JiscMail Logo
Email discussion lists for the UK Education and Research communities

Help for NEW-MEDIA-CURATING Archives


NEW-MEDIA-CURATING Archives

NEW-MEDIA-CURATING Archives


NEW-MEDIA-CURATING@JISCMAIL.AC.UK


View:

Message:

[

First

|

Previous

|

Next

|

Last

]

By Topic:

[

First

|

Previous

|

Next

|

Last

]

By Author:

[

First

|

Previous

|

Next

|

Last

]

Font:

Proportional Font

LISTSERV Archives

LISTSERV Archives

NEW-MEDIA-CURATING Home

NEW-MEDIA-CURATING Home

NEW-MEDIA-CURATING  August 2014

NEW-MEDIA-CURATING August 2014

Options

Subscribe or Unsubscribe

Subscribe or Unsubscribe

Log In

Log In

Get Password

Get Password

Subject:

Re: Video Games dance in the Museum

From:

"White, Gregor" <[log in to unmask]>

Reply-To:

White, Gregor

Date:

Fri, 29 Aug 2014 14:22:31 +0100

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (80 lines)

Many thanks for all the contributions to the discussion so far. I've been intrigued by much of the debate and have found many of the suggested links and examples offered very useful. I'm heartened that much of the discussion has validated some of our initial thoughts and think that the contributions have added to these and moved the debate on from the first workshop, where we discussed the idea of the feedback loop as an analogy for the exhibit, to looking at increased levels of complexity to games systems and expanded systems that reach into the public sphere.

Going forward I'd be interested in exploring ways in which critical judgements are applied in the museum or exhibition design context particularly in relation to selection and acquisition decisions.

When selecting content for an exhibition or collection of video games, what criteria should be applied? Traditional criteria might include paradigmatic examples of a form that demonstrate typical or ubiquitous elements that are definitive of the form. Given the cannibalistic tendencies of games designers that shouldn't be too challenging but what might the quality criteria be?

Looking through the lens of the V&A , one might look for examples that expose the process of making, both in terms of the quality of the material and the quality of craftsmanship. Can these criteria be applied to video games. Alternatively, one might make an aesthetic judgement of 'beauty' however problematic/contingent that might be...What games or characteristics of a game can be described as beautiful? Finally, one might look for significance. Games or elements of games that either capture the essence of games or watershed developments that change our assumptions; games that capture the public imagination or change the way in which games are experienced and perceived.

I'd like to invite comments on some of these challenges, examples of games, exhibits, collections that you feel exhibit these qualities, or critical approaches to the 'craft', aesthetic and social understanding of the medium.

Many thanks
Gregor White

-----Original Message-----
From: Curating digital art - www.crumbweb.org [mailto:[log in to unmask]] On Behalf Of Paul Brown
Sent: 26 August 2014 21:06
To: [log in to unmask]
Subject: Re: [NEW-MEDIA-CURATING] Video Games dance in the Museum

With this theme in mind it might be good then to reference the pioneering work of:

John Lansdown's Sword Fights and Dance:  http://nelly.dmu.ac.uk/4dd/guest-jl.html
Simon Veitch's 3-Dis:  http://vasulka.org/archive/Artists1/Burt,Warren/FairExchanges.pdf
George Mallen's Eco-Game (see page 2): http://computer-arts-society.com/static/cas/computerartsthesis/wp-content/uploads/2010/11/Communication-Game-Paper-7-main.pdf
Alan Sutcliffe's BEHAVE: http://dada.compart-bremen.de/item/artwork/736

As well as the work of younger and better know figures such as Thecla Schiphorst, David Rokeby and others

All best
Paul

On 26 Aug 2014, at 20:34, Johannes Birringer <[log in to unmask]> wrote:

