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Category: Gaming

Finaliza inscripción al Máster de Comunicación Digital Interactiva UVic

El próximo 30 de septiembre finaliza el plazo para inscripciones a la tercera edición del Máster de Comunicación Digital Interactiva de la Universitat de Vic que comenzará en Octubre de 2010. Aún quedan plazas disponibles. Se puede solicitar más información en la UVic: (0034) 938 861 222, escribir a mastersuniversitaris (at) o a hugo.pardo (at) Datos sobre el máster:

• Formato semi-presencial apto para estudiantes extranjeros (estancia en Barcelona: 3 meses).
• El Máster se cursa en la escuela de diseño BAU (en el Distrito @22).
• Entre los partners de este máster se encuentra la Corporació Catalana de Ràdio i TV Interactiva (CCRTV Interactiva), la Agència Catalana de Notícies (ACN), Ars Media, Eumogrà, Ubiqua y Marcel-lí Antúnez.
• Véase en el Portal del Máster una lista actualizada de los profesores).  Aquí la presentación de Cristóbal Cobo (Oxford Internet Institute), Alejandro Piscitelli o la visita de Martha Ladly, Gonzalo Frasca, Javier Díaz Noci, Ramón Salaverría, Marcel.lí Antúnez, Santiago Miralles, todos en la edición 2009/2010, o Bob Logan, Juan Pablo Puerta (Craigslist) y Pierre Levy en otras ediciones.
• El Máster dura 90 créditos, esto es, un año y medio. El primer año se cursan los módulos con contenidos (60 créditos); los 30 créditos restantes corresponden al proyecto (recorrido Profesional) o a la tesina de investigación (recorrido de Investigación). Esta segunda parte es no-presencial, o sea que los alumnos extranjeros pueden regresar a su país y volver a Barcelona para la defensa final de la tesina/proyecto.
• Los alumnos que opten por el recorrido de Investigación podrán continuar su formación en el Doctorado de Comunicación Digital Interactiva.

Artists Re:thinking Games Book Launch

Come and celebrate with the recent publication of ‘Artists Re: Thinking Games’.

This is an unmissable event for all artists/gamers with a presentation by respected game artist Dr Mary Flanagan, a guest appearance by Jeremy Bailey and a display of some of the gameart featured in the book as well as an introduction by the editors.

Continue reading »

NIMk Depreciated, solo exhibition Cory Arcangel

The Netherlands Media Art Institute presents:

Cory Arcangel
Buffalo, New York, 1978, lives and works in Brooklyn, New York (USA)


29 August – 14 November, 2009
opening 28 August 5:00 – 7:00 p.m. with DJ Cinnaman

The Media Art Institute proudly presents the first solo exhibition in The Netherlands by the 31-year-old ‘darling of new media art’, Cory Arcangel (US). Recent films, modified video games and computer installations by the artist will be shown in the context of earlier work.

Cory Arcangel hacks, manipulates and reuses various technological applications, including video games, web software, film and print media. In doing so he comments on digital media technologies and cultures while at the same time continuing to seek the possibilities that present themselves on the cutting edge of humor, theory and technological shortcomings. His interest in technology spans from the vernacular or non-expert to the conscious disrupting of digital techniques. Using techniques common to conceptual art and performance, Arcangel’s work often comments on the relationship between these two.

The Netherlands Media Arts Institute is showing Arcangel’s best known work, ‘Super Mario Clouds’ (2002-). The artist altered a version of the Nintendo game Super Mario Brothers in such a way that only an iconic, bright blue sky with clouds slowly drifting by remained. For the work ‘Structural Film’ (2007) Arcangel used the medium of film, which has been around a much longer time. In this work the iMovie filter that imitates dust and scratches from a time-worn film, called ‘Aged Film’, was applied to a blank image. Arcangel then transferred the resulting quicktime film to 16 mm film, so that the work becomes a contemporary pastiche of Nam June Paik’s ‘Zen for Film’.

Arcangel’s video installation ‘Sweet 16′ (2006), which by now could almost be called a classic, will also be presented. In this work two intros to the Guns N’ Roses video clip ‘Sweet Child O’ Mine’ sometimes run synchronously, and are sometimes totally out of sync. That is because the two videos’ lengths are off by one note. The artist’s love of music also emerges in his latest work ‘Drei Klavierstücke, op. 11’ (2009). In this video Arcangel brings together short YouTube fragments of cats walking on pianos. The artist edited all the separate fragments one note at a time, so that the cats collectively play Schönberg’s ‘op. 11’, a pioneering work of ‘atonal’ music.

