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Art
Games as Genre. An Introduction
[English]
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The
computer game industry is thriving. It is making
more money than the movie industry, and games
are showing up in more and more contexts. Kids
are increasingly learning through games. Games
are everywhere and it is believed that they will
move into even more places in the future.
However, as a small subcategory of computer
games you find Art Games. They are made by
artists as pieces of art. Some have ulterior
motives, mainly political, others are merely a
playful piece of interaction with the user. What
makes them art and not just games? Kristine
Ploug gives some answers in her introduction to
art games.
http://www.dichtung-digital.com/2005/2-Ploug.htm
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Generating
Art from a Computer Game. An Interview with Alison
Mealey [English]
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Many
artists use various types of processes, events,
social patterns etc. as controlling or
contributing factors in the creation of
artworks. Alison Mealey has chosen to base her
art on the computer game "Unreal Tournament".
She lets a number of virtual players play the
game for approximately 30 minutes at a time and
uses the data from the games to produce complex
drawings. Thomas Petersen asked Alison about the
details.
http://www.dichtung-digital.com/2005/2-Mealey.htm
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The
Art of Mapping Statistics. Interview with George
Legrady [English]
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Mapping
has become a new genre of art visualizing date
(mostly hidden) in a different, interesting
(mostly beautified) form. What distinguishes
mapping art from a sociological study or
information architecture? What is the intent of
mapping art? How poetic should the interface be
to count as art? How does the negotiation
between artist and engineer work? Roberto
Simanowski talked with George Legrady about his
project "Making Visible the Invisible"
visualizing the circulation of books and media
at the Seattle Public Library.
http://www.dichtung-digital.com/2005/2-Legrady.htm
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Reconsidering
Database Form: Input, Structure, Mapping
[English]
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In this
essay, Matthew LeMay argues against Lev
Manovich's theorization of the database, and
resultant critiques of mapping art. Suggesting
that database form necessarily involves
intricate interrelations of data in a rigid,
predetermined structure, LeMay propose that the
general divide between content and form proposed
by Manovich is at least an oversimplification,
and at most erroneous. He takes issue with
Manovich's designation of mapping art as
"anti-sublime," suggesting that it is instead
the inputting of data into a database that can
be considered "anti-sublime" in Manovich's
terms.
http://www.dichtung-digital.com/2005/2-Lemay.htm
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Interview
with YOUNG-HAE CHANG HEAVY INDUSTRIES
[English]
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The works
of YOUNG-HAE CHANG HEAVY INDUSTRIES are expected
to function as an intercultural medium with
double meanings, on the one hand they activate
the unknown subject of digital literature in
South Korea, on the other they help to an
understanding the strange motives in Europe.
Hyun-Joo Yoo talked with the artist duo from
South Korea and USA about netart, teamwork,
concret poetry, literaure as movie, life and
speed, the lack of interactivity and
multimnediality and about Sex in
Korea
http://www.dichtung-digital.org/2005/2-Yoo-engl.htm
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Nicolas
Clauss' artistic-cultural project Art if I want
[English]
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The origin
of Nicolas Clauss' "Art if I want" is an
experiment that the artist carried out
accompanied by 8 teenagers with whom he
discussed the work of several modern artist such
as Arman, Spoerri, Basquiat, Cattelan and
Chapman, the Dinos brothers, Munch, Duchamp and
Bacon. Laura Borràs Castanyer's paper
describes this discussion about art and analyses
its result as its own work of art.
http://www.dichtung-digital.com/2005/2-Castanyer.htm
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Writing
on Complex Surfaces
[English]
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John
Cayley's essay sets out from one important
statement on the complexity of writing surfaces
and then pursues three examples of writing
on/within/amongst such surfaces, connecting
engaged poetic practices with literal art work
in cinematic and programmable media. The film
titling of Saul Bass is discussed; followed by
the author's series of pieces overboard and
translation. Finally, there are remarks on the
author's work-in-progress for Brown University's
four-wall VR Cave, within which the surface of
writing is literally, graphically complex. The
surface of writing is and always has been
complex. It is a liminal symbolically
interpenetrated membrane, a fractal coast- or
borderline, a chaotic and complex structure with
depth and history.
