Collaborators: Jane Tingley (Project Lead), Marius Kintel
anyWare is an IoT distributed sculpture that will consist of three physical objects, connected to the internet, placed in different physical locations. The objects will mirror each other (either symmetrically or asymetrically) and simultaneously respond to people who interact with them in any physical or virtual location.
SUPERHYPERCUBE (expected 2016 for Playstation VR) is a VR “first person puzzler” with classic controls and intuitive shape-matching gameplay. You control a group of cubes and rotate it to fit through a hole in a wall that is constantly moving toward you. Each time you fit through another wall without crashing, more cubes are added to your cluster. Head tracking is critical in the game – as your cluster of cubes gets bigger, you will need to lean around it to see the hole and quickly determine what rotations to make. Stay alive as long as possible, and add your high scores to the ranks of players around the world.
Co-presented by MODA and Georgia Tech’s Digital Media Program, XYZ: Alternative Voices in Game Design is the first-ever exhibition that highlights the work of women as video game designers and artists.
Cadere is the first game designed for Street Level.
In Cadere, players perform a series of slow gestures to create an abstract after-image linked to their physical movement. The performance is contextualized within the broader motion of falling, and is inspired by the following quote from Viktor Wynd:
“Decadence comes from the latin word cadere – which means to fall. It is the beautiful way to fall. It’s a very slow movement which has lots of beauty. It can be a kind of self-killing in a beautiful way, a tragic way.”
A Series of Tubes was a 2013 game prototype for the Sifteo platform.
ASOT combines Labyrinth-style ball maze dynamics with the joys of physically awkward social contortion akin to Twister. Players must rotate Sifteo cubes vertically to move a ball through a maze of tubes, without falling through an exit. All the while, players must build and keep connected an increasingly large structure of Sifteo cubes, and pick up or avoid game-altering collectibles.
The playable exhibition Joue le jeu – Play along showcased games as the broad, rich cultural phenomenon they now are. A vibrant international community of artist-designers is inventing new narrative forms, play styles, and innovative visions which are radically different from more familiar video game stereotypes. We invited visitors to experience the new forms of gaming at the heart of the current golden age of creative game design.
Grime is a documentary videogame exploring the work of UK reverse graffiti artist Moose (Paul Curtis). The game uses the iOS platform’s touch interface to engage players in gestural actions aimed at exploring the environmental an d social implications of grimewriting, in conjunction with the audio and rotoscoped commentary from Moose himself.
Venue/Date Saturday, Nov 20, 2010, Studio XX, Montreal, QC Organized by Cindy Poremba, with support from Amanda Williams and Heather Kelley.
The Creative Game Controller Workshop took place as part of the 2010 Htmlles festival. The central focus was on tearing apart and creatively using old USB keyboards and similar scrap electronics to create unique videogame controllers. No previous electronics or soldering experience is required! The concept was based on Stephanie Rothenberg’s Usernomics 1.0, and similar workshops hosted by Eyebeam.
The Digital Ludology Space invites you to explore imaginative worlds and playful encounters, courtesy of Digital Ludology: Studio XX’s game creation workshop initiated by Bérengère Marin-Dubuard in 2008. These unique new games will spill out into the exhibition space, beckoning you to set down the everyday world and play along.
Games don’t want to be Art. Like popular film and music, we just want art’s stuff. Respect, protection, preservation, due consideration. To reach a cultural stature such that when we put sophisticated messages into our games, there’s someone out there who actually expects to find them. We’re not interested in asking whether games are art (in the categorical sense), but whether videogames are really worth a damn (in the evaluative sense). To paraphrase Alfred Steiglitz– can videogames have the significance of art?
On Thursday June 22nd, 2006 The Escape Artist’s Society (TEAS) unveiled eyeTEASers: Art Podified; Vancouver’s first showcase of video artwork for the Apple iPod.
eyeTEASers presented some initial forays into podspace: from abstract contemplation pieces to quirky viral shorts—from live music performance to pure eyecandy. The artists showcased were a mix of local and international emerging and established artists. Participants were able to rent out (for up to 20 minutes) a curated selection of video complete with an iPod and speaker stand directly to their table for their communal viewing pleasure: video to share, talk about, and to redefine space. At the end of the evening, we auctioned off 6 weeks of exclusive personal viewing rights for each of the video submissions—in a sense, the winner bought the right to personally hoard the work or to share it with the world, at was their whim. After 4 weeks, all the works were made available to download to the video iPod from the TEAS website.
Curated by Cindy Poremba (curatorial lead), Rebecca Cannon, Celia Pearce, Ian Bogost, Željko Blace, and Mary Flanagan.
Venue/Date: June 17-20, 2005, Renaissance Hotel Waterfront, Vancouver, BC, Canada
The PoV (Point of View) Alternative Games Exhibition focused on groundbreaking digital games and game-based projects that innovated through content, process, use of technology, interaction, expectations and audience; in short, games that refuse to rehash standard themes and paradigms. PoV ran in conjunction with the Digital Games Research Association’s 2005 international conference “Changing Views: Worlds in Play.”