Cory Arcangel completed his Bachelor in ‘Technology in Music and Related Arts’ at The Oberlin Conservatory of Music, in Oberlin, Ohio, in 2000. Together with friends from the conservatory, in 1998 the artist set up the programmers’ collective BEIGE. In addition to being an artist, Cory Arcangel is also a musician and performer. At the age of 27, Arcangel already had a solo exhibition in the Migros Museum in Zürich, Switzerland. Since then his work has been shown in group exhibitions in museums all over the world. Arcangel has had shows in commercial galleries in New York (USA), Paris (France), Salzburg (Austria), London (UK), Brussels (Belgium), Geneva (Switzerland), Stockholm (Sweden) and other.

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Contact for the press:
Marieke Istha, Communication
+31 (0)20 6237101

Netherlands Media Art Institute
Keizersgracht 264
1016 EV Amsterdam
The Netherlands

Opening hours: Tue t/m Sat and each first Sunday of the month Sunday September 6, October 4, November 1, 1300 – 1800 hrs. Entrance 4,50 (2,50 with discount). Museumkaart free

Media Art Platform:

Join the Class Wargames Crew for Game of War Weekend at HTTP Gallery. 16-17th May 2009

The Situationist Raoul Vaneigem famously wrote “There are no more artists since we’ve all become artists. Our next work of art is the construction of a full-blooded life.” – The Revolution of Everyday Life.

In this tradition, Class Wargames present two days of making and playing Guy Debord’s The Game of War. Debord, leader of the Situationist International, developed the game while in exile after the May ’68 Revolution, and came to regard it as his most important project. For Debord, The Game of War wasn’t just a game – come and learn how to fight and win against the oppressors of the spectacular society! Join the Class Wargames crew, Richard Barbrook, Fabian Tompsett, Ilze Black and others, in redefining political and contextual territories.

Come along on Saturday to learn the intricacies of the game by making your own board from recycled materials. Then come back on Sunday to play the game and participate in a discussion between political theorist and author Dr. Richard Barbrook of Class Wargames and author and programmer Alex Galloway of RSG, developer of Kriegspeil, a digital version of the Game of War, who will participate online from New York. The discussion will be chaired by Marc Garrett, co-director of and HTTP Gallery.

The discussion will be featured in ‘Artists RE:thinking Games’, due to be published in September 2009, compiled and edited by in collaboration with

Free Entry: Booking Essential
RSVP ale[AT]furtherfield[DOT]org

Saturday 16th May 12-5pm
Make your own board from recycled materials and learn the rules.

Sunday 17th May 12-5pm
Play the game and join the discussion with Richard Barkbrook and Alex Galloway

For more information about the event please visit HTTP Gallery website.
To take part in the game please RSVP to ale[AT]furtherfield[DOT]org

Game of War Weekend Schedule:

Day 1 – 12-5pm Saturday 16th May.

12.00 meet and great
12.15 introduction (Fabian/Richard)
12.30 building your own game
15.00 learning to play/ preparing the teams
17.00 day is over

Day 2 – 12-5pm Sunday 17th May.

12.00 meet and great and introduction
13.00 playing the game in team
16:30 Online Discussion – Richard Brabrook & Alex Galloway
17.00 day is over / drinks

More info:

The Game of War is a Clausewitz simulator: a Napoleonic-era military strategy game where armies must maintain their communications structure to survive – and where victory is achieved by smashing your opponent’s supply network rather than by taking their pieces. For Debord, The Game of War wasn’t just a game – it was a guide to how people should live their lives within Fordist society. Come learn how to fight and win against the oppressors of spectacular society!