http://www.dichtung-digital.com/2005/2-Cayley.htm
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Experiencing
John Cayley's RiverIsland
[English]
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Maria
Engberg investigates the emergence of new
writing and reading practices under the impact
of digital media. Examining Cayley's poetic work
riverIsland , she focuses on what the poet
himself calls "literal morphing." These
transformations of letters constitute an
important shift in poetic writing whose
importance for literary analysis must be
acknowledged. Engberg concludes that poetic
works in programmable media lead to a rethinking
of concepts of surface and depth in relation to
writing.
http://www.dichtung-digital.com/2005/2-Engberg.htm
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Computer
Games and Narratives
[German]
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The debate
on narrative sequences in digital games is often
focused on interactivity vs. spectatorship,
which is falsely related to passiveness by some
authors. Karin Wenz holds that narrative
sequences too require a certain degree of
commitment from the player and therefore the
interactive and dynamic process of
interpretation. She argues with Klaus Walter
against Markku Eskelinen that narrative
sequences and gameplay can be interrelated and
that cut scenes are an integrative part of a
digital game and not just some additional
gift-wrapping.
http://www.dichtung-digital.com/2005/2-Wenz.htm
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Talan
Memmott's "Lexia to Perplexia"
[English]
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Thomas
Dreher discusses the combination of dynamic
screen presentations with integrations of visual
and textual ciphers in Talan Memmott´s work
"Lexia to Perplexia". In the ten chapters of the
piece users are exposed to a combination of
icons, codes, punctuation marks, and neologisms
via DHTML and Javascript. The article explains
connections between the internal parts of the
project and proposes some clues for the
interpretation of (relations between) ciphers in
the hope to facilitate reading and
deciphering.
http://www.dichtung-digital.com/2005/2-Dreher-engl.htm
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Reading
Stuart Moulthrop's Hegirascope 2
[English]
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Shuen-shing
Lee suggests that, to grasp "Hegirascope's"
structure, the first step is to stop it from
running automatically. Once the temporal pull
comes to a halt, one is able to sort through the
content space for narrative threads and
non-narrative units. His paper illustrates the
distinctive use of hyperlinks and color tricks,
instances that exhibit the fluidity of digital
materiality. This maneuvering of links and
colors reveals Stuart Moulthrop's meticulous
organization, which further posits that order is
buried in the disorder of the apparent
"narrative confetti."
http://www.dichtung-digital.com/2005/2-Lee.htm
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Reading
the Hyperlink [German]
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In 2001
scholars of new media and journalists of the old
media had announced the death of hypertext and
the triumph of multimedia. Everyone seemed to
agree on the banality of hypertext and its
foremost praised element hyperlink. This was
exactly the time when hypertext had in fact just
established itself among the masses of
electronic network users as a communication
standard. They would have needed more support on
how to live with hypertext. But since hypertext
was now a standard for the masses it seemed no
longer of interest to the academic community,
which prior to this shift was heavily involved
in researching literary hypertexts and related
digital literature. Beat Suter puts on
"Proustian glasses" to recall what had been
established by the scholars so far and point out
what others don't see anymore - the "important
locations in a text", the topoi, the underlined
passages, alas: the hyperlinks.
http://www.dichtung-digital.com/2005/2-Suter.htm
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Archive:
2005: 34
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2004:
33,
32,
31
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2003: 30,
29,
28,
27
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2002: 26,
25,
24,
23,
22,
21
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2001: 20,
19,
18,
17,
16,
15
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2000: 14,
13,
12,
11,
10,
9,
8
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1999: 7,
6,
5,
4,
3,
2,
1
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