There is a curious sub-history of the use of playing cards in artistic production; it is one of the more interesting of the obscure subjects of art, but can also become the objet d’art itself (play as œuvre).
In 1958, the American physicist William Higinbotham created what is one of the first instances of what we would today call a modern “video game”. The game, named Tennis For Two, was built at the Brookhaven National Laboratory for their yearly open-house presentations of the lab’s activities. The game was built using an oscilloscope and a programmable analog computer, the Donner Model 30. It simulated a simple tennis match between two players, with a sideways perspective of the net and a ball bouncing back and forth, controlled by two player-manipulated inputs.
A significant percentage of video games employ in one way or another the figure of death. The thanatological sub-species of video game representations are practically endless: dismemberment, infection, untreatable wounds, explosion, etc. Players can be eaten, crushed, sliced, diced, quartered, electrocuted, impaled, and so on. Many of these representations are more or less approximate: in Doom, for example, a player’s state of “health” is represented by an abstract percentage value where players do not die of any specific organ failure, but instead from some sort of provoked exhaustion. In role playing games, players kill their opponents in a similar manner, i.e. by reducing this all-encompassing numerical value of their enemies to zero. In other games, players simply keel over, or disappear in a puff of smoke when touched, as in Pacman. In Super Mario Bros. players can just run out of time. Death in gaming is more a question of symbol than of substance. While we are still in the realm of simulation, the simulation is so figurative as pull us into an wholly other realm of representation. In his 1972 article on transcendence, gaming and “computer bums”, Stewart Brand used the term “symbolic” to describe the flickering figurations of death slowly taking over university computer science research consoles: “Fanatic Life and Symbolic Death Among the Computer Bums“.
Update: download texte (en français) here: Antagonisme et imbrication (pdf)
Via Slashdot who got it from tshb, here’s a fascinating paper by Daniel E. Holcomb, Wayne P. Burleson, and Kevin Fu (University of Massachusetts) on accessing the physical properties of digital circuits for both the generation of random numbers and… Continue Reading →
« Aujourd’hui l’abstraction n’est plus celle de la carte, du double, du miroir ou du concept. La simulation n’est plus celle d’un territoire, d’un être référentiel, d’une substance. Elle est la génération par les modèles d’un réel sans origine ni réalité :… Continue Reading →
Award: Prix Argos – Lewis Carroll Project: The Plot website Recipients: Jean Cristofol, Fabrice Gallis, Guillaume Stagnaro, Douglas Edric Stanley & the students of the Aix-en-Provence School of Art Information: 22nd International Scientific Audio-Visual Conference / CNRS (French National Center… Continue Reading →
presentation: instruments + plateformes interactives speaker: Douglas Edric Stanley conference: Symposium Audio/Espaces/Réseaux organizers: Locus Sonus pdf: destanley.pdf This is a recording of my presentation during the Symposium Audio/Espaces/Réseaux organized by Locus Sonus. In the accompagnying pdf file (destanley.pdf) you will… Continue Reading →