Reflections Sept-December

Overcoming obstacles, mastery, is the interface though reaffordance offering some form of mastery, an overcoming of obstacles to be installed.

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Video game space, is this somehow connected to how I use space, in that the world bought in becomes the space of the activity.

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Gestural interface

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What is the relationship between gameful Ludic structures and player/participant actions, and how can that produce artworks. 

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Speaking of games without mentioning games, I analyse games,from properties artists work with.

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Games build behaviour though interaction

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Two sides, – the creator side – and the participant side

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RESULT – Magic circle as symbolic structure – accepting the rules – entry to the magic circle, artefact interaction – bringing the surroundings into the circle – 

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RESULT – VI- Here I witness a breakdown in the distinction between play and games, as participants could play with the interface, without the rules. The rules of the interaction were a further step

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RESULT – Huzinga and Caillois see play and games as having a temporal boundary, this is set to short in instantaneous structures, so reworks the notion of time and place. 

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Narratology, applying narrative to non narrative structures, that are analogue in nature.

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Can mechanics be imbued with specific properties for art creation. 

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What is is to study games? There is academic study of games, close up, but then you move into context. Is the seesaws along the border wall a game. Examining games a cultural force, to express ideas, is something known. To imbue mechanics with the requirement to create something with participants that some other force may require is accepted. You can study games for themselves, and as they are, or you can see them in context. 

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SO I am not about disappearing into the game, but making the world a part of the game and it existing in the physical world.

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AASPERTH – Cyber text – start of mechanics? Maybe – 

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Talking of game without mentioning games – ludic endeavours, with games being only one outcome. So the Ludic is outside of just games!

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DO Games exist?

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DOnt talk of games, but of ludic endeavours

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 By going to the new game movement, I am saying something about the type of games I am studying and moving towards, that affect the work, rather than a figure such as Crawford, or even ian bogost. 

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ARTS MAGIC CIRCLE IS A  SUDDEN MAGIC CIRCLE – it appears and is erected and then collapses – it has no longevity outside of the activity. As in a court, or a game screen, it is a construct of the people within it. It leaves no mark, no residue. 

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The mimetic interface breaks the magic circle, as the actions are in the world, to create those in the other fantasy world. 

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Guess the rules, let people play chess with different rules. Write rules down1

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There are lots of things called play and game, in culture, are not play and games, why use games, and not just Ludic for all the things.

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Let’s take a characteristic they both

have in common: quantifiable outcomes. While both definitions

can be comfortably applied to what James Carse (1986) has

labeled “finite games”: games that have a specific start and an end

agreed upon by all the players involved, this is only a limited subset

of games, digital and otherwise. Infinite games, Carse explains,

do not have a clear beginning or end, and thus no outcome to be

quantified. Infinite games are about engagement in gameplay, not

about a definitive outcome. Both Juul and Salen and Zimmerman

discuss borderline cases that do not fit their definitions, but they

refer to these as anomalies to a norm. But as Carse rightly points

out, these are just two, broad types of games.

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In some sense, this argument between ring a ring a roses and is it a gema or not, is answered here. 

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When is a game not a game, when it is an artwork – 

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The player is the participant

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PLayer art – shift the focus to the player, with who they are, this creates player art. So why have participation, when it is the same as playing a game – the same effort.

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Mechanics are not game exclusive – 

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Middle ground – why replace one metaphor the circle, with another, like spiral or jigsaw piece. It is a metaphor, a theoretical structure. 

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Is there a difference between creating and manufacturing experience.

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SO FOUND GAMES, as participants find the situation, in their space. 

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What though is play

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The weak goals, or gameplay, fit with the folk.

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Yet at the same time , as participation, there is zero sum games, and idling games where they are spectatorial, you start in the initial stage,and then watch the game unfold. Is there a turn against interaction do people just want to watch. The realtionship between hard core, and soft core, and casual, and games in the everyday. But also delegated pleasure, and impassivity, the enjoyment of watching a game play itself. Hasn’t computer games always played themselves. It is how far this can go. In analogue structure, the person is central, and is needed. Perhaps analogue structures,with players and communities through a folk context is a truer game than digital games. In the end, when it is a sereen, or even a virtual headset, it is part of the media base. When we say, the game needs to be played to existing, ina sense, that is an analogue statement. 

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Self Play, game of life.

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As participation and immersion are becoming central to culture, and to other media than games, at the same time there is a push in games, that is moving away from direction participation, form ergodic interaction. 

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There is a split between doing and watching, and in some sense for folk, the watching is part of the doing. 

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Automated games, set the parameters, watch them play out, reset the parameters. Can this be done in live action.

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The seductive interface combines with the folk found game, to call people over into the activity. It has to have recruiting abilities. 

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Reader response theory, takis in the particular circumstance of the reader of the text, their personality and context, from this virtuosity, seeks in the terms of these work to bring that particular situationdess of the participant to the fore’

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Games under stress, like chess frommeory, Children’s games during the Holocaust also affirm the necessity of preserving play even in the cauldron of atrocity. In 1943 while working in the graphics workshop of the Terezin ghetto, a Jewish artist named Oswald Poeck who had been expelled from Prague to Terezin two years earlier secretly designed and illustrated a handcrafted version of the board game Monopoly with locations and scenes drawn from the ghetto. Thee was the swetto book.

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Ergodic balance, AArseuth explains the use of ergodic action to effect a text, and that such a text is a cyber text. So it requires non trivial action from the person engaged with the text. This has come to be seen as the action that a player takes, ergodic, in relation to the game (Game object).

While in art that requires interaction or active participation in some manner,  there can be said to be the same for of ergodic action. But also that there is a measurement in art of the depth of involvement, this can mean in the making process. SO co-design, or collaboration. These are evident in games too, with levels being made by players in games like () . WHile there have been measurements of gamefulness, the sense of play, what is the measurement of ergodic action. Some games, or participatory artwork, require deeper of more complex ‘non trivial action’. How can this action be gauged. Is it in the time people spend with the work, is there a complexity to the actions in some manner that increases the ergodic. 

So for instance AR, how ergodic is that, how do you measure ergodic. Is there levels to nontrivial action. Or the levels of ergodic action in relation to artworks, and participatory artwork. What or how deep is the level of ergodic action and how do you measure it, what is the scale, and either end of the scale?. 

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This idea of an ergodic scale, is complex, and it does fit in with 

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A toy even if it looks nothing like what it is a substitute for, if it has the affordance capability, imaginatively by a child, then it becomes that, so a rocking horse. But in imaginative affordance, the object not having that affordance originally, is the power of the incongruity of the work, a traffic light made  maypole, as it still contains its initial signaling to those around. More than merely reconfiguring something.

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Infuriating – ergodic, text. Should you work to see the text.

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Space apart and uncoupled, them seem in opposition, but it is whether the boundary is closed or open to the world around, so all is space apart, but the boundary is the test.

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Reflections on games, art, and Folk. May-Sept

MDA- mechanics/Dynamics/Aesthetics – remember this framework. Frameworks. Instantaneous structure/Interface as interface as artefact/Instantaneous structure/virtuosity – so here we have the interface, leading to the structure leading to the virtuosity.

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Meaningful gamification, users need to find a personal relationship, is this a bit like gaps. —-

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Adaptive gamification – responds to user

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Methodological Affordances

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I try and address the notion that folk games have weak mechanics. By seeing them as entry points to the experience. 

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SO A SINGLE IMAGE MADE UP OF LOTS OF IMAGES WITH PEOPLE MOVING INTO POSITION TO FORM THE OBJECT

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Are the mechanics what create the instantaneous structure. So mechanics.

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INToRDOCUtION – WHy the tripartite of the undertaking, and in the games that is The player, The game and the location. 

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Flatness is reinforced by externalised stratergising

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GAPS – can be the bits of trialing inside when hidden from each other. 

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THematicise – so a space, artists are in residency for a month, they all work together with a crew, to create a promenade installation that is open for one weekend. This is every month, and each month is a different them. 

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Pattern interrupt, making changes along the way.

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MANY OF THE TERMS AND CONCPt HOPE to HARKEN BACK to HUZINGAS AND THE SPLITS IN HIS THINKING< SO IN AND OUT OF THE WORLD>  a space apart but of the world. Duality. 

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Interface create the circle, but it may be that the interface limits the numbers involved, but though the expanded circle, with concentric circles of immersion and interaction, it can expand the role of those in the undertaking, by allocating different levels of input, beyond spectating. 

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Contraptions have a folk aspect. The amature. 

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BOUNDARY – Develop for circle alone, not instantaneous. – maybe!

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Urban maypoles has the disjunction, but word play doesn’t, it is not descriptive in the same manner either to lead people in. 

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Games as form art as content

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Moving Goals

Who is the winner, so I begin as the judge, but as the game progresses the participants themselves became the judges of the works – and this was often in works with a strong image, or final pose, the more choreographic works – so in sign language duel and the hand shake work, the groups themselves judged the competency and would often overturn the win situation if not done correctly. Is this a connection between padia and ludic, with a ludic rule based structure that allows self made shifting goals. 

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Cheating Reality – the balance in after the fact works, about what is real, and what is a cheat.  Condensation animation – Pivot 

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If as Caillios says goals are added to make a play experience more gameful, then other or new goals,  by players in the experience can be added to make a ludic experience more open and playful, to effect dynamics of the outcome. 

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HOW DO MECHANICS RELATE TO GOALS

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The nature of games – games design – how do designed games and a nature of games differ.

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SO not padia and Ludic, but the Design and Folk.

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CHESS is specific to the undertaking, and has become an art object, sculptural in nature.  Artists have experimented with chess. 

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So here is the difference between a phenological whole, informed by aspects outside of the endeavour, agent breaking the work down to elements and mechanics. That are internal and designed

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These arose by how people played in the work.

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Difference in the edits, like small bit and capturing the whole, so a phenomenological edit as opposed to an atomised edit. 

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Re-affordance is folk, as in the way the children re-assigned street furniture. 

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Folk games often have no hard end goals.

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In Folk games often you know the moves others will make, like skipping games

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Rules transference – skill acquisition

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PLAY IN _ You start the game and then people have to join in, to keep it moving.

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Folk porous boundary – play in 

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This development of the interface emerged in my examination of  its operation in public locations and the interface being not just a controller, but also an activator of public space

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Magic circle – unsuccessful games

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THE VIRTUOSIC INTERFACE – an interface of expression for participants

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The notion of affordance, in a deck of cards, they are built with the affordance of the games they can play based on their values and the ability of the player to interpret these values, but they have been reafforded and made more folk like, when used as building blocks for a house of cards, and here too the mechanics shift from chance to skill and ability, to mastery of the techniques of how to build the tower.

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Game art, that the play reveals the labour in the play

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This idea of an expressive interface, fits with the notion, that the aspects of games I am looking at is the interactive, the idea of the player, a player centric focus. 

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So excavation, archeology, of game ideas and concepts.

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Glitch art, connection to mistakes, as aesthetic, could this be built into the notion of condensation animation, in that it is also about imperfections. 

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Expression versus representation though the interface and the avatar?

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The artwork the artists moue, attaching a charcoal to see the representation of the events of the day, similar to ondark, this idea of accumulating and collecting a series of endeavours over the length of the day, that it has a physical representation, as in the airplane superimpose video?

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OSSIFY – when the movement over time, are brought together to create artefact, the movements are free and ethereal.

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Capturing -Accumulating – ossifying the immaterial.

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If habits or ideas ossify, or if something ossifies them, they become fixed and unable to change:

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John Glen the astronaut said glitch first, glitch in art diff to glitch in engineering, like if you flying to space station, a glitch is bad!

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Participation could be answered through the notion of Folk. 

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What we learn when we make?

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The journal bit, drawn from my day to day enquiries in thesis

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Is a Ludic activity different to a game are games one form of ludic activity

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Mechanics are different surface structures created by the same underlying structures (mechanics) 

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Surface expression of and the internal mechanics – 

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Teetotlarwall – the seesaws across the mexican border wall.

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CONTEXT IS KING

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Folk tales in relation to the work?

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Though not portmanteau, the concepts doing fully synthesise, but retain their separate utilities, proving the frisson

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The trivial becomes important, when the context informs the work, is drawn into its meaning making system.

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Narrative is a time dependent structure, longitudinal, which is why the burst look at short time spans so are about ludology

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Swing time – players on swings !

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With the music artwork thing, is it about turning the played tune into notes!

