SPECIAL ISSUE 14 MARTIN BOARD: Difference between revisions

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  • Wiki Guide for TIC80 prototyping



JACOPO & MARTIN /WORKLINKS



  • FIGMA MAP W.I.P Unitary Urbanism: Three Psychogeographic Imaginaries + Salvaging Situationism: Race and Space
  • PAD



All Links

https://links.rc3.world/
https://workadventu.re/
https://workadventu.re/map-building
https://www.gamemaking.tools/wiki/index.php/Main_Page
https://mason-lindroth.itch.io/muldulamulom
https://www.gamemaking.tools/wiki/index.php/Main_Page
http://jamesbridle.com/works/do-it https://melodicambient.neocities.org/posts/2021-01-10%20Deadgames%20and%20Alivegames.html
https://molleindustria.itch.io/3sf
https://www.polygon.com/features/2020/2/25/21150973/indigenous-representation-in-video-games
https://www.youtube.com/channel/UCBHN5UYtAAmJrWvpyT6RcmQ

ALL PADS



Prototyping pads





Special pads





Other pads





REFERENCES



Web



containing:



Readings





To read





NOTES & IDEAS



A GAME-ENVIRONMENT REACTING TO THE SINGULAR CHARACTERISTIC OF EACH WEB USERS DEVICE



Each player/user could finds itself in a very unique context corresponding to the very unique characteristics of its own device. The screen resolution, the Web browser, the zoom/dezoom percentage, the IP adress,could be detected. These minor informations combined together make the rarity of each player point of view or pespective. This singular perspective will could be exploided and highligted in order to singulary affect the environment you're playing in.

FROM GAME IDEAS PAD



_A game which responds to the specific parameters of your very own device in order to offer you a unique starting point
_A game that requires the player to modify the size of the window in more or less complex ways in order to complete each levels
_A game based on the book "Point Line and plane" from Kandinsky where you are in front of a basic square canvas and try to find different visual/sonor tensions by pointing the cursor and positioning a dot in some place of the canvas.
_An augmented reality or virtual reality game where you are the curator of an exhibition space in which you can display whatever you want, the way you want and make it accessible to a community of other visitors/curators that can give a comment and a rate to their visit. The focus would not only be on the content of the exhibition but the way it is displayed in space.

RESPONSIVE AS A GAME MECHANIC



On the Web, to use responsive feature of the screen display as the main mechanic of the game play, could provide a quiet unusual user experience with its interface. However, the Web window scaling is not very fluid. PINBALL POSTER

As Pinball machines format is usualy rectangular and contains a rich combination of colors, typefaces, shapes and illustrations, we could see each pinball machine as a canvas, or a thematic graphic poster. It could be compared to the print format of a poster such as ISO format sA2, A1, A0 or 40 x 60.

The two links bellow contains posters made by the french studio 'Formes Vives' for the 2019 28th International posters competition of Chaumont festival.
http://www.centrenationaldugraphisme.fr/en/le-signe/collection/extra-ball
http://www.centrenationaldugraphisme.fr/en/le-signe/collection/golden-ball

see project description bellow (source):

Prix Espoir, 28th International posters competition, 2019.
These two works arose from an invitation by Ultra publishing house. The carte blanche was for the design of two posters to be displayed temporarily in backlit posterboards in the little town of Le Relecq-Kerhuon. The designers of Formes Vives plunged into a personal creation inspired by pop culture and the colourful exuberance of pinball flippers. All living in different cities, the three designers took pleasure in composing the images like a collage. This series was awarded the Prix Espoir of the International Poster Competition of the 2019 Biennale du design graphique in Chaumont.

PLAYER VS GRAVITY = FATALITY



Playing pinball seems to relate to an indivudual sport performance. The result of this performance is a score that can be compared to other players scores through a scoreboard visible on the alphanumeric display of the pinball machine . Even if it is possible for several people to be specators, there is usualy only one player. The inclinaison of the machine combined to the physical world gravity allow the player to play by himslef and try to push up the ball up again and again for the longest time as possible.
There is however something invetiable, or fatalistic about pinball, because as long as gravity exists, the ball will always go down. Then human failure or a lack of luck with unevitably cause the ball to go down and finally game over.

