// ot: ste tady nekdo na ty gcdc? :)

A Bridge between Virtual Worlds
http://www.technologyreview.com/Infotech/21203/?nlid=1265&a=f

NFS soundtrack meets WoW characters hehe:)
http://www.youtube.com/watch?v=sJXz8nNxLLA

MAHISH: no to si musíš prodloužit registraci

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KHALAVERA: mi to píše

Your online subscription to
"Space and Culture"
has EXPIRED as of 1 Jun 2008.

tak nevím...

sage má otevřené do konce září kulturní žurnály a jeden z nich se teď věnuje virtuálním světům

A new issue of Space and Culture is available online:
1 August 2008; Vol. 11, No. 3

The below Table of Contents is available online at: http://sac.sagepub.com/content/vol11/issue3/?etoc

The Geography of Virtual Worlds: An Introduction
Eric Gordon
Space and Culture 2008;11 200-203
http://sac.sagepub.com/cgi/reprint/11/3/200

Placeworlds: Using Virtual Worlds to Foster Civic Engagement
Eric Gordon and Gene Koo
Space and Culture 2008;11 204-221
http://sac.sagepub.com/cgi/content/abstract/11/3/204

Datascape: A Synthesis of Digital and Embodied Worlds
Eric Kabisch
Space and Culture 2008;11 222-238
http://sac.sagepub.com/cgi/content/abstract/11/3/222

The Experience of Embodied Space in Virtual Worlds: An Ethnography of a Second Life Community
Shaowen Bardzell and William Odom
Space and Culture 2008;11 239-259
http://sac.sagepub.com/cgi/content/abstract/11/3/239

Spatial Regimes of the Digital Playground: Cultural Functions of Spatial Practices in Computer Games
Sybille Lammes
Space and Culture 2008;11 260-272
http://sac.sagepub.com/cgi/content/abstract/11/3/260

The Case for Education in Virtual Worlds
Rebecca Nesson and Charles Nesson
Space and Culture 2008;11 273-284
http://sac.sagepub.com/cgi/content/abstract/11/3/273

MOYYO: děkuju!

jj, uz sem taky vcera hledal schedule :)
game devel conf @ leipzig

MOYYO: nemohl by si prosím tě nahodit link? nějak mám problém, že se vždy dostanu na San Franciskou ou jou :) a taky jsem trocha líná osoba'

Top 10 Most Influential AI Games
http://aigamedev.com/reviews/top-ai-games

A ještě jedna nedávno proběhnuvší výstava ve Vídni.



http://www.creativegames.org.uk/Games2008/exhibition.htm

Game Art
(This is not) A Manifesto
(This is) A Disclaimer

by Matteo Bittanti

http://www.gamescenes.org/images/GameArt_eng.pdf


Game Aesthetics
How videogames are transforming contemporary art

by Domenico Quaranta

http://www.gamescenes.org/images/Game_aesthetics_eng.pdf



Texty z knihy [ MAHISH @ Game culture, art and studies & ludology... a tak ] ( GameScenes. Art in the Age of Videogames (John & Levi, 2006) ), doporučuju.

Chlapík se jal vytvořit si virtuální knohvnu resp databázi všech možných knih a textů o GameArtu apod:)
http://www.janssonswebb.se/gameart/lib/

MAHISH: http://youtube.com/watch?v=sSud3XzA82Q ;)

Half-Real by Jasper Juul

The Half-Real of the title refers to the fact that video games are two rather different things at the same time: video games are real in that they are made of real rules that players actually interact with; that winning or losing a game is a real event. However, when winning a game by slaying a dragon, the dragon is not a real dragon, but a fictional one. To play a video game is therefore to interact with real rules while imagining a fictional world and a video game is a set of rules as well a fictional world.
(Half-Real introduction.)

Half-Real is an attempt at creating a basic theory of video games: In the book I discuss what video games are and how they relate to non-digital games, how players learn to use a game, how players imagine the world of a game, and why video games are fun.

Half-real is a book on video game theory, but it is generally readable. As for method, the book is an eclectic mix of theories on games, film and literary theory, computer science, and psychology. The book is based on numerous game examples, with more than 100 screenshots from the past 40 years of video games.

http://www.half-real.net/ http://www.jesperjuul.net/

Tobias Bernstrup

...Tobias Bernstrup's work also explores the point at which the real and the virtual meet, although Bernstrup turn the liminality into a positive possibility to play out fantasy, writing on his website that "the game is the perfect fetish reality".
In his Live performances and video installations, such as In The Dead Of Night (2000), Friedrich Passage (2001) and Penthouse Idle (2000) Bernstrup splices images of his real-time locality with a parallel virtual world, mapping photographs of himself and his environments onto the matrix of computer game programmes. Bernstrup and his immediate geographical environs are transplanted into a virtual reality world where, as a simulated avatar, he can play out a specific kind of fantasy which retains an umbilical link to the real world. In his performances such as Tobias Bernstrup Tonight Live, this process is reversed. Bernstrup dresses up in elaborate costumes with rubber surfaces so shiny and perfect and make-up so convincingly 'drag' as to mimic computer renderings of his desired image.
Bernstrup is fascinated with with the fetishistic quality of artificial surfaces, and the soundtracks to his videos are equally airtight and electronic. His work pictures the position of the human subject caught up in and trying to exist by being visible with the enveloping skin of the image world. Bernstrup's work blurs the boundaries of the real and the imaginary by allowing elements of each to seep into the other: as a result of this, his videos have a slighty cut & paste home-made look, but his live performances an unreal, seamless transcendence of real space and time. Givens of real biology or geography are suggested as areas for slippage rather than fixed points in his world in which everything has become surface, none of its aspects wholly traceable back to tangible experince.


