Notes from Jon's introduction:
- co-creativity [between programmers/ designers and players] with "preferred performances" set up by the former
- rise of fan-created games leading into machinima
- "affectionate subversions": camp, obscene, polotical etc.
- recreations of performances - implications for the archives
- considering this interface of performance and game cultures within the wider rhetoric, language, implications
-- Suggested questions:
- What kind of art would you like to make using games?
Group choreographies of avatars/ objects, re-purposing their pre-programmed movement vocabularies and exploring in-depth their environments.
- What kind of art would mix well with game cultures or game technologies?
Starting from a point of little games cultural knowledge, I am interested in how to make work that is of but not only about these technologies, and that comments on the wider cultures that the environments and avatars reference.
- What process would you follow in a potential project?
R&D: Dialogue: noticing the difference in approaches e.g. of performers, techies etc. Establishing a context for the work that enables innovation across roles and disciplines. Setting up scores for improvisation and documenting, reviewing these. Developing an understanding of tech time requirements. Production: Prepare storyboard from improv outcomes. Work together and separately to develop elements e.g. choreography, environment, sound and to integrate these.
- How does this differ from the way you usually work?
- What would be the most important factor in such a project?
That the process is interesting for all participants.
- How did you like the bluescreen?
Would like to play more with responsiveness between on-screen performer and at-keyboard operator roles.
- From your time in the workshop, what do you think are the problems involved in timebased in-game performance? The benefits?
Useful to establish defined roles, e.g. performer, director, operator and to have outside eye. Need to communicate clearly especially around tech time, e.g. when at-keyboard operators need time to set up a scene, need to be clear what is prep and what is going for a take. Importance of defining relationship of screen space to performance space i.e. what the perameters are. --
- roles, communication, shared language/ conventions
Paul Sermon: http://www.thingternet.org/post/75 ; http://www.hgb-leipzig.de/~sermon/
Eddie Ladd's Scarface: http://www.chapter.org/2109.html
- JD: how far can the game engine get away from the context for which it was created?
- SP: noting that where the avatar has more spatial mvt possibilities, the live body has more bodily mvt possibilities - rather than trying to get these into an approximate alignment, how about playing with the contrast?