Note: read essay on the pinball machine (not found yet/ask Lidia)

VISUALLY OVERWELMED / EATER EGGS



Pinball Interface usualy is visually overwelmed by many colors text, illustrations, shapes, circuits and textures that can seem very complex to our eyes. This visual complexiy also allows its creator to hide many secret features and eastereggs that only an accident or many hours of game would allow us to discover.

PINBALL APPARITION IN VIDEO GAMES



Pinball game appearing in Sims1
https://www.youtube.com/watch?v=G0XrtcAjatQ

RANDOMLY GENERATED PINBALL GAME



From the glossary of pinball terms, if start considering each element of a pinball machine as a variant, it could be interesting to randomize pinball interfaces.

READING NOTES



* Playing Pinball is delightfullllllll - Hans Brinkman File:SituationistTimes7.pdf



"You play not only against fellow players, but also against the mechanism."

* The game of pinball: a psychological essay - Joost Mathijsen File:SituationistTimes7.pdf



"(…) the idea came to me that the game of pinball is about the systematic return of the balls. This games borrows its power from the longing to recover the discharged seed, from the fantasy of a double ejaculation: the spunk is hurled awat joyfully, achievs on player-ejaculator, ultimately returns to its point of departure. The pinball player bounces to expect the ball and to welcome it as a fullfilment of his sexual boomerang-illustion"

* Something particularly pleasant - Léautaud File:SituationistTimes7.pdf



"The superficial pinball player lets out a shout of disappoitment, when his ball = spunk ultimately disappears again through the effect of gravity into its deeply hidden armoury. The complexity of this seeming disappointment is clear from the explanation given by a keen pinball player: “the ball cannot go into the hole”, whereby he forget that the whole game of pinball rests precisely on the fact that this disaster must happen sooner or later."

* Report on the construction of situations / Toward a Situationist International - Guy Debord PDF



"(...) the material environment of life and the behaviors which that environment gives rise to and which radically transform it." (p.12)

Unitary urbanism is defined first of all as the use of all arts and techniques as means contributing to the composition of a unified milieu.

"The most elementary unit of unitary urbanism is not the house, but the architectural complex, which combines all the factors conditioning an ambience, or a series of clashing ambiences, on the scale of the constructed situation. Spatial"

"The situationist game is distinguished from the classic notion of games by its radical negation of the element of competition and of separation from everyday life."

"A rough experimentation toward a new mode of behavior has already been made with what we have termed the dérive: the practice of a passional journey out of the ordinary through a rapid changing of ambiences, as well as a means of psychogeographical study and of situationist psychology."

"Everything leads us to believe that the essential elements of our research lie in our hypothesis of the construction of situations."

"We must try to construct situations, that is to say, collective ambiences, ensembles of impressions determining the quality of a moment. If we take the simple example of a gathering of a group of individuals for a given time, it would be desirable, while taking into account the knowledge and material means we have at our disposal, to study what organization of the place, what selection of participants and what provocation of events are suitable for producing the desired ambience."

"Situationist theory resolutely supports a noncontinuous conception of life. The notion of unity must cease to be seen as applying to the whole of one’s life (where it serves as a reactionary mystification based on the belief in an immortal soul and, in the final analysis, on the division of labor); instead, it should apply to the construction of each particular moment of life through the unitary use of situationist methods. In a classless society there will no longer be “painters,” but only situationists who, among other things, sometimes paint."

"(...)the situationist attitude consists in going with the flow of time."

"Your role is not to imitate the bourgeois aesthetes who try to restrict people to what has already been done because what has already been done doesn’t bother them. You know that creation is never pure. Your role is to find out what the international avant-garde is doing, to take part in the critical development of its program, and to call for its support."

* 50 Years of Recuperation of the Situationist International - Wark_McKenzie PDF


Wark McKenzie 50 Years of Recuperation of the Situationist International



Wark McKenzie 50 Years of Recuperation of the Situationist International





















* Salvaging Situationism Race and Space



"Situationists believe themselves capable, due to their current methods and to the foreseeable development of these methods, not only of rearranging the urban environment, but of changing it almost at will."