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Should I put in the introduction a bit about my work and how it connects to the research, looking back on previous works. 

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Avatar/player character – this is not something I am examining, as interested in the participant and their world, not role play

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Seeing the player and activity in context, the whole relationship of gameworld to world. 

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Though they say nothing about themselves, through their actions, something is revealed.

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A Ludic Biography machine!!!

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Foregrounding participants, bringing something biographical, need not be narrative based.

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Game games, for something that is very obviously a game. 

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Systems and Experiences

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Folklore – Game Rules

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I have read many thesis about games, and about going into the game world, the other place, the fantastical environment, portals etc. I don’t want to go into another world, maybe like mcgonigal in reality is broken, I want the game in the world, to effect it? 

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Systems vs phenomenons

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Auto – tellic

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Opening up closed systems

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Contextual games, the play fits the player. Rather than the player fitting the game.

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Playr agency – active players – while players are active agents in the work, how much control over the work, and so agency do they have. 

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Large themes from small factors.

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Reflections March-May 2019

So, with virtuosity, or false virtuosity, the ease of achieving this, reflects the need of the structure to bring people in, quickly and frictionlessly.

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So thinking on the interface as specific to the construct, and the notion of affordance, the slime interface in slime tango especially interesting, as it responds to the way that has been manipulated before the game, so this is a diff type of interface, that responds to the participants. That it responds to body temperature, etc.

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Ritual – doing what we expect

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Facial expression – that the activity has the correct expression – Goffman face work –

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Everyday rituals, or Remedial rituals, to say sorry – it is about communicating – now see, that including the participants and their actions, is communicating the work’s nature and its activity. The original idea of breath-taking, to only see a face, and not know of the action, communicated little about the construction, by showing the creation, and the moment of said creation, it reveals the participants, and this communicates the structure of the activity.

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Perhaps we want to see how something is made, and who made it, so that rather than a mechanics, of sorts, they wish to see the people involved and the role they played.

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Corridors are a site of communication, sits with ideas of virtuosity – but also connecting space, so the liminal nature of the magic circle.

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The hallway has disappeared with more open plan structures but has survived in domestic settings

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Corridor City

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So the location is also a communication to a watcher/reader of the work, it’s aesthetic and choice telling the receiver of the work, the intention of myself and the people who will take part and what they wish to convey through the endeavour

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Space can become media, the location becomes the aesthetic of the work’s interpretation, through the action that occurs there.

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Location and interiority of people

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So why would people be interested in these works, it is the prising open of the process and the insertion of the participants, the revealing of the way it come together, through the orchestration? So as in Folk structures, it uses traditional forms, such as animation, or music, but applies a Ludic structure to their construction, and so from that enabling participatory elements, that changes the nature of the work, and the traditional form suddenly takes on properties associated with the modern, or the experimental, while trying to cleave to its traditional structure, but pushed apart by the Ludic structures.

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Supposed opposition

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WHAT IS AN ASSET

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So their response to Condensation animation, has made me see how some works can be seen as reaction, comment to pieces of public art in the town. So  ‘Maypoles are everywhere’ is a reaction to the installation of a maypole in the centre of town as an artwork. So too this work, while I created it as a way of commemorating the angel sculpture, in its form can be seen as an instantaneous reaction to the aforementioned Angel of the North. Where one more the angel of the north is monumental, the capturing of it in condensation, seems like an almost perverse response, the smallest ethereal activity. But once more, though orchestration and capturing these condensation moments, and bringing the together in can online have footprint and impact.

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Supposed Opposition – Virtuosity – Collusion.

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I keep in the condensation edit, thinking about keeping it real, what do I mean by real, is this how games are seen. By real it is the moment, it is ok to have lights etc and anything else at the time of creation of the frame or make it seem poppy, to come forward and be visible, but to effect if afterwards in the edit seems a denial of the reality. It seems to be cheating, but how is raising the balance in the edit, or selecting the figure and tightening its border, more of a cheat, than the templates themselves, or shining a light on it, or even the position of the camera.

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Contemplating some reaction to the condensation work, it is saying you don’t need even a pencil to make a work. It is showing the affordance of the individual to the environment that can conjure up the image, reinforcing this idea from nothing something came.

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Margins is My casual – but, a development of casual, and is about bringing the margins together to make the work. SO taking marginal activities, but through their collection, making the margins central.

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In this war with myself about whether or how much to affect things I made something out of those that had a little angel shape, which affected the animation, but brought about the concept of stop start animation.

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Breathtaking, in terms of conjunction, and disjunction, and the putting together of discordant effects, in this case the name of the work, had a similar context, with though the wordage itself, breathtaking is a way to explain an exceptional work, in the way the work was shown online, the term breathtaking in terms of its name, came to seem as breath taking and then explained by a tagline, that the work in actual fact made by the taking of breath, so having a small surprising effect and disjunctive effect, but differently, in the manner it adapts an explanatory term, and shows that in fact, here it has a different meaning, an actuality. This animation is breathtaking, in that it really is breathtaking. This fits with an idea of what is REALITY in the undertakings. 

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Thinking about Victor Borges, in terms of stop start and virtuosity, his performance was based around a stop start structure, leading to a great appreciation of his skill.

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Supposed opposition part of an instantaneous structure, helps to establish quickly an undertaking.

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Stop-Start – with animation, but people use that term, so it may be a mechanic for artwork with participants, so rather than just having a weaker set of gameful principles, you can have the gaps that are parts where the activity is less, and the participants come to the fore.

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SUB mechanics, so  collusion etc, or from weakness comes gaps and stop start –

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THERE IS A DIVIDE BETWEEN STATES< as in the participants role and Form as in the Instantaneous structures.

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Realise now, the angel, and windows, it is like a church window. And religious stained glass, in a way.

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The Choreographic ordering and the orchestration goes towards the creation of the Virtuosic act. Or Virtuosity.

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SPLIT – DUalities _ In titles, in the structures, different ideas and worlds ought together.

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FIERO and FLO – fits with the Stop Start sections – Showing and making part of the spectacle and performance the reaction of participants, to the action, their response and them in the undertaking.  THIS FORMS THE VIRTUOSITY

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For this is the definition of the Folk aspect, that the activity has a structure or recognition outside of the activity I have created.

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So even the window animation, connects to the drawing in condensation that many do when bored and out

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SO interesting the way the South Korean news covered the work, cutting it in with an older work and using a diff soundtrack. I saw that it could have a diff meaning, be more conjunctive and attractive. Who knows? Is it better to be streamlined than stop start?

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The work, is about pubic space, and for the time of its happening, that space is public. So can change the space itself

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FOLK – is it that folk in some manner, has authenticity, so can have some strengths of the everyday, but to lead to a Ludic activity.

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Animation in real life, it is the difference and complexity of achieving this, and is about the circle and being in and out of the game experience, the real world around, Spiderman in real life by Improv Everywhere, or Homer Simpson in real life, it changes the imaginative notion of the fantasy aspect, so Maypole in real life, or animation in the world. It is somehow real.

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Gardememr about the encounter with the work. Maybe I Need to put this stuff in

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Changes in judgment from myself or the artist makers of the work, viewing it, to the audience viewing it, to the critical reception of the work.

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What does it mean when people say your work is understandable by everyone – is art then not explicable – how does this fit with the everyday.

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PIVOt and the whole game of statues is good for supposed opposition, as they players make it competitive themselves and calibrate the experience. As if they turned too much, then the game would be pointless, but there is no limit to the number of turns, etc. All games in a way have people playing together, to make the game occur

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So me as the artist collecting the poles MAYPOLES, with a group, outside of the individuals in each location who join in.

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SUPPOSED opposition/Weakness/gaps/ are connected.

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Reflections, some works, did not change their form, but changed the surrounding rules, but the form itself remained static.

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Bring after the fact together into one concept = choreographic Virtuosity – which also has that collusion aspect, that something is choreographed, and unreal. So choreographed can have a negative meaning, an unreality to the scene.

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NEW WORK – CONVERSATION PIECE – can you make an instrument talk –

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DON’T FORGET – the turning around of the viewpoint, that allow participants to be in the work in Condensation Animation.

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Virtuosity the dancers’ body, training etc, the expression for the work through their undertaking

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Choreographed Virtuosity

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The configuration of the various structures so pairs, two player, teams,

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A magic circle is good for delimiting the activity in a public space making it stand out. Boundary, I originally saw that the difference of arts magic circle, was that it had a hard visual border, that it is not fully partaking of the experience, but is created when a participant interacts with the artefact that is the interface. So Interface as Artefact, and that here the Magic Circle and the interface operate differently to that in games

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Interface as Artefact – Affordance as Form

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The idea of moving or changing goals though the work

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New Folk, bring the past into the present

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Am I saying with virtuosity it is how the work is presented.

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Is new folk, intertextuality

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Virtuosity can also be to show others how good you are at something, so can it be that the work itself is inherently set up to allow for this? So mimetic interfaces are engines of virtuosity. Overcoming challenge, but it is how you overcome that challenge.  What is a skill!

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Does interaction, prevent immersion.

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Play character, the relationship between a player and a character

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Liminal threshold liminoid, the study of the marginal moving to the centre.

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Artifact makes Artifact

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Is there a relationship between obstacles and re-affordance,

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If something has obstacles, does it become a game

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MAGIC CIRCLE BOUNDARY – set apart imaginatively, but affected and affecting the location though affordance.

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JOUSTING – JOUSTING IN Byker USING SHOPPING TROLLEYS

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NOT OLYMPICS< BUT MEDIEVAL SPORTS

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Hats can mean different things.

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HATS OF TO BYKER – A new age of etiquette  Get everyone in Byker wearing hats and bowing etc, a problem is that the hats will go missing end up as rubbish

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Affordance are transgressive, a go against the normal associated usage of the object.

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This idea of spreading a handshake through a town.

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Difference between rounds and levels

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Jan-Feb 2019

kinesthetic empathy, that people can imagine through watching. Immersion, incorporated participants ,at the actions of the participants, can too convert not just the activity, but what it is like to undertake the activity, there is empathy in watching others undertake the task.

In the golf dance piece, where dancers use a mini golf course and change it with their bodies, I find this interesign in regards to Suits and the original idea of obstacles in gameplay.

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The course becomes a site of invention and fun, a venue for romantic engagement,

violent action, reverie, and relaxation; a host of alternative practices that suggest that

“things, relations, and selves could be otherwise” (Katz, 2004, page 102). Accordingly, this

dance performance reveals how play is “both a form of coming to consciousness and a way

to become other” (page 98). It also resonates with Alan Radley’s notion that dance is an

expressive and playful endeavour that produces

““the fabrication of a ‘different world’ of meaning, made with the body. It is perhaps the

most direct way in which the body-subject sketches out an imaginary sphere.

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Reading clare bishop, and her essay on dance in gallery, two good bits so far, the idea of virtuosity, that the outcome of an activity is communication, maybe this fits with y idea of virtuosity but also the incorporated participant, but also to question, if those performing the work of others, are asked to draw on some kind of emotional reservoir, then it is a question of what is the relationship between documentaries, and the revelation of the personal. Do people want to reveal things about themselves, or have information shown to others. Do people want their stories told or to partake of art.

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For instantaneous structures, Claire bishop talks about how galleries have created these dance experiences, where the work is stretched across gallery opening hours, this is in contrast too instantaneous structures outside of the gallery that last moments, but have further structure, longer term through the orchestration of the parts into a work after the fact.

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SO in vis art longitudinal performance, bishop relates to iphones and instagram documentation, and here it is that the

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The documentation is reworked and informed so it becomes the physical artwork.

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More than documenting, it is structuring, and orchestrating – MORE THAN DOCUMENTING –

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Bishop writes of transgression n terms of art, and what it allows of the performance, as anti entertainment, but in games and with vertigo, it becomes the entertaining part for performer to do.

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Bishop says documentation fails to capture the performance, but if the documentation is actually the object of the work.

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WHERE IS THE OBJECT< IT IS THE ORCHESTRATION

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It is interesting, so bishop says about the way that performance time, dance time, ha altered to fit museum time, but this is different to the way that instantaneous structures work, sound and eruptive, momentary in nature, but elongated though artefact. Also There is a manner in which the idea of performance in galeries is termed sculptural, to differentiate it from time based performance, is there a sculptural quality to the work in the public sphere.

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Virtuosity, is there a politics of this false virtuosity, to breaking the need for long form training, and increased easiness.

