Considering the intermedial configurations generated by these cultural practices, we will follow the case of Shakespeare’s texts, their virtual extensions being traced on three levels of production: publicly-funded (universities and cultural heritage institutions projects), private initiatives (publishing houses) and user shaped products. In distinct digital environments, source materials are brought up, appropriated and remixed by Facebook, Twitter, Youtube and blog users, integrating the archival fragments in a network of media combinations. However, the capabilities of a digital archive to generate meaning from its items are still reduced large amounts of literary source material are available for public use, but are looked at through the lens of an exhibit case, in spite of their intended interactivity and user participation. Digital archives textbooks and projects speak of a call for the rethinking of old material permitted by the new media. Digitization has gained increasing international interest within cultural heritage institutions and digital humanities activities and the necessity of preserving valuable archive material, as well as making it accessible for readers and researchers, is indisputable. "The present paper aims to track down the main digital systems into which archives of canonical texts have been remediated, with the purpose of differentiating between the mental representations drawn by different types of digital platform structures. This game uses visual aesthetics, often abstract and painterly, it extends game design into something that could easily be situated in an art space and begs the question 'why aren't creative games shown in white cube galleries?' Keywords: Duchamp, exploration, new media, virtual environment, computer games, art, relaxation, seduction. The second half refers to the creation of Star World, a stress free game environment for players who want to relax in their leisure time. It was never considered as a 'game' but as a further exposition of the ideas of Marcel Duchamp in alignment with post-Conceptual art and new media. The first half of the paper concerns the StarGlass art work and shows how user engagement was encouraged through means other than the usual gaming factors. Both allow the player to take their time and explore the given environment as part of the game play. Design ideas within the Star World are reflected in the StarGlass, both pieces have an aesthetic and game strategy outside the usual gaming industry conventions. This paper will address this new approach based on analysis of multiple case studies.Ībstract This paper presents two research sides of the same result, a game-like art work / an art-like game. This language leverages the creative potential of new audiovisual instruments by combining sound and light waves with the spatial component. This merger of worlds has led to new A/V performance productions that reveal the emergence of a new language, namely that of audiovisual spatialization. Avant-garde artistic approaches, with their constant push toward the dematerialization of artwork, have merged with scenographic spatialization technologies. Today’s digital explosion is in fact a consequence of the democratization of instruments that control light, sound, and images through increasingly sophisticated interfaces. The latest innovations in the area of digital arts are the result of an acceleration of a trend that can be historically identified through the multiple manifestations of universal expositions. If the medium of cinema is born of the addition of temporality to images, new trends in digital art such as architectural mapping video projection, audiovisual (A/V) performance, and new forms of immersive scenography are adding the spatial dimension to the moving image.
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