website too. It is also possible to register as Selection Committee to review the submitted works - Here a 25% discount is given out as well, for everybody who reviews 5 or more entries.
Vector Festival is an annual media arts event dedicated to showcasing experimental art works that engage critically with digital technologies.
The festival is proudly participatory and community-oriented. Hosted by InterAccess and co-curated by Katie Micak and Martin Zeilinger, Vector Festival takes place at arts venues and in public spaces across the City of Toronto.
Since its inception, Vector Festival has been innovative in its inclusion of game-based digital art alongside other new media disciplines. Continuing this focus for the 2020 edition, the festival’s curators pose a deceptively simple question: what comes after gamification?
Now that game culture and game technologies have become so pervasive in popular culture, how do experimental media artists respond critically to the rampant gamifying of everyday life? From online social interaction to digital finance, from education to military conflict, from politics and environmental issues to the ways in which humans (and machines) express themselves creatively, what comes after gamification?
The Festival will take place between July 16-19, 2020, with the flagship exhibition extended until August 22, 2020.
Please note that Vector Festival does not charge submission fees to artists applying to participate.
All artists and curators selected for participation will receive fees in accordance with the up-to-date CARFAC Fee schedule, as well as support to apply for external funding.
We invite art submissions of digital – and post-digital – works for the following festival categories:
Digital and post-digital art works including interactive installations, experimental game mods, sculptural work, screen-based work, sound art, etc.
Web-based projects and digital artworks that can be presented online, including experimental interactive and time-based digital projects.
Experimental film/video/machinima works.
Performance-based proposals including chiptune, sound art, live coding, A/V performances, and telematic performances for virtual and public spaces.
Site-Specific Outdoor Screening
To be presented on two large-scale (4.88 x 8.64 m) outdoor LED screens for a public audience of all ages.
Animated GIFs intended for presentation on public screens across Toronto.
This year, we also invite curators/curatorial collectives to submit proposals for machinima screenings (on a theme of your choosing). If you are considering a curatorial submission, we encourage you to contact the Vector Festival team for additional practical details.
Deadline: February 01, 2020
Please submit the following details using our online application form:
• Project description (approximately 300 words)
• Documentation (maximum of five images, and/or link to audio/video documentation)
• Description of technical requirements (please outline materials provided by the artist and materials required from the exhibiting venue)
• Artist biography (approximately 100 words)
• Please indicate if your work has a thematic, conceptual, or historical connection to Toronto, or if you have a biographic connection to the Greater Toronto Area
• Current CV
If you have questions about submitting your application please contact [email protected].
About Vector Festival
Vector Festival is a participatory and community-oriented initiative dedicated to showcasing experimental media art practice. Presenting works across a dynamic range of exhibitions, screenings, performances, lectures, and workshops, Vector Festival acts as a critical bridge between emergent digital platforms and new media art practice. Vector Festival was founded in 2013 as the “Vector Game Art & New Media Festival” by an independent group of artists and curators: Skot Deeming, Clint Enns, Christine Kim, and Katie Micak, who were later joined by Diana Poulsen and Martin Zeilinger. In 2015 Vector Festival announced that longtime presenting partner, InterAccess, would be taking over responsibility for the festival as part of its regular programming.
Founded in 1983, InterAccess is a non-profit gallery, educational facility, production studio, and festival dedicated to emerging practices in art and technology. Our programs support art forms that integrate technology, fostering and supporting the full cycle of art and artistic practice through education, production, and exhibition. InterAccess is regarded as a preeminent Canadian arts and technology centre.
For more information contact:
Festival Curators, Katie Micak and Martin Zeilinger
LINK: VECTOR FESTIVAL