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The split concentration, in the activities of Slime tango and of Swingball Shakespeare, relate to the nature of the activity, the way the activity works in the space, but also ot the challenge, the mechanic, by making the participant concentrate on two joint undertakings.

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Additionality as a mechanic for creating works from existing games.

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Is the movement with the feet big enough to indicate dance,

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Virtuosity is of the moment.  Which fits with the idea of immediacy

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This idea of a split attention, is part of the cultural idea that our concentration with digital devices are split – but also can splitting an activity, actually be a way of increasing concentration, it creates immediate challenge, that requires mastery through practice.

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Ambient play – a move on from casual play.

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`the idea of the non professional body, as against the virtuosity of performance. danseur piéton. A non-virtuosic body

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To be like a professional, virtuosity

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I am stupid, why did I not film the blowing! For the condensation animation, must remember to do that.

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So in condensation animation. It is about creating gaps in the animation. So it shows the people partaking.  It is interesting to look at accumulation in relation to cheating. As in how real is a real account, artefact, documentation. Is accumulation a form of survey. And how does this work with the notion of effecting aspects in the suite. Or if the edit requires in its orchestration a central digital manipulation after the fact.  

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Condensation thoughts

So looking over the footage wondering about how to bring the blowers into the work, how to create the gap that allows them to come to the fore. It is almost as if the work is in a number of pieces, there is the templates, the blowing and then the animation. The animation though accumulation only really works if there are no gaps. But the only way the participants can come to the fore is if there are gaps for them to emerge. This is once more another angle on the too tight a task, not allowing those in the work to emerge. For their interaction to be central.

I am going to film the blowing a short bursts of video, so you see the condensation form, and then the angel as still, and also have another camera capturing different angles etc, as filmed bits

Also this work touches on mythologies, of breadth brining the inanimate alive, but also the huff and the puff on the three little pigs.

Will I have to prize the animation apart in some manner in order to put in the people blowing

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BRILLIANT – Through the brilliant club and working with the children, introducing them to my research and its themes. I have developed a further disjunction, of slider scale in games and art that can become atool of distinguishing the various structures,a si n Padia and Ludic, there is also though the way that we interact with such structures, and can the either poles be Chance and Skill. And also here this could feed into my ideas around Virtuosity. This seems to capture the imagination of the children, and help them to see how to design experincess, looking at the difference between chance and skill, so for instance in the game of Bingo, to make it more skilful they suggest remove the cards and relying on memory alone.  This is also about progression and learning the skill, but in some way the works undermine and go against skill factors.

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Brilliant club – another thing I have come upon, is the idea of taxonomy, and the everyday, and exercise to teach ways of sifitng information. We devised the idea of using top trumps, but with aspects in the everyday life of each child. I have set them the cards to finish at home, be interesting to see what they do.

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AMBIGUITY OF VIRTUOSITY – Can some fo the ambiguity of play be applied to the notion of virtuosity, as in is he virtuosity real.

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Gaps, but small units bought together, but further the idea of virtuosity,

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Looking at the way the works operate online.

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Granularity, breaking things down and examining them in relation to collection of units.

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Second, games can be (and are) described by

fundamentally different ontological categories – objects, processes, sets of properties, sets

of relations, sets of rules. Which one should be treated as basic and fundamental and which

as secondary? (Aarseth 2014

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Breaking things down, or building them up.

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Mechanics that have uses

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Meta – micro, should we break things down to examine them, or even work with elements to build them up?

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Games are part of a domain of activities

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World Events – to create broken down aspects.  So the abstract through the physical

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Definition 3. Bernard Suits.

To play a game is to attempt to achieve a specific state of affairs (prelusory goal), using

only means permitted by the rules (lusory means), where the rules prohibit use of more

efficient in favour of less efficient means (constitutive rules), and where the rules are

accepted just because they make possible such activity (lusory attitude). [… .] [P]laying a

game is the voluntary attempt to overcome unnecessary obstacles. (Suits, 1978, p. 41)

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The split of the physical and the mental.

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Ambiguity is the most interesting phrase around games –

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Ambiguous states

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Non-games are a class of software on the border between video games and toys. The original term “non-game game” was coined by late Nintendo president Satoru Iwata, who describes it as “a form of entertainment that really doesn’t have a winner, or even a real conclusion”.^[1] Will Wright had previously used the term “software toy” for the same purpose.^[2] The main difference between non-games and traditional video games is the lack of structured goals, objectives, and challenges.^[3] This allows the player a greater degree of self-expression through freeform play, since they can set up their own goals to achieve.

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Ambiguity – collusion – split – virtuosity.

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Contingencies, is this something that can connect the elements/mechanics to the ontological whole. Rather than an emergence from the elements, can you have a whole, that is contingent on the use or mix of certain elements, in a certain situation, to give a certain whole result. .  

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Implied play- real player – the difference.

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Transgression – but also how backing effects thing, getting permission,a supposed to turning up, as opposed to some organisation helping, with darlington and the maypole I found it dampened things, removed the excitement as it had low expectation and was normalised. But with condensation animation the help of the Tyneside, was very supportive, it gave us a really comfortable space in which to do it, the film schools, and a really good window, with a good views, it did suddenly feel more sanctioned and permitted. But it was still an event apart and on its own. Also it meant that I had people from the tyneside coming over to do the blowing, also this is the first time I had a chance, because we had participants, for me to actually film the blowers. Further as this is partly a gateshead project, saying it is for gateshead and the angels birthday, rather than research, seems to make organisations more open to getting involved in the project.  So here even though some backing, it still manages to be a disjunctive experience, as it is an act alone, once part of festival, or a number of similar events, broadcast beforehand, it loses its nature to surprise. So a balance, between having the activity occur, getting participants, alongside authorisation, protocol, and surprise, can all affect the slider bar of transgression.

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Contingencies – the idea that the work relies up certain environmental setting to occur, so much like affordance, but that the outcome falls back upon the setting of it behaviour.

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Rereading at organising the idea, the focus on the margins, in some manner can then also be slotted into the idea of the works being made for  specific local, but this fits with affordance, and the notion of the environmental concerns, so the works are contingent.

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Heard on thinking aloud about how on a motorbike at 70 miles an hour, everything kind of dissipates around you, and thinking on location, do I want it to come to the fore, as I keep saying with the condensation, but for the participants for it to fall apart around them though the activity, so like vertigo, and flo, they are unaware of surroundings?

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BRILL – did the idea of the top trumps with the students, and it worked pretty well. It bought up a couple of things and did relate it to research, one did online sites, like twitter etc, the other did youtube stars, and one did their family. It led to talks about subjective and objective, with their measures a mix of the two, so that was pretty good. Am wondering about oding a top trumps for my own research. Or as an exercise for others.

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Folk structures for Ludic activities

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CONDENSATION The idea came about from a desire to look at the notion of drawing, or of, somehow giving an entry point to people with no drawing skills a way to become part of a drawn work. There is the balance between the real and the artificial, in that what is it to draw. Are people in some manner, thought controlled almost drawing by filling the template with their breadth. I feel so, I had tried a couple of different things, such as a sketch a graph, and drawing with a finger. I originally also thought about hiding the interface, so watching the video you didn’t realise how it was made. But that seemed cold, and unconnected to the notion of the participants, so opened it up to reveal the templates. At one point I thought in the animation, showing the templates on the window like a keyframe in sequencing, but then instead, as I progressed, and started to move between windows, came up with the idea that between segments could be the video clips of people blowing into the template. The work is real, in some sense, as the condensation ange is really on the glass. What is a Ludic activity, if I look again at skill and chance, the template is mid point, there is chance as to how well the angle comes out, but also a certain skill. Thinking on this more, and how it is Ludic, in a sense perhaps part of the Ludic experience is the notion of effort. In that an interactive artwork, or participator can be the pushing of a button, or the pulling of a lever, the activation of a work that plays out, and that you interact with at times, but is the amount of effort it takes, a barometer to measure the Ludic nature of the work. It seems like you are controlled and following a certain line, but it is open, is more effort than tracing, with a higher skill but in terms of breathing and holding the template needed.

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By saying the angel is really there, I mean it is not put on afterwards, it is like a matte, with it in the environment, distilled through the glass. This also touched on a game idea I had about people watching, and using the environment itself as the backdrop.

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But while those in the work are active, what about those watching back the artefact, as an artwork. By showing the process, and concept, in the work itself, much as the need for a work that is political to inspire unrest, in this way, the work is more to inspire others to realise ways they can make creative work, and success online can show it success. In some manner, is the idea compensatory, we are not great animators, or pixar, but through a concept we have arrived at a work, that is different enough to be of interest. In this way, is it a bit Why don’t you, or How we did this, as in online challenges, we are saying, how can you use this idea, can you use this idea better than us, is there a way to progress it. These people took part and enjoyed it, would people where you are enjoy such an experience, and if so, go and do it. This was most evident in the work Swingball Shakespeare,which after the coverage on the BBC, saw a flurry of others, saying they would try this idea with their pupils. (though I have not seen evidence, of this occurring).

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Marginality, but also the way the work is made, is it casual, meaning in outside time. When making the work, I had the two girls, and had to spend a lot of my time looking after them, so developed a style interested in works, that would only entail one actual day of filming or interacting with public, sometimes two, and then being able to work with that footage at night, ro take my laptop to soft play etc. So there’s this idea, that the actual structures of how these work are made, is marginal, that there are other activities occurring,that the time spent is down time, or that the time is shortened for immediacy and to allow the work to be created. In This way the outcome of the work, the idea of instantaneous structures, emerges, form the needs of how the work is made. The last precariousness of the endeavour.

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FORGOT watching back the footage there is a kind of intimate connection between the blower, and the window, as noted, it is like you are telling it secrets, it reminded me also of the wailing wall in Jerusalem. If looked at in relation to proximity, the closeness you have to go to the glass is part of the works transgression.

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This work also has because of the environmental concerns a sense of tension as to what it will look like and how it will take.

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It is interesting to see it form a wider shot the angel.

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So from looking at affordance, rather than seeing how the activity affects the space,it developed a notion of use of space, of a form of specificity, or consideration, which is now maybe contingency, and with Slime tango it became about filling or operating within a certain space, that would contain and fuel the activity.

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With The blowing, filming from the inside out, means that we lose the huffing noise etc, so the audio is muted in condensation animation.

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Contingency, for the way that I use space, so not specific, or considered, but contingent.

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These new elements I am putting into the site, exploring the themes, means I can also start to see different elements, across works bought together,a sup till now I am only demarcating the works into separate sections.

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Conditions – conditionality – and self deception.

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What is the work, now looking back over the footage, i can see that maybe the way to edit the condensation work, is to have them filmed doing the condensation, then shots of the animation, then the blowing, then the animation. So it is a bit like  keyframe.

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Jannine Harringtons Clock.

For Windows the choreographer and artist Janine Harrington explored our everyday relationship to time with two interrelated artworks. The Human Clock was performed by a team of dancers who operated seconds, minutes, and hours with paper pages mimicking a digital clock as accurately as possible using only their own sense of time passing. In 10 Minutes participants were asked to gauge ten minutes of time without using a clock. They turned a numbered page when they felt that a minute had passed, and being visible from the pavements outside they also became performers. A wall drawing of recorded times developed over the week ranging from five and a half minutes to just short of twenty-five minutes.

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Laying flat, can be safety in terms of balance, but also can make you feel defenseless, in today’s world I imagine it is a lot to ask people to lay flat, so this is a bigger ak than normal.

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At the moment I feel I am a cauldron of art and design, with various ideas, being filtered through the two disciplines.

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For the condensation animation, I have looked more into the way that people fill up the frame.

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For the last work, am going to break the frame!

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DANCE MAPS

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I NEED A HARP – IS THERE A HARP WORK

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On the ethics of participation maybe VIRTUOSITY – in some manner is the answer, the communication though the activity to those around of some part of the individual, is though the undertaking of the task. IS THIS VIRTUOSITY!

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Often such work is seen as having no existence apart from documentation of the experience at the time- though artifacts before and after, I am looking at this.

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SEEKING OPPONENTS – Structures that create though collusion, the illusion that the players are competing, when they are actually colluding to create the experience.

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Supposed opposition

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WHAT IS AN ASSET

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Oct-Dec 2018

How does the notion of affordance relate to the idea of Suit’s obstacles. Affordances offers things and Suits obstacles hinders or takes these away.