Dr. Richard Barbrook is a senior lecturer in the School of Social Sciences, Humanities and Languages at the University of Westminster. In 2007 he published his study of the political and ideological role of the prophecies of artificial intelligence and the information society: Imaginary Futures. Richard is a trustee of Cybersalon and a founding member of Class Wargames. He is currently carrying out research into the politics of ludic subversion. More info:

Alexander R. Galloway is an author and programmer. He is Associate Professor or Media, Art and Communication at New York University; author of Protocol: How Control Exists After Decentralization (MIT, 2004), Gaming: Essays on Algorithmic Culture (Minnesota, 2006), and a new book coauthored with Eugene Thacker called The Exploit: A Theory of Networks (Minnesota, 2007). a founding member of the software collective RSG and creator of the Carnivore and Kriegspiel projects. More info:

Ilze Black is an artist and curator of media arts: &

Fabian Tompsett, London Psychogeographical Association and author:

Class Wargames are playing Guy Debord’s The Game of War in public using a replica of his original 1977 design for the board game; it is committed to subverting the ideological mechanisms which are used to keep us in line. The Class Wargames players are Dr. Richard Barbrook, University of Westminster; Ilze Black, Waterman’s Art Gallery; Lucy Blake, Software Developer; Mark Copplestone, Copplestone Castings; Rod Dickinson, Artist; Fabian Tompsett, Class War 1985; and Alex Veness, University of the Arts.

Ale, HTTP Gallery
email: ale[AT]furtherfield[DOT]org

HTTP Gallery
Unit A2, Arena Design Centre
71 Ashfield Road
London N4 1LD

gallery@calit2: Readings and Artist Discussion

Guest Speaker: Sheldon Brown, Calit2 Artist in Residence
with Geoff Ryman, CRCA Writer in Residence, and sci-fi author Kim
Stanley Robinson

Date: December 2nd, 2008

Time: 5:30pm-7:30pm

Location: Calit2 Auditorium, Atkinson Hall, UC San Diego

Live Webcast:

Host: Sheldon Brown


In connection with the current exhibition the gallery@calit2, featuring Sheldon Brown’s Scalable City, this event will feature a talk by Brown, and readings from two science-fiction authors, one of whom has written a short story set in the Scalable City.

The readings, artist talk and ensuing discussion, as well as a coffee-and-dessert reception, are co-sponsored by the UCSD division of Calit2 and the Center for Research in Computing and the Arts (CRCA).


Sheldon Brown is an artist who works in new forms of culture that arise out of the developments of computing technology. He is Director of the Center for Research in Computing and the Arts ( CRCA ) at UC San Diego, where he is also a Professor of Visual Arts and Artist-in-Residence at Calit2. The artist’s work examines the relationships between mediated and physical experiences. This work often exists across a range of public realms. His work plays with overlapping and reconfiguring private and public spaces, with new forms of mediation, proliferating co-existing public realms with geographies and social organizations of increasing diversity. Brown has been commissioned for public artworks in Seattle, San Francisco, San Diego and Mexico City, and has received grants from AT&T New Experiments in Art and Technology, the NEA, the Rockefeller Foundation, IBM, Intel, Sun, Vicon and others.

Geoff Ryman is a writer of science fiction, fantasy and surrealistic or “slipstream” fiction. He is a Visiting Professor in UCSD’s Department of Literature this quarter, and has been asked to take on a Writer-in-Residence role for CRCA and Calit2. Ryman’s short stories and novels have won 14 awards. He earned degrees in English and History at UCLA, but the Canadian author has spent most of his career in the UK. Ryman ran the UK government’s first web design team from 1994, and he headed the team that worked on the first official British Monarchy and 10 Downing Street websites. His own hypertext novel, uploaded in stages from 1996 to 1998, is called 253 and is about 253 people on a London Underground tube train. It won the Philip K Dick Memorial Award for best novel not published in hardback, and can still be found in all it’s hand-coded, 1995 HTML glory at

Kim Stanley Robinson is an American science fiction writer, whose work explores ecological and sociological themes. His own lifelong fascination with Mars led to the award-winning Mars trilogy, and he will be the guest of honors for the World Science Fiction Convention in 2010 in Melbourne, Australia. Robinson grew up in Southern California and received a B.A. from UC San Diego in 1974 in Literature, and later a Ph.D. in English from UC San Diego in 1982.


Reception: coffee and dessert.

International Artist Call ART TECH MEDIA 08

Art, Science, Technology, Innovation and Society

Calling on all creatives of the world to participate.

