Natalie Bookchin CalArts + http://calarts.edu/~bookchin The Worlds First Transgenic Virtual Pet Game. Are you ready to manage the worker of the future? Biotech innovation meets corporate creativity and gives birth to a new class of virtual pet: the Metapet. Your challenge: discover the right balance between a firm hand and a gentle coax without ever losing sight of the bottom line. But here's a word of advice: treat your Metapet with care. Heedless actions may come back to haunt you when you least expect it!
Natalie Bookchin is a artist whose most recent project, Metapet (www.metapet.net) is online game commissioned by Creative Time, a public arts presenter in New York City in association with HAMACA, a net art platform in Barcelona made up of six local art institutions and museum. The beta version of the project was launched at the Museum of Contemporary Art in Los Angeles; Version 1 was launched on May Day, 2003 and linked from the Whitney Museum’s online gallery. Mary Flanagan + http://www.maryflanagan.com [domestic] is a 3D action game environment hack exploring conceptions of space through varying subject positions. Users take on a particular viewpoint and see the world through that viewpoint, but the way they see the same space changes depending on the character they've become. The perception in the virtual environment is entirely constituted with text. By limiting VR experiences to text environments, participants discover the gap between representation and the reading or perception of an environment.
Mary Flanagan’s work is concerned with the marking and mapping of space, both digitally created space and physical space, and with the types of narratives that space produces. Space can be marked physically, with objects, smells, or it can be marked abstractly, through signs, and symbols, thus offering symbolic interpretations of the real world. Symbols in the world cannot be separated from emotional investment. Thinking of space in these two ways makes it impossible to explore multiple readings of both virtual space and real space, creating an experimental map of domestic/everyday activities and urban spaces.
Troy Innocent Monash University + http://www.iconica.org How is meaning constructed in interactive, immersive electronic spaces? How sign systems operate in these virtual worlds is changed by their transmutational nature, immediacy, and manipulation of human perception. The Artefact project explores the language of computer-mediated space as it is expressed in games - its unique internal logic and properties.
Increasingly, we are immersed in high order simulacra that offer more intimate relationships with our media than those that have been possible before. Simulation has become integral to reality itself, and we adopt the beings and experiences of these simulations into our own lives. On another level, Artefact is part of an ongoing investigation of the semiotics of digital space and human-computer interaction. In a virtual world, both the elements that constitute the world, and the world model or system, are equally important in signifying meaning. In the process of investigation, elements such as characters, objects, and icons are identified, decoded, and transmuted into a world model, which combines iconic ideals with personal specific imagery. Semiomorph actualises a hybrid model such as this into a coherent alternative world. Zina Kaye + http://www.observatine.net Observatine showing at Plaything marks its 5th anniversary. It's a tool that is used for looking at seemingly banal spaces from an observational perspective. That is seeing, one step removed. You relinquish control and simply look. I want people to easily see a place from that perspective, so they can tell their stories about it. Topological vision is designed for cautious observation: you can check out a situation and see what it is before taking action- or no action. So the intention of the work is mediated contemplation.
