via Alain Dépocas on FB:Original Pacman sketches from Toru Iwatani.
http://control-online.nl/gamesindustrie/2010/06/22/iwatani-toont-gamesgeschiedenis-in-meest-pure-vorm/
Showing posts with label Art Game Studies. Show all posts
Showing posts with label Art Game Studies. Show all posts
Monday, July 5, 2010
Original Pacman sketches
via Alain Dépocas on FB:Original Pacman sketches from Toru Iwatani.
http://control-online.nl/gamesindustrie/2010/06/22/iwatani-toont-gamesgeschiedenis-in-meest-pure-vorm/
Tuesday, June 15, 2010
Amiga Gaming Retrospective
Jeremy Reimer on ArsTechnica:
"The Amiga was born a game machine, but it entered a world where the video game industry was well-established and changing rapidly. Long gone were the days where a lone coder would stay up all night in his basement for six weeks and bang out a hit for the Atari 2600. Even the younger and smaller computer game industry had moved far beyond Roberta Williams putting floppy disks into ziplock bags and answering phone calls from players in her kitchen. The success of the Commodore 64 (and on the other side of the pond, the Sinclair Spectrum) meant that more money was available for computer game development, and it was a good thing too, as the more powerful 16-bit machines were starting to seriously test the limits of a one-man development team. For the first time, specialized careers were starting to emerge in game development. The Amiga's rich, 4096-color palette demanded people who were skilled artistically to create the sprites and backgrounds. The four-channel sampled sound chip cried out for musicians to make it sing. The larger size and complexity of the games required that someone other than the programmers be asked to test the games before they were released."
[read on]
"The Amiga was born a game machine, but it entered a world where the video game industry was well-established and changing rapidly. Long gone were the days where a lone coder would stay up all night in his basement for six weeks and bang out a hit for the Atari 2600. Even the younger and smaller computer game industry had moved far beyond Roberta Williams putting floppy disks into ziplock bags and answering phone calls from players in her kitchen. The success of the Commodore 64 (and on the other side of the pond, the Sinclair Spectrum) meant that more money was available for computer game development, and it was a good thing too, as the more powerful 16-bit machines were starting to seriously test the limits of a one-man development team. For the first time, specialized careers were starting to emerge in game development. The Amiga's rich, 4096-color palette demanded people who were skilled artistically to create the sprites and backgrounds. The four-channel sampled sound chip cried out for musicians to make it sing. The larger size and complexity of the games required that someone other than the programmers be asked to test the games before they were released."
[read on]
Monday, January 25, 2010
Art Game Studies resource
i am releasing a new + open collaborative/community-based resource on/for Art Game Studies here:
http://bit.ly/5GdzNL
this list is primarily drawn from classes that i teach at the School of the Art Institute of Chicago where i have developed the New Media curriculum in the department of Film, Video & New Media. the list includes works that i + others have taught, played, researched, written on, developed, screened + exhibited as well those that have been developed by my students, colleagues, peers, fellow artists + myself. as such, this resource is subjectively crafted from my own experiences but hopefully objectively useful as a contribution to the field of Art Game Studies + Media Art Histories.
the resource will be used in my upcoming course Art Game Studies, a new Media Art Histories course being offered by the Art History, Theory & Criticism department + Film, Video & New Media. this course is both an overview of Art Games as well as introduction to the theories + discourses of Game Studies. the research for this resource also comes from + contributes to my ongoing work in this field, such as my essay, Running and Gunning in the Gallery: Art Mods, Art Institutions and the Artists that Destroy Them, which will appear in From Diversion to Subversion: Games, Play, and Twentieth-Century Art, edited by David Getsy, to be published by Penn State Press.
i am offering this resource freely + openly to anyOne who wants to contribute to or comment on these histories. i will be revising the version that i use in my classes based on your contributions + comments. i hope that artists, academics, researchers + theorists of Art Mods, Art Games, Artware + New Media Art (1) in general find this resource engaging + useful as an open + collaborative/community-based resource that we can develop together, to help document these emerging theorypractices. (2)
jonCates
CHICAGO.US
2010.01.20
1. a note on taxonomies + my approach: in my thinking/feeling on the subject, Art Games are a subset of Artware (or Software Art) which itself is a subset of New Media Art. i will use the term New Media Art, as it is used in the field by authors such Michael Rush in his New Media in Late 20th-Century Art from 1999 or Mark Tribe + Reena Jana in their collaborative book simply entitled New Media Art. i am also using the phrase "New Media Art" as we use it in the Film, Video & New Media Department. When we use the phrase New Media we refer to time, screen + code based Digital Art that is connected to the histories + theorypractices of Media Art, i.e. Film Art + Video Art. we are primarily concerned with experimental Media Art + we see New Media Art in relation to all other forms of experimental Media Art such as Film, Video, Animation, Installation, Art Games, Machinima, Realtime Audio Video, Web Art, Software Art + Free & Open Source Software. i also take this perspective from two of my own professors, Lev Manovich + Sean Cubitt. For Cubitt + Manovich Video Art and New Media Art are (respectively) both hybrid categories of creative cultural work, meshworks of interconnections that are socially situated technological forms. i am similarly motivated to understand Art Games in this manner.
