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presenting research/art
- 2. The basic sequence of game design is as follows: 1. Come up with an idea for a game. 2. Create storyboards, rough visualizations of your game world, the main characters, and the actions, the physics. 2.5/3. List the details of your game and take into consideration everything about the game "universe." 4. Finally, put these concepts all together into a design document, something like a movie script a ‘presentation’ ;) that contains/ consider everything about your game. 4.
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- 7. “THE world is complex, dynamic, multidimensional; the paper is static, flat. How are we to represent the rich visual world of experience and measurement on mere flatland?” “To envision information - and what bright and splendid visions can result - is to work at the intersection of image, word, number, art.” 4.
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- 13. What are you rebelling against Johnny?....anything ya’got! 4.
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- 15. Stargazing is time travel. 4.
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- 18. Its been a while since we had sweets… 4.
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- 24. Just stars I’m afraid, BUT WWWWOOOOO WERE HALF WAY THERE…. 4.
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- 28. https://player.vimeo.com/video/23581127?titl e=0&byline=0&portrait=0&autoplay=true&col or=cb2027 A conversation with Dr Edgar Cahn…founder of “Time banking”. http://www.uk.sagepub.com/upm- data/31773_Chapter1.pdf …images that question the aesthetics and politics of cultural practice… in the present global age (where the demands of economic viability and innova- tive practices have) created a cult of accountability that Marilyn Strathern describes as an “audit culture” (2000, p. 2), artists and scholars face new challenges that cannot be ignored. “ “ 4.
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- 33. work aimed at solving one problem can lead to unexpected discoveries of far greater impact and importance. ‘I’m not so interested in single things; I like the collision between things. I’m not so interested in straight lines of thought; I prefer collisions of different lines of thought. That strikes me as a more “social” mode of construction, less the product of a unitary voice.’ (Kelley, 2006: 361) 4.
- 34. https://vimeo.com/86174818 Directed by Erwann Lameignère production : Collectif Combo / kamel mennour Extracts from the video Grosse Fatigue (2013, video, color, sound) 4.
- 35. I like things that loop (autopeoetic/ oroborus) and things that have an ‘almost’ grasping at nothing notion to them, from the start and throughout this has been no 4.
Editor's Notes
- Step 1: (idea/topic) RESEARCH PRESENTATION? “MY WORK” 2: OUTLINE – 3. The finer details- Character/Audience; bored?, time restricted. Every 5 slides we zip through; level up? / ‘reward?’ (first= sweets, second- diferent, thid=back to sweets?- as you can see its different keeps inteest), now random level down=how/why did this happen, keep you more aware ‘spot checks’. IMPLIED CHOICE/AGENCY which is your favourite… don’t make no difference to flow As you can see quite quickly suggestive notions/ dialogues and time pressures/allocations can become useful to build up a structure of conditioning, of interest and ‘engagement’ Whilst also carrying notions of useful/ ‘required information’ Im not necessarily interested in these notions on a strictly ‘game’ format as I find this is not always as direct and arresting/ efficient way to use for all notinos of communication in a gallery/ laternative environment however the fundemental principles and governing structures I think are useful to spread or at least consider rather widely/ broadly. Subject matter.
- It may not be flaunty and fully push the extent of the exeriences and senses I am interested in but I feeel like im slowly coming to grips and developing a style.? This has taken a while as im eally unconfident nervous shy and critical / annalytical.
- So start: me what I like am intereted in / analysed/ looked at A lot of personal things with family pulled away from work time but the new experiences diff level of interactions and observations made from an alternative perspective has helped shape ideas and influences here – an obvious example = general perspectives interest. ALSO NOTE HERE IM SHOT WITH WORDS
- Seeing things not fully acknowledging/ realising= seeing the same things in the same orders but realising/ having more info more memory to visualise, acknowledge and READ them. READING suggests meaning and an implied UNDERSTANDING ATTAINABLE. Which is one aspect of my struggle sometimes using language alone – which il talk about again when we reach that level.
- Words are hard, when everything is ’a thing’
- Sciency/ break down/ analytical approach sometimes stops proogress plus insane but illusiony ness still works even though you know how it works? Everything has a meaning – many meanings develop lnguage to do so
- Why I need the stratergy to pin down and hold my ideas
- The enigma of crisis – david harvey
- Jenny holzer 2007. spoon. Money creates Taste My personal decisions choices likes
- Feel like a lot of this semester has been about exploring areas of interest but establishing a stratergy or at least circumstance for work
- I am a magpie in many different senses- scatter brain and attracted to *shiny* things
- Messhoff, yes primeminister
- Ideas of agency – learned indifference in rats door 13 duchamp
- Poinless endless info that imevitibly fails Acknowleding research and the ideas as a ‘thing’ or at least working with them to try do that
- Conditioning experiments Skinners box etc The beautiful ones mouse utopia Oss Sinclaire talk?? working
- Non stop inertia Time 24/7 books time life
- Illusions stuck suspended between acknowledging the fall and the landing but also the leap and the jump?
- 25secs –(what is time banking /diff exchange use) 43secs- Values assignment How to distribute abundance and measure obscuerity. Contributing more than scaresity of monetary values amoungst abundnt bodies
- A lot of this feeling comes sociologically influences and culturally my feeling/ approach is the only way to combat or adress this in a manner which doesn’t necessarily add to that is through a dialect and converastion giving a critical awareness of position place and
- J. koons ma maaan metallic venus Sense of acknowlledgement , spectatorship, awareness, view artist decision making in that that cast chosen to do x to it etc
- Awareness of social sociological affects
- This idea of awareness is something I sometimes lack when applied to myself or my own practice with open-ended idesa and sketchbooks filled with info and ideas/starting points I have no time to complete/follow up indefinetly Laurence Weiner. Bringing a realisation to smaller ideas – allowing to be just that- my issue is I cnat use language in the same way quite as easily / coheirently hense this mess. Structure is always the problem
- Best video that says everything all at once better than my one ha
- Hopefully the presentation of this helped to also show the interest I have in many diff ways ?
- As you can see quite quickly suggestive notions/ dialogues and time pressures/allocations can become useful to build up a structure of conditioning, of interest and ‘engagement’. Narrative/ descriptive eemets (slide numbering can quickly become misleading- the environment mislleading and teslf suggestive – rpg shooters road blocks tanks etc). Small rewards in games although mostly useful during game/ play duration have little ligitimency and tangibility/ currency in the real world yet time spent is ‘real’. The idea behind diff rewards each time under a similar theme is to appease the audience however not patronise them unsucessful games= accomplishable easy not challenging to grab a diverser audience ouch more people etcther has to be more. Whilst also carrying notions of useful/ ‘required information’ Im not necessarily interested in these notions on a strictly ‘game’ format as I find this is not always as direct and arresting/ efficient way to use for all notinos of communication in a gallery/ laternative environment however the fundemental principles and governing structures I think are useful to spread or at least consider rather widely/ broadly. Subject matter.