THE WORLD WE LIVE IN, and beginning with its material décor, is discovered to be narrower by the day. It stifles us. We yield profoundly to its influence; we react to it according to our instincts instead of according to our aspirations. In a word, this world governs our way of being, and it grinds us down. It is only from its rearrangement, or more precisely its sundering, that any possibility of organising a superior way of life will emerge.

"Psychogeography could offer the potential to broaden our theory and practice and collective reimagining, to see the city through other(s’) eyes, in an empathy that leads to action;to see collectively, past individual blindnesses, to name in full our oppressions, and overcome them. To overthrow capitalism. To create a new world. Because that’s the point, after all.

Let this practice be a real and effective tool of theory and revolution, not a glib way of imposing a narrow set of arcane interests and obsessions upon our cities that shuts out other voices, voices which speak and write words that cost them dear."

* Contribution to a Situationist Definition of Play



"The new phase of affirmation of play seems to be characterized by the disappearance of any element of competition. The question of winning or losing, previously almost inseparable from ludic activity, appears linked to all other manifestations of the tension between individuals for the appropriation of goods."

"The element of competition must disappear in favor of a more authentically collective concept of play: the common creation of selected ludic ambiances."

"Due to its marginal existence in relation to the oppressive reality of work, play is often regarded as fictitious. But the work of the situationists is precisely the preparation of ludic possibilities to come."


* Racing the Beam The Atari Video Computer System (Platform Studies) — Nick Montfort



Foreword

"We believe it is time for those of us in the humanities to seriously consider the lowest level of computing systems and to understand how these systems relate to culture and creativity"

1. Stella

"What does a creator, historian, researcher, student, or other user do when experiencing a creative computer artifact? An encounter with such a work could involve trying to understand the social and cultural contexts in which it came to exist. It might also involve interpreting its representational qualities—what it means and how it produces that meaning. Alternatively, a study might involve looking at the methods of this work’s construction, or the code itself, or even the hardware and physical form of the machines on which it is used."

"Digital media researchers are starting to see that code is a way to learn more about how computers are used in culture, but there have been few attempts to go even deeper, to investigate the basic hardware and software systems upon which programming takes place, the ones that are the foundation for computational expression. This book begins to do this—to develop a critical approach to computational platforms.
We hope this will be one of several considerations of this low level of digital media, part of a family of approaches called “platform studies.” Studies in this fi eld will, we hope, investigate the relationships between platforms—the hardware and software design of standardized computing systems—and infl uential creative works that have been produced on those platforms."

Types of Platforms

When digital media creators choose a platform, they simplify devel-opment and delivery in many ways. "

To be used by people and to take part in our culture directly, a platform must take material form, as the Atari VCS certainly did. This can be done by means of the chips, boards, peripherals, controllers, and other components that make up the hardware of a physical computer system. The platforms that are most clearly encapsulated are those that are sold as a complete hardware system in a packaged form, ready to accept media such as cartridges

In drawing raster graphics, there is a considerable difference between setting up one television scan line at a time as the Atari VCS demands, having a buffered display with support for tiles and sprites, or having some more elaborate system that includes a native 3D renderer. Such a difference can end up being much more important than simple statistics of screen resolution or color depth that are used as shorthand by fans and marketers.

Cartridge Games for the Home

Pong’s start in a Silicon Valley tavern rather than a corner convenience store or shopping mall is an important detail of the medium’s evolution.

* Situationist Manifesto



So what really is the situation? It's the realisation of a better game, which more exactly is provoked by the human presence. The revolutionary gamesters of all countries can be united in the S.I. to commence the emergence from the prehistory of daily life."

Against the spectacle, the realised situationist culture introduces total participation.

Against preserved art, it is the organisation of the directly lived moment.

