Artandgames1
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Art and games - context - Sheff Hallam
![Definition of a game - Are games Art?
Roger Caillois 1961, p.10-11.
an activity which is essentially: Free (voluntary), separate [in time and space], uncertain, unproductive, governed by rules, make-
believe, but separate and outside of the everyday realm.
Bernard Suits 1978, p. 34.
To play a game is to engage in activity directed towards bringing about a specific state of affairs, using only means
permitted by rules, where the rules prohibit more efficient in favor of less efficient means, and where such rules are
accepted just because they make possible such activity.- The lusory attitude is the psychological attitude
required of a player entering into the play of a game. To adopt a lusory attitude is to accept the arbitrary
rules of a game in order to facilitate the resulting experience of play.
Wittgeinstein - familial - Gant, Cluster theory - define
something through a collection of similar elements, some but not
all.](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)
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Artandgames1
- 1. Gamefulness in Art Game structures and play as an organising principle
- 2. Definition of a game - Are games Art? Roger Caillois 1961, p.10-11. an activity which is essentially: Free (voluntary), separate [in time and space], uncertain, unproductive, governed by rules, make- believe, but separate and outside of the everyday realm. Bernard Suits 1978, p. 34. To play a game is to engage in activity directed towards bringing about a specific state of affairs, using only means permitted by rules, where the rules prohibit more efficient in favor of less efficient means, and where such rules are accepted just because they make possible such activity.- The lusory attitude is the psychological attitude required of a player entering into the play of a game. To adopt a lusory attitude is to accept the arbitrary rules of a game in order to facilitate the resulting experience of play. Wittgeinstein - familial - Gant, Cluster theory - define something through a collection of similar elements, some but not all.
- 3. Caillois game elements Caillois constructs his classification of games into four main categories: agôn (competition), alea (chance), mimicry (simulation), and ilinx (vertigo), Mechanics - elements -
- 4. Play or games - end goals, experience. Padia or Ludic - Cailois -
- 5. Espen Aarseth Ergodic Action - Cybertext Labyrinths and Mazes Players and Participants
- 6. Briton's labyrinthine installation is already the toast of Venice Mike kelly
- 7. The Rain Room Barbican Mike Nelson The New economy - Experiential Escape Rooms - Secret Cinema - promenade theatre Immersion World building liminal Mcgonical - Reality is Broken, people are moving to the virtual, because they see greater satisfaction than in their so called real lives, we have to make life more like games.
- 8. Interaction in the gallery Morris Bodyspacethings Playgrounds worlds of experience ACTIVE AGENTS - Spectators-
- 9. The Interface Mimetic Interfaces - replicate world objects In game states Wii controller An interface extends the reach of the player into the gameworld. Walton Imaginary Prop Wurm Erwin: One Minute Sculptures:
- 10. Clare Patey, Empathy Museum The Player or the Participant
- 11. Play Bernard Sutton Smith - Play is ambiguous -
- 12. Lottie Child Street training manual. TRANSGRESSIVE PLAY
- 13. Gustav Artigas Viva La Resistance
- 14. david Belt Glassphemy Games with purpose - gamification - serious - art with social purpose Gamification - gaming constructs and design principles in non gaming environments Piano stairs FUN - can art be fun Is fun trivial? MEANINGFUL PLAY - connection of actions to the activity - responsivness.
- 15. CASUAL GAMES - Julls for participation Fishbone’s Doug Leisure land golf: designed by artists.
- 16. FOLK - Everyday -
- 17. Use of play equipment Ann Hamilton
- 18. CONTEXT Public Art/Public space/Public Realm - Lacy - New Genre Public Art Ian borden - skateboarding - Space and architecture and the body
- 19. Folklorism - modern folk -
- 20. Arm Wrestling Podium Johann van der Schijff
- 21. Swivel-Olympics
- 22. Surrealist games According to the Surrealist Manifesto, automatism is a pure state where one expresses the actual functioning of thought not being dictated by reason and exempt from any aesthetic or moral concern. Based on the creative use of automatism, the Surrealists borrowed from children’s games.
- 23. Cards from Le Jeu de Marseille
- 25. Fluxus 1960-70s Fluxus had no single unifying style. Artists used a range of media and processes adopting a ‘do-it- yourself’ attitude to creative activity, often staging random performances and using whatever materials were at hand to make art. Seeing themselves as an alternative to academic art and music, Fluxus was a democratic form of creativity open to anyone. Collaborations were encouraged between artists and across artforms, and also with the audience or spectator. It valued simplicity and anti- commercialism, with chance and accident playing a big part in the creation of works, and humour also being an important element.
- 26. Takako Saito Spice Chess
- 27. Time Travel FluxKit – Shorouq Ghneim Puzzles, are the games Uncertainty - is that a need for a game Goals - must the task be logical, have an end conclusion Fluxes boxes were nonsensical, the task not completable. Rule set Scores Rule transference .