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Game-artwork artwork-game

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So the same way that there is narratology and fiction in games, there can be this same divide in the artworks, with maypoles and swingballs bringing a different half fiction to the experience.  So it has its own experiential world, that the users engage with but only siminal, so like a space aprt it is half real.

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UNLOCKING THE CULTURAL CAHE TO REALISE THE FICTION WITHIN>

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The fiction of the experience is reliant on a real world object to occur

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The participants complicity in the activity

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In semiotics everything is a sign, and in affordance everything has some kind of action is there some kind of relationship here between semiotics and affordance.

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If the interface, the controller is about extending or embodying the participant in the experience, then iis there a difference between a component and interface. Is a chess piece an interface or component, is the board an interface.

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Mary Flanagan increases with her giant joystick the obstacles to interaction in the game. But adds an embodied encounter to the activity. Changes in size.

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Running a stick along railings, scales – is it that they play with scales going up and down, then that will need some kind of weighted stick.

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No wait – how about matching scales. You have to hit and find a matching scale. 3 chances

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Breathtaking, the idea of drawing in congestion, place palm on window, then get lines maybe. Draw into this!

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Hands in condensation. Lines, score.

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The way the circus people worked together to complete the swingball task, is also an example of lowering the pre lusory goal, for the scan and aesthetic to emerge.  As if they were competitive they would try to beat each other with hard hits rather than work together to complete the undertaking.

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Part of the aesthetic of my work is making the controller the form of aesthetic. Here the controller is individualised, for each encounter, the controller, or the interface, of the comment.

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Virtuosic play – virtuosos

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Padia and Ludic in relation to the open works, in which Eco says about the blank page having the most opportunity, but this is at odds with Caillios and how he sees Padia activity sometimes flat and needing Ludic rules in order to be more exciting to participate in. so directional activity in participatory works, less open more driven, more gameful may be the actuality.

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The raised eyebrow polish

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‘That there is a game, and that we are playing it; these are illusions

the gamer works to produce and against which he or she struggles: We play

against games not with them and our activity is directed from the outset by the urge

to bring it to an end, by winning. This work is done with the hands but the fact is not

normally presented on screen’.

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Playing to win, playing to bring it to an end, but in artworks, is it you want the experience to continue, as with group play, as with the well played game,  – the well played game –

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Affordance – form!

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So maybe try a bit diff research, the idea of the undercover olympics, or the poverty olympics, or the everyday olympics.

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Wait – the text on the body, so each participant is given the text on the body, it is stuck on, then they have to go around finding mirrors in which to read it, OR MORE THEY HAVE TO FIND PEOPLE TO READ IT FROM THEM –  BUT – AFFORDANCE – What do people have that make them read the text, but people move who are wearing the text. WHAT

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PLAYGROUND – Speed of response, owning object, finding object and keeping them, given objects – Coventry – not spoken too – SUBTEXT – The Subtext game.

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LEGACY OF WORKS – After Tug of Tango, have started to realise – that they investigate different aspects and different kind of liminal space. SO the Tug Of tango is specifically about investigating corridors – these are a specific space – (M)ollie and Swingball Shakespeare are about external public space, and they are about Imaginative Affordance – Sign Language duel, Wordplay, and I doff my hat are about foyers and entry space, cafeterias –  different groups yoo, and numbers

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The mechanics in Sign Language duel, are how each component beats the other, as that is the action they perform, the verb.

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Write section on how doing the handbooks and the brilliant club have affected the research.

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I turned sign language duel into a workshop structure.

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Architecture frozen music – fits with condensation

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AN EXAMPLE OF IMAGINATIVE AFFORDANCE ‘The Musical Busk-stop was an initial attempt to observe how sonic

interaction design could enhance urban design at a contained scale.

Embedding music into the existing bus stop furniture was seen to

encourage people to engage more with their urban infrastructure, as well

as with each other, quickly transforming this static piece of street furniture

into a lively, collaborative performance space. The London Soundmap

investigated the potential of sonic interaction design further by applying

it to the surrounding street surface, which enabled even more people to

participate and collaborate.’

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AN EXAMPLE OF CASUAL ART As explored in Chapter

4, ‘positive urban experiences have the potential to encourage positive

behavioural change, which can render our cities more sustainable. By

making waiting a more enjoyable exercise, the Musical Buskstop presented

public transport as a more attractive option, while the Soundmap was

seen to encourage communication, collaboration and social interaction

between strangers as they worked to compose their sonic urban environment

together.’

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‘While much work still needs to

be done, the potential of sonification is clear: being a methodological

and ‘objective’ process, it could allow the development of the analytical

science of rhythm proposed by Henri Lefebvre.’

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Cart load of fun game, is imaginative affordance.

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Repetition as an aesthetic, and about learning, actions, this is animation, the animation game. ? Is it to see who can create the largest condensation frame to take the most images

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Moving away from the pure idea of game and play for participation, and more ot the notion of the interface, and the art object. Choreographic ordering

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Analysing art not connected to visibility?

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Does the imaginative affordance, and the mechanic of accumulation, do the job of artwork production.

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Interesting to note – the difference between game studies and play theory – shiller – like two diff camps, two diff methods and forms. One interested in designing experiences, the other in examining how community create an activity themselves

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As Michael Podro later summarises, aesthetic play

is where “the objects and sensuous stuff of the world are now actively felt

for, celebrated and elaborated upon.”6  Jürgen Habermas argues that Schiller

presents the “first programmatic work towards an aesthetic critique of

modernity.”7  In presenting aesthetic play as a form of self-realisation, Schiller

is the first modern advocate for the “resurrection of a disintegrated common

sense ,” a resurrection that can only occur through the formative processes of

art.8

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CROSS WORDS – words hidden in words, what is the connection – blowing on glass.

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Adult play child play is diff between theories

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Larsen indicates that it might be less than straightforward

just how a group of playing children might operate as a model for

other forms of sociability, but maintains his belief that to be allowed to play

is a gain in freedom, and that play is an instance of sovereignty for players,

whose actions in play begin from and return to themselves.

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This distinction, however, is somewhat crude, and overlooks the fictive and

representational function of play, or the fact that embodied agency in play is

afforded within a domain that, to quote the anthropologist Clifford Geertz,

[Renders] ordinary, everyday experience comprehensible by presenting

it in terms of acts and objects which have had their practical consequences

removed and been reduced (or, if you prefer, raised) to the

level of sheer appearances, where their meaning can be more powerfully

articulated and more exactly perceived.23

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Yes use VR with street furniture, only also a lasso to capture creatures that are changed by the V so a handrail becomes a dragon to rid and capture!

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For “art” and “music,” when anthropomorphic (involved in self expression),

seem trivial and lacking in urgency to me. We live in a

world where there are things as well as people. Trees, stones, water,

everything is expressive. I see this situation in which I impermanently

live as a complex

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As Suzanne Laxton has suggested, games might be “schemes for disorganisation,

rationalised systems that achieve arbitrary results.”51  The function

of the score, operating as a set of rules for play, was indeed to achieve arbitrary,

or at least variable and singular results, and to initiate open systems

that would recur indeterminately through the participation and observation

of others.

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You can perform a Fluxus event in virtuoso or bravura style, and you

can perform it [by] jamming each piece into the minimal time possible

as Ben Vautier does; or, go for a slow, meditative rhythm as Alison

Knowles does; or, strike a balance as you’ll see in the concerts

organised by Dick Higgins and Larry Miller. Pieces can have a powerful

torque, energised and dramatic, as in the work of Milan Knizak,

the earthly folkloric touch seen in Bengt af Klintberg’s pieces; or, the

atmospheric radiance, spiritual and dazzling, that is seen in [Joseph]

Beuys’ work.55

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Games with a focus on the activity, are not the best drivers if [part of the aim is relational in nature, as they consume the conversation around the activity if the ludic drive is too intense. This is though where folk structures can be of importance, especially ones that have some resonance for those partaking as it can lead to conversation and the exploration of the participants experience to the undertaking before the activity itself, like childhood or other areas that they partook or see a connection to.

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In The work but viewers of the work – the paradox of participatory practice

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Does incomprehensibility of difficult instructions create conversation or experience rejection

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An invitation to participate

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Re-afford, change the properties De-Afford – remove the active propertie – this can be the way artists make a metaphor from a game work. (an additional active property – the removal of the active property so the work is visual in nature, allowing a criticality to its encounter

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specific demands on players and provide clear lessons in playing, limiting

arbitrariness or naivety in participation. As Morris wrote a year before the

1971 exhibition, “Objects project possibilities for action as much as they

project that they themselves are acted upon.

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Metacommunication – folk – collusion

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What’s the time – mr wolf –

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September thoughts

Game for u

Game for u

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Is wordplay the work where the text messages are bought in

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Is this for indoor market

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Can you use mechanics to make games for people.

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Wittgeinstein also uses the term game to describe language.

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Also with the workers maypole the idea that the artists aren’t on hand to explain it, while with my work I am around to help facilitate and give it context.

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Games for u – is this the participatory event. Set up in market, and then have it that we make quick games using a set of mechanics that incorporate – text message – based around small victories.

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Am writing on the difference between the workers Maypole and my own Maypole

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AKI gave me the idea of the contraption. Which might be better than seductive interface, and could explain why the hands work better than the sandwich board notes. Might look into it, as not sure about the word interface in relation to this, as rather than mimetic, is it actually some idea constructed that makes the connecting artifact.

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Went to the castle, kind of exciting, have booked in to do a day. Also on the affordances starting to think about the idea of niches –

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Watching back commercial house SLD why do people always first choose atomic war.

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So have this idea for a new music work, it is once more the idea about players of an orchestra spread out around town, and it will never be made, like ever.  Anyway, so players are spread out and then there are guides, and then there are the musicians, spread out, is it that the guides have to go and find the players, each guide has a different tune, and as they find the play they pull them over to their sound, then the player and the guide go and find other musicians, the winner of the game is the person who finds the most players of their music!

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Maybe they act like conductors, with their batons as they go to find their players.

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There is no imaginative affordance! – but like the structure, would it be good, who knows.

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Also what is a game will change depending on your background and interests in defining a game, so for instance Consrayn example who was a videogame designer, is seen through the lens, as opposed to Sutton Smith a play analyst who will have a further view on games, or Juulls who is a games studies theoretician who plays many games across mediums and Zimmerman et al who see games from a  designers view point or McGonigal who sees games as a social tool.

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CONCLUSION: GAMES ARE not about an underlying structure, or about a combination of elements as put forwards by Juuls and others as they seek to define games. I feel in my research that games are a mduality, which means that games are an outcome of their purpose, so there is a great difference between instructional games used by the RAF to teach pilots and the games studied by Brian Sutton Smith in playgrounds, that the games emerge at some sense from the purpose, even if that purpose is purposiveness, that the games are put too. We get the game we need at that time.

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I was thinking of this for instance in relation to power politics, where the art of the expressionist was used in the cold war, and so too was chess.

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Are instantaneous structures a bit like happenings.

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Choreography organises the way the actions are undertaken

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Yayoi Kusama , a biographer of her, said how she saw all her work as accumulation

—————————————–

The idea that  you take only a slice from the actual activity for the after the fact artwork, and that slice need not be the actual gameful part. So in Mollie the actual gameful challenge was the unwrapping, but it was the build up, the dancing around the pole I used for the artwork.

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Perhaps here too is some of the originality of an approach that use the underpinnings of the Magic Circle as a drive for art creation in public, rather than examining it as an outcome of already existing gameplay.

——————————–——

SO while mechanics are used to create games, the elements of the magic circle, are often an observation of how the activity plays out, rather than, a mode of analysis rather than a creative set of tools.

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So using the guidonian hand, but you have to press the bits and try an replicate the tune.

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The difference between culture and everyday – is there a culture of the everyday.

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Participation means made to share, the work is made for others to partake and from this comes the work, without the others there is nothing.

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Such participatory artworks can be seen as research tests, as you never know what will occur.

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Physical strategizing, the externalisation of the thoughts around the moves.

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Got a bit of coverage on the Beeb, the lady came and recorded it.  This does make a difference to how people view it, and to people retweeting it etc, it seems to have more validity now the Beeb has covered it, I also did a bit of radio as well. It is interesting the edit she does, as she puts music in, and interviews, and then uses the videos I have put online. So it seems to give some worth to the endless clips of people playing the game I had put up. Also hers is an accumulation of various people playing, and it works well.  The video is on the beeb facebook page, and it is interesting to see the way that people comment on it. There are a number of theater people who seem to feel it is something they can just do, IT suppose that is the idea behind it. S they are talking amongst themselves saying they will do this ina workshop next week. It would be great if somebody other than me did do it.