Submissions will be accepted from the following categories:

– Video art
– Net-art
– 2D & 3D Computer Animation
– Blog, videoblog
– Creation for mobile platforms
– Digital Music
– Videodance

– Digital Communities
– Geospatial storytelling
– Artificial Life
– Software art
– Transgenic art
– Generative art

– Videogames
– Robotic

– Open Source

– Works must have been produced after January 1st, 2007.
– The number of submissions is not limited.
– Works may be presented in any language.
However, a transcript of dialogues must be included in either Spanish or English,
– The organization reserves the rights to use parts of the works for media broadcasting, within the
promotional framework of artechmedia.
– Following the process of selection based on abstratcs, all participants will be notified in writing of
the result and the required format for the presentation of their work, preferably on DVD.
– Authors will be responsible for copyright of their works.
– Works selected will be exhibited in artechmedia.
– A electronic catalogue will be produced in Spanish and English, including all the works.
– Artists with works selected shall agree to assign a copy to artechmedia, which may be
used in the subsequent exhibitions.
– The organization is not responsible for the content of works in order to preserve freedom.


– Those interested in submitting work in these categories must send a completed entry form.

– A part from the entry form, those interested in taking part in video art and computer animation…
must also send a DVD with their work to:

c/Méndez Nuñez 102, 6ºD
38001 S/C Tenerife. Canary Island. Spain

– Digital Music must be sent both in digital format and as a hard copy by post.
c/Méndez Nuñez 102, 6ºD
38001 S/C Tenerife. Canary Island. Spain

DEADLINE : 31th october 2008

– Works presented will be selected by a committee of the organization.
– In each category a jury composed of experts will select the works.
– Jury’s decision is final, and is not open to appeal.

SELECTED WORKS must include:
– Technical credits.
– Technical requirements for its showing.
– Two colour photographs of every work sent.
– A short biography of author or representative organization.
– A transcript of dialogues in spanish or english.
– All works must include in their front page: the work’s title, the delivery address, and the
data of author or representative organization.
– In case of not providing a correct delivery address, the organization will not be
responsible for the works.
– Submission of a work implies the acceptance of these regulations.

Games Art Networking Event 2008

HTTP Gallery, Saturday 25th October, 12 – 6pm

Games Art does exactly what it says on the tin; art that uses, abuses and misuses the materials and language of games, whether real world, electronic or both.

The Games Art networking event will bring together artists, gamers, hackers, theorists, curators, activists, thinkers and doers all of kind. People who work and play with games, video games and playful practice.

What Will Happen?

The event will kicks off with presentations by Corrado Morgana, Tassos Stevens (Coney), Ruth Gibson and Bruno Martelli (igloo), Holly Gramazio and Daphne Dragona, followed by discussion.

Refreshments follow, and we’ll encourage you all to take part in an informal show and tell, so bring along some representation of your work, websites, objects, prototypes, whatever you have (within reason!) We will round off the event with an open mic session of quickfire presentations; present your own or other’s work, offer services and skills to other projects or make a request for help with getting stuff done.

Part of the London Games Fringe, a festival of alternative gaming events at the end of October 2008, organised by artists, academics, gamers, game developers, educators and creative professionals from a wide range of different media: .

Please RSVP
Because of limited space we can only accommodate 40 visitors for this event. Please book your place- first come, first served. Projectors and wireless access to the Internet will be provided, please let us know if you have any other special requirements.
To find out more and book your place please email Lauren.

When and where?

Saturday 25th October 2008, 12-6pm

HTTP Gallery
Unit A2 Arena Design Centre,
71 Ashfield Road, N4 1NY
Tel +44 20 8802 2827

For maps and information about getting to HTTP

More about the presentations

Games Art Curating it and Making it
Corrado Morgana, artist, electronic musician (retired) and researcher, will present his curatorial work with HTTP Gallery on the recent Zero Gamer and Game/Play exhibitions. He will also be presenting on his own practice which involves transgressive, emergent and glitch behaviour whilst utilizing game engine technologies. His recent work CarnageHug uses the Unreal Tournament 2004 engine to much gibbage and digital purposelessness. He will discuss how it came to be produced, it’s implications as a piece of software art, the ‘derivative work’ and the value of faffing, fiddling, pootling and noodling.

Big Ball Bingo
Tassos Stevens from Coney will present their new ‘future sport’, Big Ball Bingo, a big outdoor event with a futuristic feel, commissioned by Lift and the Shoreditch Festival for Shoreditch people to play on Olympic Handover Day. This game is made from three connected components, a big ball game, a bingo game, and a very big ball game, and was developed through engagement with local community groups who already played these kinds of games. In advance of the Ballpark, Coney operated a fictional agency, Shoreditch Futures, run by time travellers from the year 2068 who were seeking the seed event of a future catastrophe by gathering stories of Shoreditch past and present from local people. How and why and what then happened will be revealed… More about Big Ball Bingo

Bruno Martelli and Ruth Gibson, London-based artists, working together as igloo will be presenting their site-responsive work SwanQuake:House which is currently exhibited at V22 basement. Through re-purposing media tools and combining them with re-modeled household objects, House simulates and reconfigures representations of an east-end underworld. The artists manipulate the space between the actual and the imaginary providing a counterpoint via the human form. Their practice is concerned with recreating environments and systems where coding joins hands with choreographies of the body. The exhibition is accompanied by a publication SwanQuake: the user manual.

