GAME ART - GameScenes

GAME ART

Game Art: Joyce Rudinsky's "Psychasthenia Studio" (2011)

"The Psychasthenia Project is an interactive artwork series that explores the culture of psychological diagnosis and treatment within the context of a highly mediated consumer culture that often produces the ills it purports to treat. It is also a reflection on how the culture of mental health has become

GAME ART

Game Art: Max Kazemzadeh's "Target Audience: Point and Shoot" (2003)

"Target Audience is a piece that converts the virtual first person shooter computer gaming interface into a real active live interaction between the person holding the gun and the rest of the gallery goers. Target Audience welcomes the viewer to pick up, point, and shoot an actual (de-milled) antique

ART GAME

Game Art: Emilie Tappolet's "Geek Run" (2011)

"Geek Run is an interactive installation that aims to break the wall between the physical and virtual worlds by using wooden cubes as a tangible interface for a collaborative game, in combination with a Kinect controller. [...] The new version of the game was designed and developed during a two

GAME ART

Game Art: Bansky's "Cardinal Sin" (2011)

Link: Basky Submitted by Matteo Bittanti

GAME ART

Game Art: Joshua Taylor's "//NOT REAL LIFE" (2011)

Joshua Taylor, The Dune Sea from Star Wars: The Old Republic, 2011Joshua Taylor, Derelict from Star Wars: The Old Republic, 2011Joshua Taylor, Rock from RAGE, 2011 Joshua Taylor, Rock from Mirror's Edge, 2011 Joshua Taylor, Shadows from Mirror's Edge, 2011 Joshua Taylor, City Streets from Mirror&

GAME

Game Art: Sébastien Linage's "On the Run" (2011) and "Slow Down" (2011)

Sébastien Linage, On the Run, digital video, 2011Sébastien Linage, Slow Down, digital video, 2011 Sébastien Linage is a Freench artist, designer and creative director. "On the Run" (2011) and "Slow Down" are edited videos showcasing the environments he and other designers at EA created for EA&

GAME ART

Game Art: Temme Barkin-Leeds's "Shooters" (2011)

Temme Barkin-Leeds, Video Games Series: Defending Area, 2011, oil,mixed media and digital media on canvas, 30" x 44"Temme Barkin-Leeds, Video Games Series: Pause (detail) mixed media on canvas, 30 x 44"Temme Barkin-Leeds, Video Games Series: Farther Than The Russians Did, 2011, mixed media on

ART GAME

Event reminder: "The Kill Screen Dialogues" (December 16 2011, New Museum, New York)

"When are games more than games? When they are communicating with others? Although videogames are bigger than ever, they are often perceived as cultural silos and not in conversation with other art forms or cultures. In conjunction with videogame arts and culture company Kill Screen, Rhizome invites you to

GAME

Call for Images: "The Art of Video Games" (Smithsonian American Art Museum)

"The Art of Video Games exhibition (opening March 16, 2012) will explore how game designers combine visual effects with narrative, audio, and player interaction to create immersive and meaningful experiences. To celebrate this ground-breaking exhibition, we are looking for photographs that show how video games can inspire creativity! These

EVENT

Event: "LAVA meeting: Casey Reas and Xárene Eskandar" (Tuesday Dec. 13th 7:30pm, LAVA, Marina Del Ray, California)

Casey Reas, Chronograph, 2011 "Next Tuesday will be our last LAVA meeting of 2011, and we look forward to welcoming Casey Reas, the co-founder of Processing, and Xárene Eskandar, the author of ‘vE-”jA: Art + Technology of Live Audio-Video. Casey will be presenting his latest generative visual work at

EVENT

EVENT: "Game Story. Une histoire du jeu vidéo" (Grand Palais, Paris, November 11 2011 - January 09 2012)

Game Story. Une histoire du jeu vidéo Grand Palais, Galerie sud-est, Paris, France 10 novembre 2011 – 9 janvier 2012, curated by Jean-Baptiste Clais "Apparu au début des années 1970, le jeu vidéo est un média jeune qui n’a cessé d’évoluer et de se perfectionner jusqu’à devenir

DOCUMENTARY

Reportage: "Serious Games" show on arté (May 2011)

"Les images de guerre sont omniprésentes sur nos écrans. Elles sont diffusées en un flot interrompu qui finissent par émousser notre pouvoir d'empathie : elles deviennent banales. A tel point qu'on ne les voit plus, qu'on ne cherche plus à en saisir la portée.