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Reflections August 2018

Am I not really getting the original game idea, I read about Roher’s a game for you, and started to wonder, just from the title. Can you make a game that is for another individual to play with the person. Why do we make games, my daughter is always making games out of the everyday, to engage herself, and me too. She wants me to play these with her, to enjoy the elements of the game, but also to show what she has created. How could you create a game, where the people are actually filling in the context of the game, so it does become a game for you.
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I did think with the imaginary affordance, and the way that it could work if left at the location. Without myself around, so it could be that the Maypole or the swing pole is left at a number of locations, and then see what happens. So I am not there to guide it, but thinking on it more, it could lead to the ribbons being pulled off and scattered and creating a disturbance. But also after doing the hands, realise that the rules transference is about the artist being present, it could be seen as a weakness of the ideas, and maybe they should operate alone, but also feel it could be a strength of the idea. When doing the practical public tests for (M)ollie, I found myself often getting told by people, but it’s not May the 1st, and then i would explain it was an artwork. To begin I thought doing the work, even though it is only using some of the maypole form, I felt might be a distraction, or hollow out the experience, but actually it helped to set it aside from the idea of a Maypole, as we were not doing it on a specific day. The conversation i engaged in, helped to explain to particiaptns the fact that it was an artwork game, and I felt that giving it this context, helped to make the artwork, yes they were aware then of the context, but me taking the time to explain the work, to share the idea, I felt made them more involved in the work.
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Artist as interface, as part of the system of the art game, when the artist is there, they help the participant to interact with the system, the artwork.
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What is the difference between the interface and mechanics, as both structures are about the facilitation of a player in the gameworld.
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So the idea of ubiquity, about making computers part of our world, can mean making them disappear, while the Magic circle is against the idea of ubiquity, and may be about why analogue games fit this research.
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The editing of (m)ollie as separate works, and experimenting with cutting between maypole scenes was unfulfilling, it only really comes alive when the parts are added to the maypole gif tree, and you see it going thought the many shots.
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I was to play 3 games at SS, but in end only played sign language duel. I felt it was too much of an imposition to play the other games. I always fall back on SLD, perhaps because it is the most relatable.
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Thinking more on the difference between pivot in the studio and pivot in the public test. Perhaps this work is more experiential, mor for the participants in it, rather than those outside of it to watch. I thought that the changing of the mechanics was part of the research process to find the best game structure, but maybe more it is about those in the work and their complete envelopment in the experience. This work is more gameful for those in it, and not so transferable for those around to view.
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Zimmerman meaningful play, to see how and why actions affect things in the game. SO not just the end, but the pleasure of the choices made, the revealing of how things connect, can this also though lead to the role of those in the game,anthem revealing aspects of themselves, so make the actions more meaningful by it having some kind of biographical reveal and context.
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A different kind of meaningful, in that it is meaningful the people in the action.
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August: Been asked by CVAN to take over the instagram, and to post for the week about my research I have a couple of bits of practical occurring, I’ll be in gateshead Library in the morning on Thursday and am meeting with Chris to go though swingball pentameter. It was interesting to do it,a nd to put across the works I had been developing, and how to do this. In the end I did break it down to each piece of work representing a different idea. If the likes are anything to go by, then Maypoles are everywhere came out far ahead, with the music work second and sign language dule and worbla bringing up the rear. Though it not a competition it idd ive me an idea of how people react to and what they like about the different works.
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In de gamification it is said tha gems studies is both an academic and industrial discipline, in the same way the difference between art and design, in that design can also be industrial, but what does that mean in relation to art
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Game is a frame not an object, which is how the grouping works. Maybe it is, connected with the idea of obstacles and inefficiency. So are games themselves a way of seeing the world.
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Is the maypole going into the swingball, the evolution of street furniture.
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The idea of hard core and casual users, players, does it have any connection to art and participants?
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If games are a way of seeing the world, then hardcore or casual is a way that those in it see the game.
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There are pulls in that games studies, has the industry and academia, and art has the pull between design and art.
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Zach Gage – indie developer – bad chess
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Should I put in about the online platforms and distribution
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Reddit fro art – or how do certain tags, allow the input of art, and curation.
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Art and culture, would never think about labeling the way people engage with the art, is this games studies and its relation to industry!
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Instead, we propose, the term non core to describe the games and gamers that do
not fit into the mold the industry has set up. Noncore is a term meant to include
casual as well as indie games. By breaking this wall, we hope it will allow for a more
expansive treatment of the complex and nuanced styles of gaming that no longer fits
into the hardcore/casual paradigm.
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Is wordplay some form of puzzle game.
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RESULT Actually as wordplay does not scan, it does not work to use the broken up sentences of poetry etc, I am swingball shows this is maybe wordplay in some way the text message game, where text messages are the words that have to be revealed on the body. BUT HOW, how do you get the text messages,and put them on the body.???????
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Is the text message thing something about overhead projectors, and how you can place your phone on one and it acts like a projector of the screen
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Does play that can be seen as nonsense, actually make sense. In the idea of the alibit.
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Ok somehow, the game has to be that more and more is revealed through the texts.
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The relationship between skill and mastery
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Mimetic interface – sign language duel.
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Juul who states casual games should be able to offer a “meaningful play experience
within a short time frame”
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Game studies has the idea of core games, so that would be the major works in art, but the gamer, the person who plays the game, and who knows the medium and plays numbers of games, this isn’t true of participant. Each participant and situation is separate,there is not a core audience of participants who go around and engaging with many different artworks.
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Maybe that is why instantaneous casual games fitz art experience, as it is for those interested, who might be going about other business, who come upon the work, it is not always those who seek the work out. I examined this in my research by where I tried to place myself. As some of the experiments were outside of any art structure, such as festival or experience, and involved me just being in istu in a building or workplace, so the people that came upon me were just going about their daily business. By being placed maybe in a foyer, or cafe, it meant that the experience could occur in a brek time. Juuls talks of the temporality of casual games, in that they can be picked up and put down, can be experienced in breaks from work, or so called down time. This also fits in the premise of the works being in public space, and seen as a break from the everyday. When undertaking the maypole, one of the group that took part were library workers. The pole was outside the building. I had alerted them to the occurrence,and said if any wanted to join in. A huge group came down and described how it allowed them to get out of the office and do something different for a bit. In this way the work served the purpose of allowing them to have a short burst of activity away from their everyday jobs. A casual experience of instantaneous gaming and play.
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The art game structures that perhaps had the easiest crossover and needed the least explanation were those that came from existing structures, such as the swingball and maypole and Rock paper Scissors adaptations, and the ones that I felt were most successful in public space. In my research What are people doing when the reappropriate a game, Flanagan () calls it rekini inning and she sees it as part of a critical practice. But is the aim of the artgame work, is to bring people into the experience, perhaps it is more a form of cultural appropriation, moving the mechanics and components of one game form into an artwork. It brings with it the cultural chae of that work, allowing the crossing over into the work to be eased due to the fact that the public have some form of understanding already about what they are coming up and how to engage with it. Also it can be that these game structures are rooted in a long cultural history, and that there is a high chance of familiarization with them from an early age. This can aid the instantaneous nature of the experience. A work such as Johann van der schijff Arm wrestling podium, (2007) A sculptural podium, which affords two people to participate in a standing up arm wrestling competition. Participants step up, and with one hand wrestle, and the other clasps a handle. The podium is situated in public space, and is on wheels so it can go around to various locations. The work is cited in South Africa in Johannesburg And it is constructed to encourage people to peacefully, though still struggle, to settle disputes. While The work has upon it the rules of arm wrestling it can be considered and in the accompanying documentation, that many understand the nature of the game. This instantaneous understanding, that can then be developed and furthered as the changes and adaptations to the game are either visible, in the podium or as in the way that my own research works (M)ollie and IAmswing, are affecting the public space. This is very different to a work based on reskinning or appropriating modern games. Though various artists, mostly working through social media have left mario question boxes hanging in real life, and pictures people jumping up to activate the box, instinctively knowing from playing mario, what the box is, but it could also cause confusion in those that have no idea of the game, or the box, or how to interact with it (2011)
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Sneddon said to include some background on participatory arts, and to mention this, or it seems strange not too.
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This is not ubiquitous, as the interface is designed to be seen, and not always to make things easier, or to disappear as in ubiquitous computing. The interface is the visual aesthetic of the game.
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Site specific games – are games following where art lead.
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Site specificity, how does my work relate
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Reiterate this idea of pervasive games in relation to my own work. The site specific location based notion
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The notion that pervasive games are everywhere can be played at anytime, as >>>>>> says are part of everyday life, so different to magic circle of at, that is seen as outside of everyday life but in it. This is why they are removing the circle for pervasive but reaffirming it for art.
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Mixed reality, in pervasive games, with digital augmenting real world.
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Site Specificity, consider the site in the work, but what if you are using objects that are everywhere, that are ubiquitous in some manner, but standardised. So these are similar objects, that are around a town, that are allocated.
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Myriads – This is the use of objects that are standardised in towns, the work considered to activate and work alongside the structures.
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With Myriads, is it like ludic, where the application of an activity, to make it playful.
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Ubiquity and how that connects from computing and mobile gaming to the notion of using a ubiquitous object in a space, a myriad.
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Staid myriads, major installation that can’t be moved. This fits with idea such as playable cities etc.
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Open and closed games, based on rule manipulation, is wordplay and open game of sorts,a t the library I thought it wasn’t really that good, but was it just that the players, were adapting it to make it what they wanted to have a go at.
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ART INSTALLATIONS THAT MAKE PEOPLE LIE ON FLOOR AND IT FLOODS OVER THEM
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Using existing game structures, as a base, is different to translating the game, as in when chess is translated to computer, or when a game like tic tac toe is translated to a city Geo Tic Tac Toe (Kiefer et al. 2007), or Pac Manhattan a famous pervasive game, where people dressed as pacman and the ghost and chased each other, guided by a control centre around manhattan city blocks. it is more about using the mechanics of the game and the components, and then to adapt out front his,as in Yoko Ono and her white chess, or even Gants’ bad chess. It is a direct translation, but an appropriation. That leads to a transformation of the game structure, but containing some of its existing component or elements. To aid with rule transference and game entry. TO facilitate boundary crossing. This is also unlike flanagan and her idea of reskining, and using the game critically. For this research the art games, wish people to enter into them, and so the transition and the speedy time of play requires some form of understanding of the game elements.
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Is the magic circle separate to game design.
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The game is designed, the magic circle, the game is played, and everything that entails.
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While not an artwork, the piano stairs is an illustration of imaginative affordance, working with a myriad. Though not in the same changabel manner as I have used it.
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As I walked through town I noticed two different forms of lights, one with the widening base at a great height. This is needed to stop the ball falling down in Im swingball. In this way, the swingball only works on one kind of pole, one kind of lamp post, it is specific to that lamppost. I thought his a problem, but actually that is the Myriad object and differentiates itself from (M)ollie and how it uses many different poles.
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I have to be careful with the language I use, as with defining the everyday, so what is the difference between site, place, location. Area
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So here in my talk of using existing games, talk about my themes. So how i took my artists and their art game works and then made them thematic
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Certeau – space is dynamic whole place is static
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But also space is industrial, or unaffected, while place has sociological meaning?
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Pervasive games – artists for a while have used following games, mostly recorded with a camera following the person.
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Games affordance slightly different to affordance, which is different to imaginary affordance.
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Locomotion, add that to the idea of movement in games,
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Wait – poker – embarrassing texts – bluffing, will you read – people put everything online, their personal lives, text, text messaging, the mundane to the emotional. How to release all that info to make a game that has biography – putting your phone on an overhead projector allows you to see what is on it, to project it – how is this gameful. AAAAAAAAAHhhhhhhh
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I have not used prototyping.
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Game idea games
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The phone is locked! encryption – understanding – people watching
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MISSIONS!!
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FILL A SPACE WITH TEXT MESSAGES
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You can search your phone by words, the messages
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HMMMMM – You can search you messages by words – truth or dare –
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Would you give someone else your phone – you swap phones?
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Foucault heterotopias, places of intense meaning?
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The game aesthetic only occurs due to the difference it has from the world around it, the difference creates it
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Blocking, is there a game in blocking – GHJ
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Research

More discerning been walking around weighing poles for best one to use in terms of height of outcrop. Also feel like only need one location to play round not so much about location. Orr about just activating object. Place? So this more about a single appropriate object

Found also that now with last two works the studio tests are in public locations not in the studio

I printed out a bit 20 lines for swing. But getting to two lines is hard I have found so far.

