Blog

Perth.
We're on to the second Monday session at PerthDAC. Jim Bizzocchi is the first speaker, and he began by showing us an example of ambient video during the set-up period - here consisting of an assemblage of nature shots of mountains and streams blended into a slow video collage which has landscapes change subtly before our eyes. Ambient video is an emergent form of video expression made possible by current and new video technologies; it should change, but not quickly, and the details of changes should not be critical. Jim focusses here on cinematic versions of such ambient video - made for larger screens (including home theatre); the philosophy behind such video echoes Brian Eno's views of ambient music: 'as ignorable as it is interesting'. Ambient video captures our glance much as a painting might, revealing rich imagery at a time of our choosing.

Perth.
The third day here at PerthDAC has started, and kicks off with a paper by Jean Bridge. She's involved with the interactive arts and science undergraduate programme at Brock University in Canada, and in this programme encourages thinking with and thinking about interactive technologies, which are situated in a wider social and cultural context. It is a humanities-based programme which concerns itself with the content and analysis of the products of human creativity, by following four core principles: capitalising the fact of computing as central to contemporary life, identifying the need for constant evaluation of the role of content and form, accepting the necessity for new and innovative methodologies, and achieving a centrality of interdisciplinarity and praxis. Students in this programme are largely digital natives who are content creators, aggregators, and intertextualisers, who think though codes, strategies, and roles, and who are willing to probe, manipulate, set goals, and construct their own pathways. The programme, then, aims to prepare them as people who can bridge theoretical and practical aspects of working creatively in new media - as creators, writers, directors, designers, managers, scholars, critics, and policy makers.

Perth.
I'm the last presenter in this post-lunch session on the second day of PerthDAC - so I'll blog the first two papers and will try to record mine; the full paper is also available here, and the Powerpoint here. We start, though, with a paper by Kenneth Knoespel and Jichen Zhu which Jichen will present. She posits this paper as a critique of the Cartesian dualism; the overly simplified mind/body split really isn't sufficient any more to discuss materiality and the relationship between natural language, computer code, and the material world. Computer codes are often given a role that transcends the material world - cyberspace is placed as an opportunity for escape from the material world, and this conforms with the Cartesian mind/body dualism. This is visible for example in William Gibson's work, or in The Matrix, but is also at the root of the field of artificial intelligence, Saussurean linguistics, informatics, and other areas. The same is true also often for the aesthetics of computer art, which are rooted in a romantic notion of immateriality where the concept is more important than the physical artefact.

Perth.
The second PerthDAC session for today starts with Adrienne Shaw, who focusses especially on the in-game representation of gay, lesbian, and transgender communities in online games. There is already a complicated history of the presence of such communities in games, which are often ignored, ostracised, or poorly represented. Adrienne has engaged in a programme of research working with such communities to develop a greater understanding of their interests and needs. Such research also links back to questions of representation in other media forms - the discussion of such representation in those forms is repeated here, similarly shifting from invisibility through stereotyping to more intelligent representations.

Perth.
The second day of PerthDAC is about to start, and the first speaker today is Allison Kudla, who is interested in biological agency in art. This links to a suggested shift from simulation to emulation art, a form of art which uses physics and natural phenomena in artworks and embraces the universe itself as an operating system. Emulation is understood here as a perfect simulation, indistinguishable from what it represents; this is well understood in the realm of software, but what does it mean if the universe itself is posited as an operating system? Such questions also relate to Plato's theory of forms, in which artists represent the explicit material manifestation of forms (rather than the implicit form itself). But where can new or latent forms, or further refinements of forms, be found?

Perth.
The last session on this first day of PerthDAC focusses on virtual worlds in games and beyond, and begins with a paper by Nicola Bidwell, David Browning, and my colleague Jane Turner. Their work is related to the ACID project Digital Songlines, and are interested in developing digital representations in which the landscape itself matters - this is not about games for play, but bout virtual worlds as representations. Most current game worlds represent experience from a designed path, and this carving of paths is enmeshed in a western ideology of human power over landscape; landscape is only a passive framework for narrative. The Digital Songlines environment, by contrast, is an environment in which the landscape matters; it was developed in collaboration with the indigenous design company CyberDreaming and the indigenous people of south-west Queensland. The gameplay tools in this world interfere with the experience of this simulated world as first-hand, though, as does the embedded, usually tacit knowledge of the indigenous custodians of the land.

Perth.
The second session here at PerthDAC starts with Torill Mortensen, who is also the leader of the World of Warcraft Research Guild and begins with an overview of games studies itself - an area which has experienced considerable turf wars in the past decade. She outlines a number of approaches: immersive studies (ethnological and anthropological studies of games and gamers), structuralist studies (including the bitter battle between ludologists and narratologists), and contextual studies (examining for example the economic and legal aspects of gaming). Immersive studies mean that researchers also need to play the game they study, resulting potentially in a loss of critical distance; structuralists examine the structure of the game and its rules; contextual studies also point towards the wider impact of gaming, especially also examining the rise of 'serious gaming'. There are also some other research approaches, of course - data mining and quantitative research, psychologically inflected studies, and many others.

Perth.
I'm spending the next few days at the PerthDAC conference here in Western Australia; I'll be presenting a paper on Sunday afternoon as well... Right now, though, it's Saturday, and we're just about to get started. Jason Lewis is the first speaker, presenting on the NextText project from Obx Labs at Concordia University in Montréal. He begins by showing a video presenting a number of interactive installations which aim to visualise everyday spoken interactions, lending a visual quality to such ephemeral interactions. Much of this is inspired by the interrelation between the structure and content of poetry (the contribution of rhyme and rhythm to the meaning-making process of poetry), as well as the use of text in comics and urban graffiti, and the experiments with layout and formatting in early-20th century avantgarde art. This produces a tight coupling of text and structure, and highlights questions of how to represent text visually, how to make use of interactive possibilities in new media technologies, and how to blur the literal and aesthetic functions of written language.