- 28. The Situationist International Due to its marginal existence in relation to the oppressive reality of work, play is often regarded as fictitious. But the work of the situationists is precisely the preparation of ludic possibilities to come. Guy Debord An important concept of situationist theory was the primary means of counteracting the spectacle; the construction of situations, moments of life deliberately constructed for the purpose of reawakening and pursuing authentic desires, experiencing the feeling of life and adventure, and the liberation of everyday life The Beach Beneath the Street Drift - the idea of moving aimlessly moving though the city, or with no fixed point, experiencing the city.
- 29. Janine Harrington - 3 x 3 (formerly ABACUS/ Car Park) Huizinga magic circle a bounded space set apart from normal life. Inside the magic circle, different rules apply, and it is a space where we can experience things not normally sanctioned or allowed in regular space or life. Liminal - Boundaries
- 30. Suzanne lacy Between the door And the Street
- 31. Gabriel Orzoco Ping Pond The well played game The new games movement. Bernard De Koven, Moving games away from competition and creating new social games. Extending rallies in a game, or a more experienced player helping another to prolong the game. Moving it to performance
- 32. ImprovEverywhere, the Mp3 experiment Why do we participate - Self determination Theory Autole Extern Rewards
- 33. Wii are out of control - gestural excess bart simon karina smigla-bobinski ada https://www.thisiscolossal.c om/2018/05/ada-by-karina- smigla-bobinski/
- 34. Three sided football, Danish Situationist Asger Jorn
- 35. Artigas - rules of the game - mechanics - experience
- 36. Claire Bishop, Artificial Hells, Delegated performance artists use other people to make their work. Relational art - Nicolas Bourriaud. The artist can be more accurately viewed as the "catalyst" in relational art, rather than being at the centre Spencer Tunick
- 37. Pervasive games - games that are played in and on the streets. Often with technology
- 38. Blast theory Can You See Me Now?
- 39. Carsten holler upside down spectacles - slides ADULT PLAY Play as alibis
- 40. As in the development of gamestation like the Wii, the element of gaming has moved from the screen to the participants in the real space playing the game, and they are spectorial, watchable.
- 41. Michael Sailstorfer has buried gold bars in Folkestone
- 42. Accumilation - emergence - complexity -(patterns) Roman Ondark Measuring the universe
- 43. The interface - as artefact - artefact after the fact 7) Laurence Payot People pavilion
- 44. Critical Play, artists that work in gaming environments. Game Artists Artist Games
- 45. Jason Rohrer Passage’s creator, Jason Rohrer, is the subject of a new exhibition at Wellesley College’s Davis museum, “The Game Worlds of Jason Rohrer,” which is being touted as the first solo art museum retrospective for a video-game designer. (Passage is already a permanent part of MoMA’s collection.)
- 46. Ricardo Miranda Zúñiga’s Vagamundo: A Migrant’s Tale A platform games. Art games that question the media, and question society Critical gaming. Vagamundo: A Migrant's Tale is a mobile public art project designed for on the street interaction to create temporary public commons as well as an online game. Through a mobile cart resembling an ice cream cart pedestrians are invited to play a video game that reflects the plight of illegal immigrants in New York. The project is informed by interviews that I conducted with new immigrants from Latin America residing in Manhattan and Brooklyn. The game is composed of three levels each level represents a move up in the social scale and assimilation to the United States. making playful gamified works that are critical of society, are progressive and revolutionary. Artists use games to critique society.
- 47. Serious Games - Games designed for purposes outside of entertainment and to encourage participants to engage with a subject.
Hinweis der Redaktion
- What is the difference between play and a game, Paidia - free play and Ludic, which is play with rules. Though does open play become Ludic, people make rules as they play. What has art and games, and ply got in common. A game is a system in which players engage in an artificial conflict, defined by rules, that results in a quantifiable outcome.
- The Surrelists, ( is golf a surreal game, a performance, We dress in hats and socks over trousers,and then in the most complex and hardest way possible we try and get a small ball into a small hole from a great distance using only a stick.
- By Kim Navarre from Brooklyn, NY - Labyrinth of Failure by Chris Hackett and Eleanor LovinskyUploaded by McGeddon, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=9565133
- Immersive, choices, participatory. Gameful elements.
- S1 Brutulist playground Baltic - The play grond project
- Like the situationist, it is about hte spectacle, reclaiming social spaces, and urban areas. Transorming everyday environments. This situationist concern has led ot modern day phenomone such as the flash mob. Her practice includes participatory, live art explorations of public space, utilising strategies of collaboration and spontaneous interaction. These strategies can be conceived as ‘urban survival skills for the twenty first century’ - A street manual that turns the environment into spaces to play games.
- Why do we do what we do, why do art, why go see art, what motivates us. How oculd you get people or participants invovled in projects. Why are you here, why am I here, is it external rewards, or intrinsic rewards that motivates us. Have you ever experienced a state of flow, maybe when doing your artwork. David Hockney said he has spent his life only doing what he wants to do. Think about the audience, about what they get from seeing your work, what do they take away from it, what is the experience they have.
- The Surrealists games were Chain games, Conditionals, Echo poems, The Game of Exquisite Corpse
- What game elements does this have. Marcel Duchamp was fascinated by the game. At first, Duchamp treated chess as a found object and cultural phenomenon. “I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is purer than art in its social position. (On giving up art to play chess)” On March 5, 1968, Duchamp and his wife, Teeny, participated in Reunion, a musical work by John Cage.