Playing august 19th. So went straight into it. Used the pole I had found which was the perfect height. Much better thank the ole before.

Th after playing with me did comment that it was like laying together and like playing against each other. So very dekoven.

Murray also wanted to play it a few times and try to beat his score. Go further in text. No one got further than the second line except me and Thom hot as far as the third line

I noticed this time that though it is getting the rhythm and encouraging players to say aloud that players were leaving it seeing on its own giving them a chance to see the line and read it. So it isn’t immediate and the scan of the sentence is not there. Is this though in some way the strength of swingball and its magic crayon effect in that it gives you a few chances to hit the ball your turn if you miss it.

Though we said it would be great to get do good that people could do the next but instantaneously. So no
Lag. But more a true rally. But then you would need a skill level beyond the notion of the instantaneous structure. but that could be an added mechanic, in that there is a time limit in the number of seconds between shots. It rained but everyone seemed ok carting on.

Thom said about dance games, like dance dance mat, and hot white is similar, and how they have professional like players playing together, and this could be like that.

I still think be great to set a number up maybe in same
Location like a car park and have people playing round. This singh ohhh the very expression I feel of all the ideas. It does have everything. Though I have said that before.

It did seem really easy to convey rules and everyone got straight into it. I was a bit nervous if in tests with people I know lately felt people
Doing things that are not that fun for them. But with this year people happy to keep going. Happy to play on and really enjoy it so far. The challenge is there. Maybe Wow even in a state
of flow

For conduit playing I was reading text for rob as he found it hard. So this could be an area to explore.

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Imaginative affordance in art games is different t the way pervasive games etc, may use this form In that the objects themselves, have an artistic use, as well as the affordance capabilities. It is about the look, texture of the object, and visually how it states its place in the environment.
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Decerto ha the ida that it has all been designed the city to lead us in one direction, this fits with borden, and it is a tactic what the skateboarder do.
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Is the use of city objects a tactic
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A mundane circle to aid prescience and make game real, is this also like de gamification.
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Is in some way then the everyday made up of ubiquitous object, that are the same that can be played and activated, and then a visual choice to see the difference in objects around you you hadn’t noticed before. Which is what (M)ollie is.
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Using the taxonomic abilities of Reddit, to filer the work online, for reaction, to see how the works are received, as in comments and votes either way. It helps to divide the work into different streams.
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Disruption – intervention – innovation
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How far from the original game do you go, in reconfiguring it.
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THE BOUNDARY OF THE MAGIC CIRCLE IS CONSTRUCTED PHYSICALLY THROUGH ARTIFACT< SO BEYOND RULES _ AND THIS IS WHY IT HAS A STRONG BOUNDARY AGAIN, unlike in pervasive, where the play is often rule based alone with no real interface outside of the icty in which it occurs.
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SIngball
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Casual play, also relies on the mimetic interface, and so connect to the ideas of imaginative affordance and the seductive interface. The interface when seen from afar, encourages participation,or creates enough excitement in those within the playing experience it encourages others to join in. The interface further aids role playing, so helps to create the partition need to enlist others through the action.
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The back to back duel mode in SDL aids role play, as well as being practical.
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Instantaneous games are a blowout, are an exaggeration – of the moment, – so hard to maintain over the long term. So the final collected aesthetic forms the work.
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Artist as moderator – I am there describing and helping.
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So getting a street performer to try and get people to try this art game work.
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Mimetic interfaces – they represent an in game object, so aids with immediate play because people have an understanding of how to use them, but further to this, is it the face that they are seductive in nature as well, or that can be the way that artist make them.
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Could this notion of casual games, also reflect the way art is becoming more part of the everyday world, away from the professionalised
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It's nearly half a century since American choreographer Yvonne Rainer Announced the death of traditional dance values, in her famously radical "No" manifesto of 1965.
Rainer's opening statement: "No to spectacle. No to virtuosity. No to transformations and magic and make-believe. No to the glamour and transcendency of the star image" spoke for a generation of choreographers who were questioning the limits that had been placed on what kind of movement, what kind of performance could rank as dance.
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TEXT MEssage, so you put your phone onto a an overhead projector, then everyone can see the texts – So you reveal them, it is a game with a phone – it makes the texts visible, but then what next – what is the game – a choir sings one line, you the next –
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Is it that the texts are put on the wall in some manner – but why
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Unless it follows a text stream – the aesthetic, but out of joint.
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OK – Text Message Roulette, you spin through your massaged, then the one you land on you open, then you put it on overhead, it projects onto wall, and then you colour in for lines from it – but liked the orchestra idea too. With A choir saying the text.
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Choreographic, rather than slashing around, so it has a purpose, the marshalling and control of the movement of people.
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Orchestration – the design of a pattern that others follow
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Disconnect between controllers and actions.
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Is this imaginative affordance something to do with the idea of metaphor.
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So the idea that people are in and out of the game work, being in a work, and translatable to the aesthetic after the fact is that those in the work, are not only in it when playing, but gaps, or the seductive interface, their interaction with it also part of the artwork. In that it
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Do works that require a larger number of people in public work better than those that are just two, though the two games do have a great competitive relationship.
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Imaginative affordance, or is it more of a conduit.
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Erdonic play – interactive play
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This split between strategic thinking games and endonic play, instantaneous games are about minimising the right time, and increasing the activity time, so creating the visual aesthetic.
=====================
As they say about cutscenes and whether sardonic, there is the idea of the gap in participatory arts, so the time between play when the participant is revealed. In the documentation. We hear their reaction to the experience.
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Amalgamated participant.
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An awareness of the spatial properties around you
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RESULTS – The many boundaries of the magic circle, rather than a loo singing, there is actually a multiplicity of barriers, signifying different levels and modes of interaction with the artwork.
— Conduits participants, bring others in through their actions, converys the game rules, can be an interface for other particiaptns.
Not always interacting and participating, some art games have a reflective moment where you watch the aesthetic play out. So there is watching and participating.
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Accumulation brings together all the acts across time, and amplification allows them to be viewed and have impact online or in artworks.
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AFTER MEETING
Interested in games where
You step out and watch your moves unfurl. Creating the critical distance.

Also overly complex rules as obstacle. In that after playing I'm in a controlled manner people then wanted to just have a bash at it as they say and delight at being out in a city centre banging away at swingball I mean. The tension between play and games. Sometimes they want to just play

Explain the end structure is built into the activity structure. So an end accumulation is the direction of the work

The experience is bigger. Just taking a slice of it for the accumulation. So the part of the experience that is the join.

Different IA in iambic you could play a number of times on same posts but it was exhausted after one turn of Mollie.

The accumulation built into the circle properties

Casual art. Against monumentalism. Art in corners and edges that is then fire grounded and highlighted through accumulation marginality.

Distance proximity. Why pivot doesn’t work in public space

A physical bond to game. Proximity.

Stop start in and out gaps. Watch the other. The outcome.

Split some inside in foyers at entrances.
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July 2018 reflections

July 3rd – went down to Darlo to scope out the objects for the (M)ollie. It was all ver council health and safety and a bit sad really. It is all going to be controlled. Started to wonder if i will really get people out to do as I walked around Darlo. It should be interesting though as it is a chance to try it out in a festival setting.

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Games with players interventions, bit like juules and his cant remember, games that play themselves you set the beginning, ZERO SUM
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How large a circle can you cast what are the limits of the activity. Spoke to the market in sheffield about this new idea, but feeling it is impossible, it builds up from the i Doff My hat idea, it would be driven by the participants, and fits in with certain ideas around participatory arts, shaking hands, hand shakes, I said ot the market guy, who seems enthusiastic but has no money, that we would get stall holders all day to teach people the shakes. To do this on no money, and with no support is impossible, or very hard, it breaks some of my ideas as well about moments. But also the space is incredible,a nd large and would be a test of the durability of arts magic circle
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A work like Duchamp and Cages reunion is interesting, as the game itself is chess that they play, they play to win against each other, and have no control over the sounds produced, as in they don’t make the moves to create the music, which emerges from the board, but play the game and the music happens from the board. Perhaps this is something of Arts Magic Circle here, that thoe in the work can be playing a game, as usual, with the artistic effect arising outside of the game itself as a result of the moves.
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July 5th, intesting only now editing the grainger music game work, though filmed it roughly say time as maypole, but wasn’t as excited to get at the footage. The idea of accumulation of the gif maypole tree structure made me want to go back to it and add to it.
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JULY 6th thinking on the whole magic circle some more, and was thinking that originally if only I did this at festivals, at events or organised festivals, so there is a large knowing audience. I now thought hink, after Grainger, that it best to do it as I am, as an impromptu event, set up by myself, it helps me to fully realise the effect of the magic circle, it is harder, but it means that the circle is judged on its own merit to engage and maintain engagement.in It fully sees the circle and its construct as a device for engagement, and it allows the various elements of the circle ot be tested and to come to the fore, the idea of unexpected and visibility and its effect on the everyday.

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Also the idea of accumulation, it fits it also with the way research is undertaken, with small units of information from testing brought together through categories and taxonomies, so in its vry structure, it represents the research process, the building up of knowledge and the emergence of the idea, from the accumulation of small events of testing.
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Looking at the music game in grainger, and the maypole, the maypole had much more impact in the space.
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Detterding in his research paper on games as Alibi, allowing people to engage in activities that could be seen as trivial by society, but here justifies adult play. In my previous artworks, and engagement with the public I often find that people would question why I was asking them do what I was asking, and would often get a reply that they didn’t understand why when I explained it was an artwork. As Deterding show, it could also be that people are more accepting of games, and of the activities in games than they are of the activities in artworks. I find that there is the balance in an artwork activity, especially if it is outside of the gallery context, where people may ask why am I doing this, and the answer that it is an artwork does not always suffice. Also there is the balance in that an artist asks you to join in the work, rather than in a game often it can be that you make the conscious decision. By having artworks with gameful elements, and with recognisable structures that people see as games, I found in my research that people were more accepting of the notion that what they were partaking of was a game, an artful one at that. So it has some of the elements of the alibi, only it is an alibi for the artist to engage the public in the task at hand. Also with the concept of the conduit participation, and my examination of engagement in public space, the conduit property, and theories such as legitimate peripheral participation, can lead to a similar voluntary self determined entry to the game artwork as that displayed in the primary component of the game artwork, that participation is voluntary.
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Thinking on the Imaginative Affordance, I felt lately that affordance is a known structure in games and interactive artworks, but what do i meant by Imaginative affordance, yes it allows the person to imagine themself itneh work, and to be a tool for the world of the experience creation. So the large mech hands in Sign Language Dule could be seen as having imaginative affordance in that way. But now as the works have developed I feel that this is a form of Imaginative affordance, but that when the mechanics and the magic circle are brought together, and the work is for public space there is a deeper form of imaginative affordance. The term brings together with affordance the idea of Waltons Imaginative prop, the example is given of a child using a reed to make a sword, to engage in a duel, and in this way the actual environment or part of the environment is made into an object of affordance for the creation of the activity. So in this way Imaginative affordance working within the Arts Magic Circle structure, allows an activity or experience, to actual use some aspect of the landscape or environment as an actual affordance for the creation of the experience. So like the reed becomes the sword for the game of duel, so a pole or other piece of street furniture becomes an active objects in the art game experience of (m)ollie. So the effect on the environment, on the space being apart but in the world, is anchored by some aspect of the environment that becomes a toll of the experience. This developed thought he game art works as they developed through the public testing phase, with an outcome such as (M)ollie, that created its effect in the environment by drawing in a part of the location it which it occurs. So it offers an imaginative reinterpretation of the location, for those involved and those around. It is the boundary, or lip of the circle, the colours as they fold around the object bringing it alive for those around. Imaginative affordance I see here as a powerful tool, for temporary public artworks, that is not just about the people in the location, but also about using the very fabric of the location, to create the world of Art’s Magic circle. This I feel is a specific and new interpretation of works of art that are experienced based in public space. This is more even then drawing objects into the gameworld, the objects and location are active in the gameworld. A work such as Volvas think differently, where they created the seminal gamified experience, when changing a stairwell, next to an escalator into piano keys, in order to encourage people to use the steps rather than take the escalator. People when they walked up the stairs, played notes. This was an imaginative affordance, the grey steps were transformed into the Imaginative affordance of giant piano keys for participants to walk and dance upon as they ascended, and had the proposed outcome of encouraging people to use the stairs.
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So some of the works are stronger in parts, or are more about certain aspects of the research, not all the works prove all the various aspects of the research, but certain works are specific to that part of the research.
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Just what is the everyday, got a bit lost in it all, reading around this a great deal, reading the texts that Andrew pointed out. It’s very theoretical,and is a nice break from the more practical games studies texts that are more designer led.
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I was doing a description for (M)ollie and spelt furniture wrong, then though, that yes it could be furniture, when you turn street furniture into something though affordance for people to play with in a gameful fashion.
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Back to the Iambic pentameter, and the idea of an iambic pentameter race, maybe I have been seeing this in the wrong way, making it too complex, basically placing your foot down on the step of the word. Making the imprint.
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Hmm maybe wordplay, while interesting, doesn’t really work, because you loose the beat.
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So after going to the deer shed festival, and seeing all the swingball, think I finally have an idea of how to bring things together. For a while I have had an idea about synchronised swingball, but now have thought that that is what can be bought together to make the iambic pentameter idea work,a s you say the foot when you hit the ball. Alos i was thinking, if imaginary affordance is one of the big ideas this could be another way to carry it on, and to test it out, I could have a free standing swing ball set up, and then make the swing ball from pillars and posts. Though not sure that will work as you have to stop it falling down the structure, and would it work on wider structures. But also then I could test the difference between free standing one,and one made to work on existing structures as to the power of the effect. SO i had been wondering with the iambic, I started to think about jumping, or some kind of hopscotch. But thought that, I wasnt that into chalk drawings on the ground, as lots of people do that, who do art games, seems popular. But basically iambic pentameter is a rhythm game. So with the swingball, it is that you hit the ball on the foot of the emphasis, though how to do this, the prob is how to put the text across. So was thinking of making something to put atop of a swingball free standing thing, with card, back to back, with the emphasises marked. Though how big? Also if it on stuff in the town, on objects, it would need to b put onto the object. The rules are, that you have to hit the ball on the emphasis and say the work, that he emphasis on the hit. So it could be single player, that I haven’t done yet, though maybe multiplayer, with you hitting the ball around,a dn making contact on emphasis, with you saying the word in between when you don’t hit, so in two player it would be