Against particularised art, it will be a global practice with a bearing, each moment, on all the usable elements. Naturally this would tend to collective production which would be without doubt anonymous (at least to the extent where the works are no longer stocked as commodities, this culture will not be dominated by the need to leave traces.) The minimum proposals of these experiences will be a revolution in behaviour and a dynamic unitary urbanism capable of extension to the entire planet, and of being further extensible to all habitable planets.

Against unilateral art, situationist culture will be an art of dialogue, an art of interaction. Today artists - with all culture visible - have become entirely separated from society, just as they are separated from each other by competition. But faced with this impasse of capitalism, art has remained essentially unilateral in response. This enclosed era of primitivism must be superseded by complete communication.

* Society of the Spectacle: WTF? Guy Debord, Situationism and the Spectacle Explained | Tom Nicholas



Written in the context of occidental revolutionary movment. Situationist promote the creation of situations providing a way out of capitalist, materialistic, consumerist way of life. Sitationists were popular among parisian students.
The book is only one of many examples but appears as a manifesto.
"In the society dominated by modern conditions of prodcutionm life is presented as an immense accumulation of spectacles" (Debord, 1967)
Debord however recognize some benefits of capitalism in the fact that it almost aborted the survival behaviour.
It aslo redefined what survival means at a higher level. Capitalism encourage us not to want but to need things that would have seen unecessary some times ago or in another context.
It could appear as a critic of consumerism.
Late capitalism would have made us obssesed with our own image. This also influenced by massive modern advertising in our physical and virtual environments.
Also tells about how a products reflects on what we appear to others.
All this is not only aiming at selling us products. (stopped at 11:30)

* Unitary Urbanism: Three Psychogeographic Imaginaries



Notes to be found on the left side of the figma map made with Jacopro
Figma notes

* Game Boys - The “gamer” identity undermines the radical potential of play



"Video games first emerged as bar amusements and then high-tech home gadgets for adults, but Nintendo treated game systems more as toys — and then succeeded to sell those toys to boys. Ever since then, the industry’s defensive crouch — rooted in its historical frailty and its self-preserving pivot to boyish juvenilia — has melded seamlessly with a defensive white-nerd masculinity that is all too familiar in 2019.

(...)players’ ability to use these systems for their own pleasures, desires, and identities — along with the fan-fiction, modding, and original full-motion-video content that proliferate around games — opens up spaces of creativity, encounter, and expression that challenge or attempt to overturn these stereotypes.

As Ruberg argues, there is often an implicit denial of sexual energies in the way we think about and play video games. When reactionary gamers reject queer, politicized, or minoritarian readings of games, they “are seeking to defend the sanctity of the ‘magic circle’ in which games are safe from cultural and political meanings.”

* Homo Ludens for the People PDF



"Play is a voluntary activity or occupation executed within certain fixed limits of time and place, according to rules freely accepted but absolutely binding, having its aim in itself and accompanied by a feeling of tension, joy and the consciousness that it is “different” from “ordinary life." (pg. 28)"

" Huizinga also sees play as a quite orderly affair, where the structure of play must be outlined clearly beforehand and delineating a sharp relief where the rules apply and when players return to ordinary life."

"“Not being “ordinary” life [play] stands outside the immediate satisfaction of wants and appetites, indeed it interrupts the appetitive process. It interpolates itself as a temporary activity satisfying in itself and ending there. Such at least is the way in which play presents itself to us in the first instance: as an intermezzo, an interlude in our daily lives.” (pg. 9)"

" To Huizinga and many that come after him, play has to be for itself, it cannot be for some sort of practical purposes. So in Homo Ludens, professional players of games are working, not playing. Any type of creative act that is done for money cannot be play. Maneuvering social and cultural relationships and systems are not play, because there are actual consequences. "

"In the 18th [and 19th] century utilitarianism, prosaic efficiency and the bourgeois ideal of social welfare—all fatal to the Baroque—had bitten deep into society. These tendencies were exacerbated by the Industrial Revolution and its conquests in the field of technology. Work and production became the ideal, and then the idol, of the age. […] As a result of this luxation of our intellects the shameful misconception of Marxism could be put about and even believed, that economic forces and material interests determine the course of the world. This grotesque over-estimation of the economic factor was conditioned by our worship of technological progress, which itself the fruit of rationalism and utilitarianism after they had killed the mysteries and acquitted man of guilt and sin. But they had forgotten to free him of folly and myopia, and he seemed only fit mould the world after the pattern of his own banality. […] Culture ceased to be “played.” (pgs. 191-2)

* No girls allowed PDF



"Marketing is insights-based," Cotteleer says. "People land on something, something resonates, it appeals to a certain gender or category of the population and it makes sense from a marketing perspective to go after it."