> Yes, not bad at all, Paul, bringing this up, wonderful!
> And the discussion here, though evoking contexts and convergences, has shied away from performance and dance a bit, but I expected that.
>
> Games and dance have converged for some years, not just technically but also content oriented,
> if you think of French choreographer Fabien Prioville's "Jailbreak Mind" (2009) - https://www.youtube.com/watch?v=iaWfintqsFU  -   or other works that choreographically played with game ideas (Xavier Le Roy, etc). In our DAP-Lab performance of UKIYO at Sadler's Wells, in 2010, we also worked/collaborated with Japanese artists and ideas on virtual and SL worlds/spaces and avatars/manga charactars that we projected against/along with the real life dancers.
> Wayne McGregor, whose research with digital technologies was exhibited
> at the Wellcome Trust a short while back, in 2013, under the title:
> "Thinking with the Body: Mind and Movement", also deployed an "engine" during the creating process, a software and an artificial intelligence program called  'the Choreographic Language Agent' (CLA) (developed by Nick Rothwell), and the results of the compositions were shown in the piece "Atomos"  (also premiered at Sadler's Wells).
>
> When I brought up the question of Kinect or Oculus Rift interfaces in
> my early posting here, I don't think there was a response, so I gathered that real time performance (interfaces) were not so much on the agenda of the discussion; but if one were to seriously look at a wider evolution spectrum in our cultures of conceptual and aesthetic ideas ( design, algorithmic concepts, performance concepts) related to games people play, games people design, then it may be fruitful, and certainly exciting for choreographers/digital artists/sound artists, to widen the discussion or the curatorial vision just a tiny bit. Re: sound, I remember composer Mick Grierson, back in 2006 or thereabouts, designing a 3D first person multi-player composition and performance environment, "Noisescape," created in Max/Msp/Jitter through the application of physical modeling, games design and audio-visual composition techniques and Grierson created it to demonstrate the potential of 3D environments as a collaborative musical interface. (I trust Johannes Goebel at EMPAC may also have produced other such sonic experiments.......) - would these not also figure interestingly in the projected exposure of various design processes?
>
> For example, another exhibition recently opened in Salzburg, "Simone Forti. Mit dem Körper denken"  (Thinking with the Body) - http://www.museumdermoderne.at/de/ausstellungen/aktuell/details/mdm/simone-forti-mit-dem-koerper-denken-eine-retrospektive-in-bewegung/ -    and featuring choreographer Simone Forti,  her works, movement ideas, and drawings, and as a historical look back to the early postmodern dance of the 60s and 70s, this of course is most interesting as Forti, just like Trisha Brown ("Primary Accumulations"), worked with instructions for movement, rule based compositions that sometimes might be considered close in spirit  to game concepts   (not that I would have any idea whether Judson Dance Theatre or Forti (who also worked on the West Coast and LA) had any convergence/touch points whatsoever with games designers/programers in California....or whether game designers take a look at what happens in dance or music (what a fabulous "game" scenography Heiner Goebbels cooked up for the current music theatre production of Louis Andriessen's "De Materie" at the Ruhrtriennale !).
>
> regards
> Johannes Birringer
> dap-lab
> http://www.brunel.ac.uk/dap
>
> +++++
>
>
> [Paul schreibt]
>
> I though this may be of interest to this discussion:
>
> 'What happens when video games and dance collide? As much as I'd like to announce it, Super Mario at Sadler's Wells isn't happening any time soon - instead, I'm talking about using gaming technology to enhance the creation of new work. It's something 22-year-old Ben Glover explored for his recent project, Interactive Technology in Dance. By using motion sensing gaming device Kinect, Ben recorded the movements and gestures of dancers, turning their jitters and flourishes into mathematically-generated images on a screen behind the performers.'
>
>
> http://www.theguardian.com/culture-professionals-network/culture-profe
> ssionals-blog/2014/aug/26/ben-glover-digital-theatre-tech-talk?CMP=new
> _1194

====
Paul Brown - based in the UK mid-August to mid-November 2014 http://www.paul-brown.com == http://www.brown-and-son.com UK Mobile +44 (0)794 104 8228 Skype paul-g-brown ==== Honorary Visiting Professor - Sussex University http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====



====
Paul Brown - based in the UK mid-August to mid-November 2014 http://www.paul-brown.com == http://www.brown-and-son.com UK Mobile +44 (0)794 104 8228 Skype paul-g-brown ==== Honorary Visiting Professor - Sussex University http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====

Abertay University
Scotland's leading modern university for psychology research (RAE 2008)
Abertay University is a charity registered in Scotland, no. SC016040

Top of Message | Previous Page | Permalink

JiscMail Tools


RSS Feeds and Sharing


Advanced Options


Archives

October 2019
September 2019
August 2019
July 2019
June 2019
May 2019
April 2019
March 2019
February 2019
January 2019
December 2018
November 2018
October 2018
September 2018
August 2018
July 2018
June 2018
May 2018
April 2018
March 2018
February 2018
January 2018
December 2017
November 2017
October 2017
September 2017
August 2017
July 2017
June 2017
May 2017
April 2017
March 2017
February 2017
January 2017
December 2016
November 2016
October 2016
September 2016
August 2016
July 2016
June 2016
May 2016
April 2016
March 2016
February 2016
January 2016
December 2015
November 2015
October 2015
September 2015
August 2015
July 2015
June 2015
May 2015
April 2015
March 2015
February 2015
January 2015
December 2014
November 2014
October 2014
September 2014
August 2014
July 2014
June 2014
May 2014
April 2014
March 2014
February 2014
January 2014
December 2013
November 2013
October 2013
September 2013
August 2013
July 2013
June 2013
May 2013
April 2013
March 2013
February 2013
January 2013
December 2012
November 2012
October 2012
September 2012
August 2012
July 2012
June 2012
May 2012
April 2012
March 2012
February 2012
January 2012
December 2011
November 2011
October 2011
September 2011
August 2011
July 2011
June 2011
May 2011
April 2011
March 2011
February 2011
January 2011
December 2010
November 2010
October 2010
September 2010
August 2010
July 2010
June 2010
May 2010
April 2010
March 2010
February 2010
January 2010
December 2009
November 2009
October 2009
September 2009
August 2009
July 2009
June 2009
May 2009
April 2009
March 2009
February 2009
January 2009
December 2008
November 2008
October 2008
September 2008
August 2008
July 2008
June 2008
May 2008
April 2008
March 2008
February 2008
January 2008
December 2007
November 2007
October 2007
September 2007
August 2007
July 2007
June 2007
May 2007
April 2007
March 2007
February 2007
January 2007
2006
2005
2004
2003
2002
2001


JiscMail is a Jisc service.

View our service policies at https://www.jiscmail.ac.uk/policyandsecurity/ and Jisc's privacy policy at https://www.jisc.ac.uk/website/privacy-notice

Secured by F-Secure Anti-Virus CataList Email List Search Powered by the LISTSERV Email List Manager