Selected lyrics from the CD Killing Spree, produced by Kunsthalle Nürnberg, 2005.

Killing Spree
In this digital wasteland
Where we were born
Raised by cable
And corporate spy ware
Lived by the console
We broke free
With superior knowledge
We rose against it all

We are the children running wild
On a killing spree

Now we got access
To your secret code
We’re in control now
And we search and destroy
This is a playground
Of concrete and steel
Post industrial landscape
Let’s make it real

We are the children running wild
On a killing spree
We are the children of our time
So get down on your knees

Music & Lyrics T. Bernstrup

---

xseed 4000
modification of computer game, 2004
Installation with PC computer, projector, speakers and mouse.
Soundtrack by Tobias Bernstrup
2004

---

re-animate me (CD) 2002
DL: http://www.tonightrecords.com/freemp3tracks.html



"...In the performance Re-Animate Me (2002), Bernstrup encourages the space of video and stage to collude, refexively extending the experience of both. The opening video game sequence, projected onto the stage backdrop, takes the audience on a flight through a futuristic city, the camera's point of view like a rollercoaster simulation. We swoop up the face of a billboard that advertises 'RealDoll - Silicone and steel, it feels so real', through nooks and gullies into a gothic interior emblazoned with a neon 'Bernstrup', where an Amazonian RealDoll in a red fetish outfit rises out of the floor. The screen then fades to black, the stage lights come up and Bernstrup appears, an automaton programmed to perform for the Stockholm audience..."


http://www.bernstrup.com/index2.html

An interactive history of the world, avatar-style

Alternate universes. Virtual reality. Virtual worlds. Role playing (not the dirty kind, although maybe that too.) These have been figurative and — increasingly — literal playgrounds for geeks and nerds throughout the ages.
I grew up playing Dungeons & Dragons in my parents’ basement, thought Tron was the coolest movie evah, went crazy over Myst despite the fact that I couldn’t play worth a damn, and devoured books that introduced sci fi nerds everywhere to (at the time) forward-looking concepts like the Web and the Metaverse; books like Neuromancer and Snow Crash. Today, of course, I do a fair bit of thinking about what the advent and evolution of 3D online virtual environments mean for media, marketing and business in general.
Yet, in the age of short attention spans it is easy to forget that the concept of virtual worlds has a long, rich history that goes back a hundred years or more. And that some of us have always been virtual residents of one kind or another.
NYC multimedia artist and metaverse consultant to the stars Annie Ok has created a very cool timeline that aims to document the history of all things virtual and may even help us remember that humankind’s fascination with second lives is more far-reaching that the recent trend that brought us Second Life. Not limited to the concept of virtual worlds as we currently define them, Annie’s timeline takes into consideration everything from literature, film and art to hardware, software and Interrnet-based platforms.



Built with a sweet Web 2.0 service called Dipity, the timeline is interactive and editable by anyone — just like a wiki but much cooler to look at.
If you’re a metaverse drifter and want to add your two Lindens (or two Kinz Cash, as the case may be) sign up as an editor and give it a go. If you’re just an interested bystander, Dipity lets you browse the timeline in a number of different formats, ranging from a simple list to an iTunes-style ‘flipbook.’

http://annieok.com/tangent/?p=758

MAHISH: to bude asi vono. nevim jak normalni veletrh, ale ze herne-vyvojarskej to vim

The latest issue of The Iowa Review Web, volume 9, number 2, is out. This is a special issue on “Instruments and Playable Texts,” guest-edited by long-singing hypertext star Stuart Moulthrop, author of the 1991 Victory Garden and winner of the 2007 Vinaròs prizes in both narrative and poetry. One of his prize-winning pieces, “Under Language,” is included in the new TIRW number.

The issue also provides “Concerto for Narrative Data,” a new work by another hypertext fiction pioneer, Judy Malloy. John Cayley’s “riverIsland,” another prizewinner (in the 2001 Electronic Literature Organization awards) appears in a recent interactive QuickTime version. There are two offerings from Shawn Rider, “So Random” and “PiTP.” You may know of Ryder from his wry piece in the Electronic Literature Collection, volume 1. Elizabeth Knipe’s “activeReader,” which is something of a response to Bruce Andrews’ essay in the 2003 Cybertext Yearbook, is also featured. And, there’s a contribution of mine, “The Purpling,” a computation-free poem in purple hyperprose and, alas, probably the least playable and most minimally instrumented work of this lot.

http://research-intermedia.art.uiowa.edu/tirw/vol9n2/

a nepořádá se v lipsku i ten velkej herní veletrh? není to ono?:)