"You do the math, find the insight, and you figure, 'What's the biggest population we can sell this to?' That's who you need to target. That's how it breaks into a gender story."

"Before arcades themselves became destinations, arcade machines mimicked the distribution of pinball machines. They were targeted at beer-drinking adults who were looking to wind down and socialize after work. Later, they spread to more family-friendly locations like malls, movie theaters, bowling alleys and Chuck E. Cheese. But before they did, they were a mostly adult affair."

"In the 1990s, the messaging of video game advertisements takes a different turn. Television commercials for the Game Boy feature only young boys and teenagers. The ad for the Game Boy Color has a boy zapping what appears to be a knight with a finger laser. Atari filmed a bizarre series of infomercials that shows a man how much his life will improve if he upgrades to the Jaguar console. With each "improvement," he has more and more attractive women fawning over him. There is nothing in any of the ads that indicate that the consoles and games are for anyone other than young men."

"Girls have always played video games, but they weren't the majority. In wake of the video game crash, the game industry's pursuit of a safe and reliable market led to it homing in on the young male. And so the advertising campaigns began. Video games were heavily marketed as products for men, and the message was clear: No girls allowed."

"Part of the problem, he explains, is when people think about video games, they think Doom, Mortal Kombat and Call of Duty. Meanwhile, FarmVille and Angry Birds are considered something else entirely and associated with a different domain. This can be attributed to a different kind of marketing."

* "What we still haven't learnt from Gamergate" Aja Romano



"When I started receiving death threats earlier this year, after I was on a documentary about 8chan’s [politics] board,” he said in an interview in 2019, “I went to the West Los Angeles police department with pictures of this bounty on my head and Photoshopped images of me with a bullet in my head. I had to try to explain what was going on to them, and they had never heard of the website, didn’t seem to really understand that an online threat was a serious thing, ... and I spent most of my time with the police trying to explain Bitcoin to a bunch of 50-year-old Los Angeles police officers."

* We Can Win Gamers Over to Socialism Brian J. Sullivan and Laura Bartkowiak



"This “gold farming” operation did not last long. Considered cheaters by World of Warcraft’s creators and fans alike, IGE was banned from the game and sued out of existence. The experience, however, taught Bannon an important lesson. Bannon later told author Joshua Green that gaming is “populated by millions of intense young men [who are] smart, focused, relatively wealthy, and highly motivated about issues that mattered to them … These guys, these rootless white males, had monster power.”

"In his new book, Marx at the Arcade, scholar and games enthusiast Jamie Woodcock makes an important contribution to this effort.
The book is a throughgoing and accessible Marxist analysis of the video game industry and culture. It is both a materialist account of how video games are made, and also an insightful description of what it is like to be a leftist gamer. Marx at the Arcade makes the case that games are important cultural commodities worthy of analysis and gives leftists the tools and language to undertake this analysis."

"To paraphrase Terry Eagleton, video games are part of the ideological apparatus that justifies our society’s worst impulses and realities; but they also contain meanings and traditions that challenge that apparatus.

Marx at the Arcade wants the Left to understand that these contradictions can be resolved in our favor, or to the benefit of our adversaries. Video games have become one of the biggest players in pop culture and entertainment. As Steve Bannon recognized over a decade ago, games are a cultural site where ideologies can be clarified and mobilized. Radicals should not abandon this cultural terrain.

The book also wants us to understand that play is an essential part of being human. We do not play video games primarily to challenge reactionary politics, but because they are fun, and they can tell personal, engaging stories. Modern capitalism leaves little room in our lives for idle play, so socialists should embrace any art form that revels in it."

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