[-empyre-] Re: semiomorphic..viral

[Troy Innocent <troy@iconica.org>]

Christina et al,

I think that game mods are an excellent example of semiotic morphism - 
the underlying structure of the game (its structures, logic, 
relationships) are given new meaning by shifting their representation 
(textures, models, sounds, maps). This process can potentially make the 
player aware of all the assumptions about the game space they have 
made, and more aware of how it functions etc. As you pointed out, if 
the player is already aware of the constraints / limits of the 
simulation (and take them for granted), then shifting the game world 
highlights these constraints / limits / assumptions so that they may be 
seen with fresh eyes.

This shift can be extended to the actions of the agents engaged in the 
simulation (the players), as demonstrated by the example of 
'Velvet-Strike' where anti-war messages are projected into a simulation 
of conflict. There also the situation that occurs here where the 'real' 
world is being filtered into the game simulation. Although it is not a 
neutral space, Counter Strike is a fictitious space, so this intrusion 
of reality into a simulation does remap the whole game space on another 
level again.

Also, perhaps worth adding to the discussion these observations on the 
realism of game spaces, also from Anne-Marie Schleiner:

'So "realism" is not about faster game engines, graphics processing and 
"photorealism". It is about reproducing characters and gameplay 
environments that are considered closer to "reality" and farther from 
fantasy.'

<snip>

'Personally I would like to see computer games move towards fantasy, 
away from military fantasy which pretends to "realistic". I like 
fantastic environments where there is more room for imaginative 
habitats and characters. Japanese games for children and adults are 
engaged in this undertaking, filled with curious animal Pokemon 
creatures, Robo-cats, transformers, Anime people, monsters, demons and 
fairies, of all genders. I identify more with these characters than 
with counter-terrorist or terrorist soldiers and they are what I want 
to be my reality. Reality is up for grabs. The real needs to be remade 
by us.'

Perhaps anamorphism and semiotic morphism look to recreate the real by 
attempting to realise other modes of perception that are enabled by 
electronic space?

Troy.

> Troy and empyreans,
>
>
> Troy writes
>
>  Gameplay can create situations where
> > the player must perform
> > within a set of constraints, therefore being
> > actively involved. Information
> > is filtered and reconstructed through interface. In
> > all these examples,
> > the underlying system is equally as important in the
> > communication process
> > as its representation.
> I just had  a chance to see "counterstrike' in a video
> representation at the ACC here in Weimar, by
> Anne-Marie Schleiner et al of Velvet-Strike, and it
> got me to thinking about the semiotic changes that
> happen when the structure is 'filtered and
> reconstructed' through a patch, or 'technosemiotic'
> mini=interface....like a weird sign.
> Free associating here, but Anne-Marie's interventions
> assume that the player is so familiar with the set of
> constraints that he/she can be thrown off balance or
> into a confusion/creative moment via a viral patch.
> She notes
> //
>
> //    Although some artists have successfully created
> games as art, producing
> //    a game patch as art offers certain advantages
> over building a game from
> //    scratch. On a technical level, of course, the
> artist(s) avoids having
> //    to put in the extensive time required for
> programming an interactive
> //    game engine. But the parasitic game patch is
> also a means to infiltrate
> //    gaming culture and to contribute to the
> formation of new configurations
> //    of game characters, game space and gameplay.
> Like the sampling rap MC,
> //    game hacker artists operate as culture hackers
> who manipulate existing
> //    techno-semiotic structures towards different
> ends or, as described by
> //    artist Brett Stalbaum, "who endeavor to get
> inside cultural systems and
> //    make them do things they were never intended to
> do." "Cracking the
> //    Maze" will exhibit both game patches created by
> artists and game patch
> //    artifacts from the web produced by the original
> game hackers, in an
> //    attempt to generate an open discourse on art,
> games, game hacking and
> //    gaming culture on the Internet.
>
> http://www.opensorcery.net/note.html
>
>
> >
>
> =====
> <http://www.naxsmash.net>
>
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>>> Troy Innocent : troy@iconica.org : iconica.org