CINDY POREMBA (C.V.) is a digital media researcher, artist and curator, exploring the intersection of documentary, videogames and interactive art. She is currently an FQRSC postdoctoral fellow, researching infrastructure for documentary videogames, in the School of Image Arts at Ryerson University.
(with Ian Bogost)Can Games get Real? A Closer Look at ‘Documentary’ Digital Games (2008)
DM8106 Production III (New Media)
This is an advanced production course that focuses on specific methods and techniques of editing images, motion picture, sound, or interactive experimental approaches in contemporary documentary-based practice. Various production and post-production strategies are reviewed. This is a hands-on course designed to prepare for graduate fieldwork and production of the MFA final project.
Georgia Institute of Technology, Fall 2012
Recent years have seen a surge of interest and creative energy surrounding documentary and non-fiction media. In this course, students explore and challenge the conceptual, historic and technical factors that surround the representation of the real, with a particular focus on issues of performance, experience, indexicality, and interaction.
La Gaîté Lyrique, Paris, FR (June 21 – Aug 13, 2012)
Curated by Lynn Hughes, Heather Kelley, and Cindy Poremba.
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.
TAG et Kokoromi, deux des principaux groupes montréalais centrés sur les jeux expérimentaux, ont carte blanche dans l’espace jeux vidéo.
Lynn Hughes (Technoculture, Art and Games research center, TAG), Heather Kelley (kokoromi collective) et Cindy Poremba (kokoromi et TAG) sont des curateurs et concepteurs de jeux associés aux deux principaux groupes montréalais centrés sur les jeux expérimentaux: TAG et kokoromi. (more…)
Anaglyphic 3D videogame with head tracking. superHYPERCUBE is an exploration into accessible large-scale public gaming. It uses 3 types of depth cues to create immersion, while simultaneously contributing to the visualist spectacle within a performance environment.
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. (more…)
Winter 2010, Fall 2010, Fall 2011
Videogames have become increasingly significant in terms of both popularity and role as a cultural form. This course will explore formal, aesthetic, and cultural aspects of videogames, the emerging discourse around digital narrative, the expressive potential of games, and the nature of meaningful gameplay; with particular emphasis on the relationship of digital games to text-based forms such as poetry and literary fiction. Through readings, in-class “screenings” and take-home play-assignments, students will be challenged to consider how videogames both extend and complicate traditional models of analyzing and understanding texts.
Emilie Grenier + Cindy Poremba
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. (more…)
The Sustainable Forest was a small scale “LAN party” using Tale of Tales’ (Auriea Harvey and Michaël Samyn) multiplayer online game The Endless Forest. Drawing on both the “endless forest” outside, and an atmospheric, surreal space inside, this “soiree” was an attempt to optimize the feeling of co-present, self-directed play. It was a curatorial performace experiment in sustaining an art experience by crafting a social gaming context conducive to mood, community, play, engagement, and reflection. (more…)
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? (more…)
PoV: Alternative Games Exhibition
June 17-20, 2005
Port of Vancouver, Renaissance Hotel Waterfront
Vancouver, British Columbia, 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.
On Thursday June 22nd, 2006 The Escape Artist’s Society (TEAS) unveils eyeTEASers: Video Art Podified; Vancouver’s first showcase of video artwork for the Apple iPod.
The iPod is the ‘Walkman’ of the early 21st century— it has moved beyond popularity to become one of those ubiquitous cultural elements defining this time and place (along with low carb diets and terrorist threats). We can’t underestimate the impact ‘podification’ will have on audio and video – just as audio-only ‘Podcasts’ are reviving the radio star, video iPods will change the way we view and distribute digital video. (more…)
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