2. a note on the contents of the Art Game Studies resource: this resource is not intended to be comprehensive but rather as i described above, collaborative + open. not all works in this list can be included in any given syllabus, courseware, research project, published essay, book, etc. still, i believe it is very important to openly compile + discuss such lists in order to respect + encourage multiple parallel Media Art Histories to develop. in this initial version i have not included many commercial mainstream or mass market gaming products or services in terms of chronologies of hardware (i.e. particular consoles) or software (i.e. specific games). in the cases where i have included these they are primarily in place to document the development of a genre (such as the First Person Shooter) or a crossovers between markets (such as in the case of Electro Plankton by Toshio Iwaii).
COPY-IT-RIGHT 2010
http://bit.ly/5GdzNL
this list is primarily drawn from classes that i teach at the School of the Art Institute of Chicago where i have developed the New Media curriculum in the department of Film, Video & New Media. the list includes works that i + others have taught, played, researched, written on, developed, screened + exhibited as well those that have been developed by my students, colleagues, peers, fellow artists + myself. as such, this resource is subjectively crafted from my own experiences but hopefully objectively useful as a contribution to the field of Art Game Studies + Media Art Histories.
the resource will be used in my upcoming course Art Game Studies, a new Media Art Histories course being offered by the Art History, Theory & Criticism department + Film, Video & New Media. this course is both an overview of Art Games as well as introduction to the theories + discourses of Game Studies. the research for this resource also comes from + contributes to my ongoing work in this field, such as my essay, Running and Gunning in the Gallery: Art Mods, Art Institutions and the Artists that Destroy Them, which will appear in From Diversion to Subversion: Games, Play, and Twentieth-Century Art, edited by David Getsy, to be published by Penn State Press.
i am offering this resource freely + openly to anyOne who wants to contribute to or comment on these histories. i will be revising the version that i use in my classes based on your contributions + comments. i hope that artists, academics, researchers + theorists of Art Mods, Art Games, Artware + New Media Art (1) in general find this resource engaging + useful as an open + collaborative/community-based resource that we can develop together, to help document these emerging theorypractices. (2)
jonCates
CHICAGO.US
2010.01.20
1. a note on taxonomies + my approach: in my thinking/feeling on the subject, Art Games are a subset of Artware (or Software Art) which itself is a subset of New Media Art. i will use the term New Media Art, as it is used in the field by authors such Michael Rush in his New Media in Late 20th-Century Art from 1999 or Mark Tribe + Reena Jana in their collaborative book simply entitled New Media Art. i am also using the phrase "New Media Art" as we use it in the Film, Video & New Media Department. When we use the phrase New Media we refer to time, screen + code based Digital Art that is connected to the histories + theorypractices of Media Art, i.e. Film Art + Video Art. we are primarily concerned with experimental Media Art + we see New Media Art in relation to all other forms of experimental Media Art such as Film, Video, Animation, Installation, Art Games, Machinima, Realtime Audio Video, Web Art, Software Art + Free & Open Source Software. i also take this perspective from two of my own professors, Lev Manovich + Sean Cubitt. For Cubitt + Manovich Video Art and New Media Art are (respectively) both hybrid categories of creative cultural work, meshworks of interconnections that are socially situated technological forms. i am similarly motivated to understand Art Games in this manner.
2. a note on the contents of the Art Game Studies resource: this resource is not intended to be comprehensive but rather as i described above, collaborative + open. not all works in this list can be included in any given syllabus, courseware, research project, published essay, book, etc. still, i believe it is very important to openly compile + discuss such lists in order to respect + encourage multiple parallel Media Art Histories to develop. in this initial version i have not included many commercial mainstream or mass market gaming products or services in terms of chronologies of hardware (i.e. particular consoles) or software (i.e. specific games). in the cases where i have included these they are primarily in place to document the development of a genre (such as the First Person Shooter) or a crossovers between markets (such as in the case of Electro Plankton by Toshio Iwaii).
COPY-IT-RIGHT 2010
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