Pervasive Cheating
Holly Gramazio will be talking about Pervasive Cheating. Games that run in the real world – whether you call them pervasive games, street games, urban games, or anything else – can come up against a few particularly awkward problems. Cars that can genuinely run people over, for one; unreliable weather, for another; and loopholes in the game world that it’s really, really hard to close. Is there any way to stop people cheating at pervasive games? What counts as cheating – and do the cheating players agree? In a world filled with taxis, telephones, and GPS, is there any point in making rules about the technology that players are allowed to use, once they’re out of your sight? How do players cheat, and how does it affect the experience of the game, both for them and for everyone else?

Daphne Dragona is an independent new media arts curator and organiser, based in Athens with a special interest in the game arts field. She has been programme curator of Gaming Realities (Medi@terra, Athens, 2006), associate curator of Gameworld (Laboral, Gijon, 2007) and co-curator of Homo Ludens Ludens (Laboral, Gijon, 2008). She will be talking about how we define play today? What’s the role of play in a world that is itself a gamespace? As the game industry becomes richer and richer and a game art scene is growing parallel to it, questions arise regarding play’s real presence which seems to be under a process of continuous institutionalisation and commodification. Can we be critical about the projects, the exhibitions and the events we organise?
Interview with Daphne Dragona about Homo Ludens Ludens



12- 12.30 – Meet-up
Arrive, meet and chat over refreshments

12.30 – 2.30 – Presentations and discussion

2.30 – 4.30 – Break and Many to Many’ Show and Tell – refreshments and informal ‘many to many’ show and tell. All guests are invited to share their work and ideas with each other using HTTP/Furtherfield resources: projectors, computers, walls, tables and outdoors spaces.

4.30 – 5.30 – Open mike session – Final ‘one to many’ presentations. Guests sign up for 5 minute spots to present their own or others’ work or to offer or request collaboration.

5.30 – 6.00 – Round up sum up, final discussion, end, thank yous and good-byes, off to the pub!!

Who are HTTP?

HTTP is the Gallery arm of online media arts organisation HTTP have been involved with curating Games Art practice for several years having presented lat years. ‘Zero Gamer’ as part of the London Games Festival Fringe and the previous years touring exhibition ‘Game/Play’ which explored playful interaction and goal-oriented gaming explored through media arts practice. The associated publication featured over 20 contributions from writers, journalists and critics and was reported upon worldwide in media arts journals.

INTERVIEW: Michael Smith, by Ceci Moss

Image: Michael Smith, Lighting Affects, 2008

This text is republished in collaboration with It was released in Rhizome Digest on 01/23/08 and appears here as it was originally posted.

FROM: Ceci Moss
DATE: Wednesday January 23, 2008
SUBJECT: Interview with Michael Bell-Smith

Philadelphia-based artist Michael Bell-Smith creates digital animations comprised of repurposed images from the internet and video games. Presented as meditative scenes shown on flat screens and the web, his practice engages the history of perspective and painting in light of a larger visual culture informed by digital technology. For his new show “Bouncing Lights Forever”, which opened at New York gallery Foxy Production January 10th, Bell-Smith continued this exploration by increasing the size and scale of his works. Smith will give a talk on the exhibition Electronic Arts Intermix February 6th at 6:30pm.

CECI MOSS: The title of the show is “Bouncing Lights Forever”. In your work, the viewer feels suspended in infinite motion, a quality aptly captured by the title for your exhibition. I think your work proposes a meditative loop in relationship to historiographer Hayden White’s idea of a “modernist event”, a term which refers to the contemporary convergence of the event, its representation, and the dissemination of that representation into one moment. I would like to know what your thoughts are on the acceleration of these kind of events in time, and if you feel this is represented in your aesthetic.