- What is the metaphor here,has she added any gaming elements to the game. Yoko Ono broke down the prototype of the chess and generated open-ended and infinite games. Changes the way people play the game, the stratergies and skills needed. Maybe makes them play collaobratilvly. Fluxus - Yoko Ono (1971) ‘Play it with trust’ all pieces are white. Opposed to serious-ness and the ossification of art as object, Fluxus artists sought a new art practice, one that was open to humor, intimacy, player agency, and various aspects of performance. “Because games lend themselves to humor, often require physical participation, and undermine the seriousness of art that certain Fluxus artists opposed, they were a per-fect medium for Fluxus expression and experimentation.
- This is artists working with existing game structures, that is important to them culturally, chess is predominant before electronic games. Several Fluxus artists created games as interventions that could work to open every-day life to more careful examination, rendering social moments as acts of exchange or opportunities to critique larger political situations. Takako Saito disrupted various materials for aesthetic experience in chess games such as spice chess, where you had to smell the pieces to work out what they were. According to Yoshimoto, Takako Saito’ chess sets became the embodiment of the Fluxus philosophy in their merging of strategy and humor
- Is this a game, is using rules and challenges, or puzzles game play game theorist Juuls feels that this structure is borderline games. Fluxkits: boxes holding play items and, possibly, instructions. These were a range of inexpensive, even disposable, interactive game- like works, and Flux games were performed at Fluxus events.
- The Situationist International (SI) was an international organization of social revolutionaries made up of avant-garde artists, intellectuals, and political theorists, prominent in Europe from its formation in 1957 to its dissolution in 1972.The intellectual foundations of the Situationist International were derived primarily from anti-authoritarian Marxism and the avant-garde art movements of the early 20th century, particularly Dada and Surrealism An important concept of situationist theory was the primary means of counteracting the spectacle; the construction of situations, moments of life deliberately constructed for the purpose of reawakening and pursuing authentic desires, experiencing the feeling of life and adventure, and the liberation of everyday life Drift - the idea of moving aimlessley though the city, or with no ficed point, experienceing the city.
- is a playful and colourful dance installation that behaves like a multi-player game where it’s the taking part that counts. The audience play an active role in triggering the dancers with their own walking or running in the space. The dancers’ movements reveal patterns and relationships in response to different numbers of "players" and their movements in the space.
- The idea of instructions, a modern updatng of the FLuxus kits, is this Caillios Mimicry.
- Reskining existing games. How would you change other games and sports to make them art, to make them performative.
- Artist Ricardo Basbaum (Brazilian, b. 1961) leads a workshop exploring group dynamics and the relationship between architecture and individual bodies through a series of interventions throughout the Museum. Participants wear t-shirts imprinted with the word “ME” or “YOU” in either English or Portuguese. Each group performs a set of instructions that correspond to drawings and proposals developed by the group. The resulting experiences are documented and displayed in the Studio.
- Delegated performance… This is participatory, and the idea of games can be an organising principle for this. Do any of Caillos game descritptions fit these works. Rain Room by Hannes Koch, Florian Ortkrass and Stuart Wood, three contemporary artists and graduates from the Royal College of Art in London, who went on to found their own art studio, 'Random International. Stairs by the Fun Theory. "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.
- is one of the first location based games. Online players compete against members of Blast Theory on the streets. Tracked by satellites, Blast Theory's runners appear online next to your player on a map of the city. On the streets, handheld computers showing the positions of online players guide the runners in tracking you down.
- Gold bars buried on the beach as part of the Folkstein Triennial in 2014
- Passage’s creator, Jason Rohrer, is the subject of a new exhibition at Wellesley College’s Davis museum, “The Game Worlds of Jason Rohrer,” which is being touted as the first solo art museum retrospective for a video-game designer. (Passage is already a permanent part of MoMA’s collection.) Aside from putting to bed any lingering doubts about the genre’s artistic potential, the show presents an oeuvre that spans genres and conceits that would be difficult, maybe impossible, to tackle in a different pmedium. “It works both as a kind of philosophical object, but it’s also an immersive, playful experience that transcends any kind of interpretation that I might offer of it,” says Mike Maizels, the exhibition’s curator. Maizels first learned about Rohrer’s work via a Wired magazine article about the game Chain World, which was conceived to exist only as a single copy on a flash drive, to be played once and then passed on.
- Art games that question the media, and question society Critical gaming. Vagamundo: A Migrant's Tale is a mobile public art project designed for on the street interaction to create temporary public commons as well as an online game. Through a mobile cart resembling an ice cream cart pedestrians are invited to play a video game that reflects the plight of illegal immigrants in New York. The project is informed by interviews that I conducted with new immigrants from Latin America residing in Manhattan and Brooklyn. The game is composed of three levels each level represents a move up in the social scale and assimilation to the United States. making playful gamified works that are critical of society, are progressive and revolutionary. Artists use games to critique society.
- Darfur is dying - Welcome to Darfur is Dying. This narrative-based simulation was created in 2006 to put you in the shoes of a displaced Darfurian refugee.