http://craftingshakespeare.blogspot.com/p/basics.html site about it

Also noted about the maypole and then this, is the idea of ribbons etc stretched out, that they occupy space, especially when fully stretched out, that is what creates the impact,a s they have a space when fully stretched out.
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THinking about how in maypole, the fact that the ribbons expand out, means they actually do take up physical space, and wonder if this has something to do with its perceived success in public space.
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‘Funiture’ Can I get away with this phrase, not sure.
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Is there levels of disjunction, of incongruity, the effect of Pivot in the market seems less than the maypole work. Can it be that in some way aspects of Mollie are operating to make more of an effect than Pivot. I thought the music of Pivot, and the players would have a strong visual effect, but it seems that the ribbons pulled out, and covering the pole actually seem to have great visual effect. Is it because the event of the maypole in some way is a greater disjunction that the players, more disjunctive to see a maypole than classical players in some way. Is it that it is easier to go across the boundary and into the experience, that people understood it better, or the numbers of people that could be involved. People felt haper to act out in (M)ollie, though it was at times that their natural instinct was to walk, I had to ask people to actually skip more. Can you measure disjunction, and its relationship to the everyday. Is it that with imaginary affordance the verday is brought into the world of the extraordinary.
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Anthropology, and anthropologist views, is kind of like the magic circle in some sense in that you are in the world, but apart from it.
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Then also for this distinction, it is important to look at what is meant by the everyday, as opposed to the difference of the activity within the everyday, and how that fits in with the notion of what is the everyday.
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So the everyday, by its very time is the time and space that endures long term, which is broken up for the short while the activity occurs, that is outside of the everyday but couched in it.
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How defined is the artwork in the environment, how does it stand out, if that is the issue, by the discordance of the action – so it is not transformation, but is the incongruity of the action in the environment, os the rubbing up against the world, the everyday. And this is part of the shortness of the difference activity that marks it out from the longevity of the every. The quality of the circle, if part of the process are what allow the activity to mark itself out as different to the location around.

June reflections 2018

The Haka, also used in New Zeland sports, the line of players doing the ritual dance, has this got something to do with i doff my Hat?  Both sports rituals of coming together.

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IDEA: Been thinking on hide and seek, and thinking about the idea of heat vision, thermal imaging camera. Been thinking on participants changing colour so you match objects in the room, so each object is given a temperature colour and you have to match it by either heating up or lowering your body temperature. So you touch the objects when the correct colour

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Should I call the word game – compromising positions – or even, compromising propositions after watching back the Newcastle College footage.

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IDEA The heat game, now thinking that it could be more you have to make yourself a certain temperature signal to win.  Or avoid a certain heat signature to win, but only the person with the camera can see.

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In the editing of the handshakes it is how to input the handshake they are trying.

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WordPlay  Watching the footage, I realise now that the thing missing is the mastery, that when participants read the text aloud, it doesn’t have the power. Is the meaningful production, the way that the lines are said, or amplified in some manner?

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IDEA: Is this a game, to get people to sing their text messages with a live band.  What are the game principles. SIng or act out theatrically

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AFTER BECKY – June

 

So had a good chat with Becky.  She got me thinking about things, and also reading the interactive art PHD Playful intentions.  Speaking with Becky, what are the main points of the PhD? One aspect that is of interest in the notion of how to make a work after the fact, of the separate interactions. So in some way the instantaneous art game structures are also components, that are of a visual artwork, that exists over time, that is created by combining in some manner the  various people who took part in the activity. This also fits in with the location itself, they are of the circle. As sometimes the geography of the location, where it happens, becomes part of the aesthetic, which can also mean the number of locations that become part of the accumulation. So accumulation through the collection of micro activities. This then brings me to why, would you make work that has people in it. Suzanne lacy writes about the artist as biographer, and capturing something about the participants in the work.  Looking at some games structures, they have to have some kind of gap, that allows some aspect of those engaging in the task to come to the fore and be revealed in the activity. So it needs gaps. So perhaps a work like Wordplay, is too structured a mechanic. Another aspect is the idea of imaginary affordance, the object and the artefact, that can be seen as a bit interactive art, and maybe leans towards design. But a careful examination, reveals an artifact that perhaps allows the game to occur,the activity of interaction to happen, but also can alter and allow the participants to affect the locations, creates the circle of the happening. This is in (M)ollie, the maypole game work.  In some sense almost like Duchamp’s readymades, or goes back to that, but that there are dead innate objects in the environment and the art objects allows an object in the environment to be activated and alive with potential and possibilities. I call this Imaginary affordance at the moment. Maybe it is this which separates it from the design idea of affordance,and the way interactive art uses it. So micro activities, that are pieces of a large documented artwork, that is different to the documentation itself but emerges into a long state artwork. Using the web site structure, with the hypertext is important for organising the information of the research,and becomes a piece of artwork itself. Trying to categorise the growing breadth of documentation,that represents the experience, but that allows a reader a way into the work, that brings to the fore the most important, or interesting pieces for them. So this can mean more than organising it by latest work, or each work having a menu, maybe more about themes and structures, that can reflect the methodology used.  Is in some way the idea of biography with accumulation that the activity is created to elicit a verbal reaction, a comment, as well as the action, and the comment builds, or to induce some reveal of some information, biographical in nature. So In ‘I Doff My hat’ the person who wins the round, must say out loud a small victory this can humaines the individual, and show their personality, an accumulation of these shows the progression of the work over time. The bringing together of individuals though time, though the documentation process can lead to a new almost virtual space that is the artwork where they exist continuously. So in IDMH the video wall effect is this. Is there actually a move away from participation and back to spectatorship in games culture, through the professionalisation of how people watch others play computer games, e-sports and twitch etc.

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Talking about games without mentioning games.  The idea of adult play, and alibis, and embarrassment and that behaviours can be excused if seen as part of an art game. But how is a game manifest, what if the game is not a game, but an activity with all the appropriations of a game, built through mechanics, but in the end isn’t termed a game but art. Can we talk about all the mechanisms at work in games,without mentioning the word game. Is the concepts in game studies, not really about games, games as a phenomenon, but about ideas around participation and engagement.   These game tools are tools for engagement

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That others can see from the game art activity arises artworks. So this is recognised and telegraphed to those around. What are the signs that this activity is art, and different to gameplay?

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Legitimate peripheral participation, for putting rules across, so here is where those watching learn how to play by observing those playing, so learning by watching.

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(M)ollie – watching video documentation, and yes I did just walk it, now realise that was not a good thing to do.

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(M)ollie- as I edit it, I think it could have used a second camera, and the talking is more important than I thought, also I like the end car park one the best, as it has lots going on strangely, not the church that I thought would be the best visually

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Thinking about this edit rising  up across the separate videos, but don’t want to ken burns it, will see.

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Thinking on the accumulation aspect of the aesthetic, and the edits, that each art game has a different kind of end esthetic, that only some work though accumulation. So Word Play, is the small chunks of people saying the text mixed together, (M)ollie, is an upgoing pan edit, which is different to the cross fade I originally envisaged, I think this will work better as in the crossfade people are mixed together when it crosses, and looks a bit busy in the two test I have tried so far. But how to maintain each shot long enough as it rises, though this does give me the option to maybe make an actual web page, that is the work. As am thinking if they are gifs one on top of each other, you can scroll down the page, and then you the watcher can decide speed to watch as they scroll up. Then there is the handshakes, and these come together in the video wall effect.

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Accumulation by appropriation – (M)olli

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Thinking about the website and how it is used, if I had a tiles one, it would mean only one image.

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The use of a website to house research is a good ideas, and perfectly fits the form, as a website, as well as being a front facing window, is also a content management system, which I am finding out as I try to create the flow of the research on the site.  A way to show the info, without overwhelming the reader.

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I’m not using live music for the playtest at mo, so that I can hear back what is said in my review.

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Editing Mollie for accumulation, like the way the camera wobbles and that the maypoles don’t exactly fit.  More than locked of shot.

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The audio for accumulation is hard, I don’t like putting music over it, for instance the maypole, I like the voices and the humour of people interacting, it is what brings it alive, but how to mix these together?

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MECHANICS or element – winner stays on, as in battle royale – is that a mechanic – versus king of the hill, where you win the round, but others can then win the next round, so more open.

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The difference between elements and mechanics.

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Is is that elements describe the factors that connect player and game thematically and mechanics connect player and game mechanically?

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Tactics and strategies, two different ways for someone to engage with the activity. Though is this not needed in artworks.

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ACCUMULATION: Looking at the difference of the two accumulations between I Doff My HAT and (M)ollie.  The differences, in the accumulation for idmh the images are boarded and separate ,it relies on numbers of frames working together in the same screen space to have impact. It is a video wall effect.  While the (M)ollie accumulation enforces the aesthetic, it brings attention to the poles, it almost brings them together to make a pole that runs through all the gifts, it has a feeling of concreteness and emphasizes the differences.  It is also beyond the realm of the single page on the computer, you have to scroll, and that scrolling seems to reinforce the connectedness but scope of the work. SO in (M)ollie the connectedness is most successful. The accumulation reinforcing the shot, maybe because the pole runs through the middle and brings them all together.

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RESEARCH: My research as well has each of the artwork informing the creation of the following one, so the works have a progression, which what I have learnt in one iteration forms the ideas that are developed in the following artwork. Also as well as the participants being normal people, there are also expert participants, with skills that can help me progress the work.

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I’m looking at the online distribution structure, how to gain interest online and distribute the work through a number of channels, for feedback.  In the maypole work using the gif tree concept, I am putting the separate gifs online in imgur, and then making an album and then inputting those into the gif tree, this gives them a chance to get views and comments, though not very informed.

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I have been thinking on the idea of projecting the gif tree to see what it looks like etc, not sure how to do this, but need to try it out.  