A prime motive of Observatine is to make available for sight, sites never seen before. The work marries the technology of surveillance with the airplane as a metaphor to transcend and reclaim space. Observatine bypasses the malevolent politics of surveillance. -We do not want to be looked at - we want to look. Feng Mengbo + http://www.mengbo.com Feng Mengbo is an artist with an international reputation who arose out of a Political Pop movement in China, during the late 80's and early 90's, when many artists were using deconstructive techniques and Western iconography to comment on contemporary China. Although he considers himself more game artist his work has never been exhibited in China because of his connection with Political Pop. Nevertheless he continues to live and work in Beijing. Since 1996 Mengbo has worked with computers, not as a passive player, but making CD-Roms and games. The first CD-Rom piece by Mengbo was My Private Album in 1996, which is an interactive family photo album. Following that he has made a series of interactive multimedia works using the structures of commercial software with Chinese themes. As a young Chinese artist whose work uses the the styles and structures of contemporary electronic games. He combines this with cultural influences of China, from traditional opera legends to more recent stories from the Cultural Revolution and Hong Kong action cinema. The icons from Mao Zedong's Cultural Revolution and those of Hong Kong cinema both use a romantic, heroic style to tell moral or political tales. Julian Oliver aka 'Delire' + http://selectparks.net Quilted Thought Organ is a work which can be used both live and as an installation. Delire argues that as a conceptual territory, this is just another well-trodden foray into synaesthesia, although as an instrument it is very flexible and demands a very different way of thinking about a performance. The work commits itself to various visual meaning systems, where a composition is distributed across an iconographic and syntactical field. Quilted Thought Organ operates via a musical interface and objects in the game environment trigger audio events. Movement within the game space becomes a compositional tool, a real-time audio performance environment. United Game Artists (Tetsuya Mizuguchi) United Game Artists + http://www.u-ga.com/jp/company/profile_eng.html In REZ the player travels into the cyberspace of the project-K network on a mission to reawaken Eden. They must gain access to each area and layer level of the system, destroying any viruses and firewalls they encounter. Rez is a fast-action shooter that takes you deep into the world's computer network. The Project K Network has recently been upgraded to handle the rapid expansion of the information age and the core, known as Eden, holds the most advanced artificial intelligence the world has ever seen. Unfortunately, Eden cannot handle the ability to create her own thoughts and buckles under the pressure in an existential breakdown. She is lost deep inside the system, and you're the only one that can bring her back online, saving the world from utter chaos. You must blast complex viruses, unlock passwords, and destroy firewall bosses as you search for Eden. Each stage is in a constant state of flux dependent on your shooting techniques, which ultimately control the music and colors of your environment. The deeper you get into the dreamlike cyber world of Rez on PlayStation®2 computer entertainment system, your form will evolve or devolve depending on your progress, and the wire-frame environments give way to rich textured worlds. Warlpiri Media Association + http://www.bushmechanics.com In 1998, Tom Kantor (Warlpiri Media Arts Manager) and Francis Jupururrla Kelly came up with the idea of making a television documentary about yapa fixing cars the yapa way. With the help of other people such as David Batty and Simba Jupururrla Nelson they developed and produced a documentary called Bush Mechanics with funding from the National Indigenous Documentary Fund. The reaction to the first Bush Mechanics broadcast was amazing. People were ringing up after the first screening wanting to buy copies and to tell Warlpiri Media how much they enjoyed it. And now, they have the Bush Mechanics game where they test their own skills. Warlpiri Media Association: Incorporated in 1985, the Warlpiri Media Association(WMA) today employs up to 20 staff and have a committee of management made up entirely of local Yuendumu residents. WMA's mission is to provide broadcasting and information services to Aboriginal people and to foster Pintupi- Anmatjerre-Warlpiri peoples' use and control of media in all its forms. WMA run the Pintupi-Anmatjerre-Warlpiri (PAW) Radio Network broadcasting daily in three languages in its eleven member communities in the Central Western Desert. WMA also produce other media, including video, music, multimedia and online content. http://www.warlpiri.com.au. Artswork Image Credit - Bush Mechanics Game Concept: Francis Jupurrurla Kelly, Steven Jupurrurla Morton, Kasman Jungarrayi Spencer, Gordon Jangala Robertson, Donovan Jampijinpa Rice, Liam Campbell and Robin Cave. Cyber Dreaming assisted with the technical production. Eric Zimmerman gameLab + http://www.gmlb.com Do you fondly remember Atari, Intellivision, and early arcade games? Then feed your old skool nostalgia with Arcadia, gameLab's homage to 80s videogaming. In this hyperactive video game collage, you play fourretro-inspired videogames - all at the same time! Complete with eight unique mini-games, customizable backgrounds to unlock, and a blip-ified soundtrack by Michael Sweet at Audiobra in, Arcadia may be the first postmodern arcade classic. You can play the free version of Arcadia right now at Shockwave.com. Credits: Code: Ranjit Bhatnagar, Jessica Hammer, Peter Nicolai Game Design: Nick Fortugno, Frank Lantz, Eric Zimmerman Graphics: Mark Abrams, Frank Lantz, Peter Lee, Peter Nicolai Process: Nick Fortugno, Eric Zimmerman Sound: Michael Sweet / Audiobrain. |
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