MICHAEL BELL-SMITH: I think of this “meditative loop” more in terms of moments frozen in time, excerpts of a larger narrative or system that we can focus in on and break apart. It’s hard for me to tie that into the idea of a modernist event, as I see this work as pretty far removed from a real-world referent, from an original event. I think what’s more at play for me, is not the acceleration of this representation and dissemination, but the displacement – that these various references are floating around, bouncing off each other and multiplying.

CECI MOSS: Is there a larger narrative or system at play in the work? You describe displacement, and I wonder if this is a result of an overflow of multiple representations, rather than the dismantling of one larger narrative. That’s what I was getting at when I asked about the “modernist event”. Why do you think your work is removed from a real-world referent? How do you make that distinction?

MICHAEL BELL-SMITH: You’re right – it’s not a singular thing, it’s the various systems and narratives of visual culture: movies, the Internet, television, advertising, video games, art history, etc. But there’s also a way in which all these separate things are blurred together – I think this is what you’re getting at. Works like “Starfields 1” and “Starfields 2,” there’s different entry points: is it Star Trek, a screensaver, a video game, an advertisement, the act of flying through space itself, or just a bunch of white squares moving out from a center point? This is what I meant by being removed from a real world referent – that for me these pieces fit more in this realm of messy references, than one where you can trace things back to an original event.

CECI MOSS: In the past, in pieces such as “Self Portrait, NYC” and “Continue 2000”, you amplified the sensation of movement by using human figures as a static focal point. In your most recent work, I noticed not only that these figures were absent, but also that you increased the size and scale of your works immensely, for “Glitter Bend” especially. It seems you intend to generate a vantage point of magnitude, and in so doing, envelop the viewer into the piece. Why did you decide to expand perspective in this way?

MICHAEL BELL-SMITH: There’s a pictorial completeness in “Self Portrait, NYC” and “Continue: 2000” – a foreground and a background which add up to a picture, suggest a situation, etc. With the work in this show, I wasn’t interested in complete pictures as much as the elements we use to construct them. The lack of figures is my way of focusing on the backgrounds, making it more about these pieces and how we use them, than about full compositions.

There’s an aspect of the larger scale of the works – as far as physical size is concerned – which is simply about putting the works on an experiential par with paintings and other large scale pictures. I didn’t want the digital-ness of the pieces so tied to the experience of a personal computer, because ultimately the ways in which technology affects the way we view and process images – my main interest – extend way beyond the computer screen. So the scale is partially a gesture towards saying this is about more than personal computers, the internet, or video games.

I often aim to make work that while immersive, also foregrounds the simplicity of it’s structure, offering a counterpoint to that seduction. With “Glitter Bend” and “Building Across from Glitter Bend,” especially, I think the larger scale helps to serve that duality – blown up, they’re simultaneously more immersive, and easier to pick apart.

CECI MOSS: What is the structure that you’re “foregrounding”?

MICHAEL BELL-SMITH: The structure of the work itself, the way it’s been constructed – the pixels, the different elements, the layers, the composition, etc. I want people to be able to look at a work like Glitter Bend, and on one hand say “wow,” but on the other, be able to say “it’s just a bunch of shapes; I can see the individual pixels; I can see how each piece loops; I can see how he constructs perspective; I can see how he suggests scale; etc. ” They may have no sense of the technology behind it – the software I use, etc. – but on that certain level, they know how I made it. It’s the opposite of the way these things usually work: while most digital images are designed to hide their construction, I want it up front.

CECI MOSS: The five panels of “Moving, Endless (Samples)” immediately reminded me of the tonality of James Turrell’s installations. Turrell sculpted light within the boundaries of the built structure, whereas in your work, light is dictated by the limitations of the screen. Turrell’s practice heightened the viewer’s awareness of sight, and I would like to know if this concern propels you, especially as it relates to the contemporary experience of a viewer stationed in front of the computer.

MICHAEL BELL-SMITH: I had certainly thought about James Turrell with those pieces (as well as Donald Judd, Sol Lewitt and Mark Rothko, etc.), but his work is so much about experiencing these controlled environments, while to me, those panels are mostly pictures, or things. Bringing in the experience of sitting at a computer isn’t intentional. I was more interested in creating a setting where these digital images could employ the forms of minimalism, or the physical presence of framed pictures. Again, it’s a tactic to have the work read in relationship to concerns broader than the computer itself. For me, one aspect of the piece is computer-centric: the idea of quantization, that in order to represent something digitally, one needs to chop it into pieces. The reduced palette and pixilated dithering are gestures towards this idea. Again, its emphasizing that which is normally hidden. But that idea is coupled with something broader – the color gradient and the connotations! it carries in visual culture. While gradients are simple systems, they’re also used as shorthand for big sophisticated things like skys and sunsets, a starting point in the creation of this piece. In one sense the work is a series of quantized sunsets – a gesture that is as much about representation, language and the sublime as it is about technology.