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ACCUMULATION This is a new longer tale strategy for involving people. I go out with the maypole, play it for a morning, then I turn it into gifs, and add it to the tree.  The way that this work accumulates, you can keep adding to it, expedition by expedition. You can put on social media, you are looking for people to join and help make the gif tree grow. The structure is open ended so you can keep adding sections to it. This is different to how the Darlington one will be, as will make that a kind of making of the day, so a different way of structuring. —————————-

Editing for accumulation, can be a form of puzzle int itself, it abandons a need for through time editing, and instead becomes a form of collage when working with many gifs that often work simultaneously on a single canvas. With the Maypole work, I found myself originally putting it in order of happening, but then started to try and put the maypoles together so they reflected each other, fitted together more led by materials,. Also as you scroll through one to the next  hopefully each location is a surprise. So the Maypole work, as a gif tree still contains the idea, that as the viewer scrolls through it they are led by a desire to see where next, who performs it next.

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Magic circle and disjunction, through the notion of being in the world but apart, this can be an aesthetic for the after the fact artwork.

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Reading other Phds especially in interactive arts, makes me see what I need to avoid, to keep original my line of enquiry.

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Happened upon, kind of fits with the idea of instantaneous works, that are easy to access and need no other paraphernalia.

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Flanagan has argued for artists to know the design process, so the use of some form of mechanics and elements related to this.

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Difference between HCI and participatory arts with technology. HCI can be about making artifacts that are easy to use, while games are about obstacles to efficiency

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Instantaneous play – games without progress or levels, Just Are Structures – JAS.  but deep enough to contain people.

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Movement gateway into play, matches up with the idea of exaggerated moves

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HEAT GAME – if the movements changes the colour patterns of participants, so movement with purpose. It would be very open  though heat game can go up, but how to bring temp down

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IDEA toys a cultural repositaory, the idea of the game is not to have the object  musical chairs. Passing on, returning to main person for direction. You have to set up the string

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Valerio the shouting out, evidenced in (M)ollie when we succeed at changing the object and we shout ‘Hurrah!’

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WordPlay – Been thinking on this work some more, and I have been trying out lots of different bits of text to make the various tests different, but now finding the accumulation not really working in the edit. It doesn’t work to just have a number of different bits of text said aloud, you really need if cutting between couples to have the same piece of text said aloud.  Also thinking of doing an edit maybe where a sayer from two diff zones do it together. ————————————–

So there are different ways to test (Mollie, I have tried it with a group going around finding the poles, have tried it with enlisting specific groups, and have tried it soon with trying to get passers bye around us to get involved.

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Also looking at the difference between just doing it somewhere, as in the music work in grainger market, with the public, as part of the everyday, and undertaking work in a  festival setting.

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Good Play – Accumulation:  In this way the work that is accumulated is a small component of the larger work. In I D M H, there is the space for good play, for people’s interaction, and for the social side of gaming, as the actual display of the shake is the only part that fulfills the accumulation. So there is plenty of documentation footage around this act.

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Rules create the obstacles that make the games, but mixing it with the idea that space is needed for participant expression, that some rules are too tight, while creating good gameplay but not what is required for the artistic expression.

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How to get participants, maybe stick to festivals, will see, depends how Saturday goes.

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Conduit spectatorship.

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A moment of clarity, it  is the moment of clarity that will form a unit of the accumulated aesthetic.

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So the idea of a space apart but of the world, fits in with the concept of Disjunction, or incongruous imagery being an important part of the after the facts artwork.

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Some game structures, can prevent the element from becoming. So there must be a balance or the correct mechanics for art creation used, some game elements and mechanics can actually be detrimental to the artwork creation.

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19/june So went out and did (M)ollie and was surprised people did do it. To begin I was thinking, oh don’t do this like this, wait for a festival or something, though this allows me to test the raections if you just go and do it, as against doing it for a festival.  Also had an expert tester, Sarah which was good. I’m not sure how saturday will go with the music game, but this also looks at the differnce between going around to places and in staying put in a space. Also though, with the idea of the magic circle of art, perhaps there is some kind of power there, as though doing this for research, you can if the idea is feasible, just get something together and go out and do it, no commission, but through the strength of accumulation and distributing it online, you can come up with an actual end artwork, that is viewable, distributable, and effective. ——————————————–

So looking at accumulation, it is about collecting the micro activities, but there is also the notion of making a work from the adventures of the day.  So in my research works, two of the works feature amplification and accumiation, while in another it is looking at perhaps how to create an adventure or some form of documentary of the happening.

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On the Maypole Gif tree, am wondering about placing something down the side, maybe text in some way, or maybe other aspects of the video around the cored accumulation. So that could bring across the personality in some way of those involved.

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Thinking on the idea of these game structures as some form of skill acquisition, Janine Harrington uses real professional dancers that are controlled and manipulated by the action of the public. I have covered her work. So is this an aspect of the work. If we look at Mechanics and elements, and mechanics as expression of elements, but also that the correct structures have to be in place. Can a element be the relationship between live performers/artists and the so called performer/participant and that not skill acquisition, but skill sharing, where the professionals share space in their activity or performance for those with little skill in that area to become part of the performative/activity.

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(M)Ollie is a game of two halves, much like Word Play – the first part is the warp, which is fun and lighthearted, and the second is the unwrap, which is more complex like solving a puzzle.

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Accumulation fits with a social media strategy for distribution as it allows a section of the work to be placed online at regular intervals, building up an audience and attention for the work.

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Some of the new elements of the magic circle, cancel out some of the original magic circle elements.

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Hmm thinking of moving accumulation from being a mechanic, to being an aspect of the circle. Though it is about building something

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The visibility in the magic circle, also amplifies the idea of outer kilter. So it isn’t transformative, par se, but you can see the event in the space around and it changes that space.

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PIVOT: The participants move towards musicians, so reversing the game structure.

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they would have to see it though your phone.

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Snowball Sampling

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Watching Flynn and Humphreys Pivot, a see saw that speaks, and interacts digitally. The video is an accumulation of all different people over time, but nothing  emerges, it is just a collection perhaps because there is a voice over through it, not sure, but nothing more comes from the collection of people. Or is it that the people don’t contribute anything really, except to be on the seesaw. So what is the collection.

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Office olympics, was looking at the swivel chair olympics, and then saw that there are in fact loads of swivel chairs olympics, and other office games,  like slalom etc, and the swivel chair synchronised office olympics!

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GAME tic tac toe, but with realty sprinters, so it adds the competitive element. You don’t have to wait for a turn if you are quick you get more turns!

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HEAD KNEE TOE CONE!

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RUBBER BAND ARCHERY

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Experience prototype

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Thinking of a work, about condensation, about blowing into a window, is this not actually like magic, from nothing something comes, and remembering people creating noughts and crosses in a window.

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Is the disjunction created by an awareness that this is not supposed to be happening here, that a number of levels are in play simultaneously

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circle the idea is that it is there to facilitate gameplay and house the activity. This is focused on those in it.  My expansion are not additionally and adjunct to existing properties but say certain elements reflect out from the activity in order to effect location and those around and for artwork creation.  So as well as considering those in the action it considers those around the action and how this mix informs a final artwork outcome after the fact.

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Incorporated participants in a public work, is more about just the actions, the also tell people or show people what they must do, they make them aware they can partake, and they also call people over, and can document the activity on their own device. So they are a powerful pull for a public artwork in space.

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THE MAGIC CIRCLE creates the space of the activity, for the time that a person or people are playing, it is about that gameplay session.  While arts magic circle in public space, holds the location for a length of time that is beyond any individual participants, and is about accumulating a number of participants who enter and exit the zone of experience.

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It is interesting the difference between maypole and handshake wall, and the response, while getting many views and likes for the maypole, people indifferent at best to handshake wall.  Though it was good experience. Found this on line as a site does an email out about the gift wall

DIY MAYPOLE TREE
 Because art is what you make it

 Willow1 has been running around town and making
 street furniture into maypoles with the
 application of ribbons – then trying to get
 people to dance with him. You secretly wish you
 did stuff like this.
https://antonhechtresearch.wordpress.com/a-maypole-gif-tree/

 

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Thinking on sign language duel – can you expand the game, say a number of people played against each other, in a circle.

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Thinking on the circle, the idea of in the world but apart, and how that creates an incongruous disjunctive aesthetic, an outer kilter in the world. Is it also by situating gameplay like that, you are revealing the artifice of the game in some way.

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Are mechanics about driving games with levels and progressions.

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What is a game, choir, getting the most people to sing.

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May – talking about games without mentioning games.

In the mechanics, I had thought of them most as positive, of driving the gameplay, but the idea of the Penalty mechanic, that creates jeopardy in a game. That is important, and is already at work in the art games.
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Is there actually a move away from participation and back to spectatorship in games culture, through the professionalisation of how people watch others play computer games, e-sports and twitch etc.
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Talking about games without mentioning games. The idea of adult play, and alibis, and embarrassment and that behaviours can be excused if seen as part of an art game. But how is a game manifest, what if the game is not a game, but an activity with all the appropriations of a game, built through mechanics, but in the end isn’t termed a game but art. Can we talk about all the mechanisms at work in games,without mentioning the word game. Is the concepts in game studies, not really about games, games as a phenomenon, but about ideas around participation and engagement. These game tools are tools for engagement.
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I am thinking maybe it is about play and games as part of life, and at an exact time you must do something in your own house, no matter where or when you are.
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This article describes players not by the
way they behave in-game (Bartle, 1996; Yee, 2006) but by the ways in which they
reconcile their devotion to their hobby with their responsibilities to their families. It
understands gaming as an experience influenced by both the game itself and the
gamer’s commitment to the game and play experience (Bjork, 2008).
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Digital and analogue games have similar elements, in that their rules describe both
‘‘the actions players take and the outcome of those actions’’ (Salen & Zimmermann,
2004, p. 149).
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IDEA: Been thinking of a new kind of art game work, I put down hide and seek, and that maybe could do hide and seek using a thermal camera, and that the components are metal balls you hold that lower or raise your body temperature.
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Reading about walking games, like Dear Esther, where nothing much happens, you explore the environment. Aaserth talks about games and how they make the player explore the environment. But with walking stimulators, they seem to have no game mechanics at all, but are called games perhaps due entirely to the interactive computer element. If you walked around as in art walks etc, this wouldn’t be a game?
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Thinking of changing the website structure. But maybe putting it more like my research structure, so a section on play testing, and then a section of Pubic testing. This may be more appropriate and illustrative of the methods used..
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Find it interesting in maypole that I filmed it at Park Hill, with me doing a kind of commentary over it, giving my viewpoint of the activity. While I found it a bit boring just watching the maypole with music, my commentary seems to give it texture, the response from those in it when I suggested putting a clip up, was to use the commentary piece. It does make it more of something. Here is the question, if you are trying from the documentation to make an interesting work, then what is the audio. I am trying to bring into the work something of the participants, but if it is a dance work, or they are just playing out the game, following the directions against each other, then the space for meaningful biographical details, or interesting situations arising is limited. Especially if music smooths it all together. It is hard to string together clips if it is just the conversations happening at the time. To make something other that is watchable as a work, it needs some kind of personality? Or narrative? Of it needs to reveal something about the people in it, which would be a powerful tool for this.
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Lave and Wenger
Legitimate peripheral participation – this is when you start as a beginner, and learn by watching and participating with players with more experience. I feel this could fit with one of the layers of participation, in the one where you watch the action to learn how to play.
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As I have discussed, the vocabulary of Discourses or communities of practice
becomes an essential component of negotiating and belonging.
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Mechanic “Bestow” is understood both conceptually and strategically. In the Greek and
Roman texts, the word bestow evokes the gods and titans, perhaps Prometheus;
strategically, bestow is a versatile game mechanic, allowing the player to cast a
creature or a buff to a creature, depending on the player’s needs
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I like the idea of a mechanic called Bestow
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Apprenticeship – to be an apprentice – to learn – Is this a mechanic
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Watching back the Newcastle footage, seeing the difference between filming for research documentation,and filming for accumulation. As some of the accumulation structures, such as the handshakes need to be filmed in a certain locked shot. Where as I have basically got lots of roaming shots, which are ok, but really needed it filmed with specific shots, a bit annoying, will see if I can work around.
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IDEA: Thinking about role play and park hill, and about in some way climbing. I remember a play, called I think ‘Conquest of the south pole’, where some housing estate residents role play being the first climbers to conquer an arctic mountain. I am wondering about some kind of similar role play, around climbing Park Hill! I think the ultimate role play is the flat surface, that you pretend is a sheer cliff face. I also heard the touching the void story again, and it is very anxiety inducing. How does this all connect together. Is it about trying to climb park hill, only on a flat surface, but pretending it is a sheer face. Climbers together? Is it about projecting on the building and then people climb on that? Maybe, Steve might like that.
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