Print Neural Issue # 28 in English Now Available celebrates 10 years of activity!
please check it and subscribe to RSS feeds, if you want.
. . . . . . . . . . . . . . . . . . . . . . . . .
3 issues + EXCLUSIVE DVD ‘Mediaterrae vol.1, Irpinia Electronic’
Europe 24,90 Euro – World 46,50 U.S. Dollars.
. . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . .
[Neural n. 28 contents]
. . . . . . . . . . . . . . . . . . . . . . . . .

. Florian Cramer interviews Jodi, “For us
it’s not an error”,
. Casey Reas (interview),
. Glitch explained by Olga Goriounova and
Alexei Shulgin,
. Ant Scott/Beflix interview.
. ICC Open Space 2007.
. news (Morpho Towers, Spamland, Bloomsday On Twitter
The Word’s slowest Instant Messenger, Spy Box)
. reviews (Gost Storeys, New Media Art,
Materializing New Media, Lebensfrische,
. centerfold: ‘Muon’ by Chris O’Shea
. . . . . . . . . . . . . . . . . . . . . . . . .

. Ryoiji Ikeda unexpected errors in Cyclo,
. Jens Brand (interview),
. news: (Uokand (Tapelake), Cut Chemist video
scratching the audience,
OSCulator, EarthSpeaker, Ex Pharao)
. reviews: (John Dunca Work 1975-2005, The Topography Of Chance,
Elffriede Soundrawing, Camera Lucida, Municipal 44)
. reviews cd: (Andrey Kiritchenko, Merzbow, The Hafler Trio,
Yoshio Machida, Test Dept., Quio, Luc Ferrari, Frank
Less-Lethal vol.1, The @C & Vitor Joaquim, Silicon Scally,
Burkhard Stangl / Taku Unami, Mem1, Dunaewsky69, Keene,
Minimalismo Italiano, Beautiful Schizophonic, The
Missing Ensemble,
Annea Lockwood, Andy Vaz)
. . . . . . . . . . . . . . . . . . . . . . . . .

. Sebastian Luetgert, the Art of Challenging
Copyright (interview),
. Perry Honerman, Infringement Series,
. news (Interception, Terminal Air,
OpeSourceCinema, Dialstation,
Missing Persons).
. reviews: (Privacy On The Line, Gamer Theory,
Abstract Hacktivism,
From Counterculture to Cyberculture, The Class
of the New)
. . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . .

Alessandro Ludovico
Neural Magazine – English ( Italian
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Zero Gamer (GOLD) Exhibition at the HTTP Gallery

2-18 Nov, Fri-Sun 12-5pm
or by appointment
contact: +44 (0) 20 8802 2827

Taking the action out of interaction.
Zero Gamer looks at games played, unplayed and unplayable, the spectator and the spectacle.

Zero Gamer (GOLD) at HTTP Gallery is a remix of the exhibition created for the Festival Lounge as part of the London Games Festival Fringe 2007. It includes works by Axel Stockburger, TheGhost, Corrado Morgana, Ziga Hajdukovic, Progress Quest and large projections of JODI’s Max Payne Cheats Only. The exhibition is accompanied by short publication with a keynote text by Axel Stockburger.

End of show Private View Friday 16th November 6-9pm

Download Catalogue here:

Mario battle no.1- game modification, Myfamwy Ashmore

Max Payne Cheats Only – video of game performance, JODI

Boys in the Hood – video, Axel Stockburger

Launch Line – video of game performance, The Ghost

Carnage Hug- 8 bots unarmed- game modification, Corrado Morgana

Progress Quest – software, Erik Fredriksen

1d Tetris – browser- based game, Ziga Hajdukovic

How to get to HTTP:

For texts and exibition details, check out the Zero Gamer website:

More Info:

Keynote Text by Axel Stockburger 2007.
The devil makes work for idle thumbs:

Zero Gamer
So, what happens when the action is taken out of interaction?
Collaborative, curatorial text by Ruth Catlow, Marc Garrett & Corrado Morgana 2007.
To read this text: