Title: game, game, game and again game, and others
secrettechnology.com/artgames.html
Detail: Game interfaces where reader’s movements trigger hand-drawn and poetic elements.
Video games are a language, a grammar or linguistics of various texts. The sounds, the movement, the graphics, the rules or lack of rules, everything about a video game is a component of language. …..
A digital poetry game must combine all these elements, strange and interactive stanzas, crossed out and obstructed lines, sounds and texts triggered and lost during the play. Indeed the game interface becomes a road to inhabiting the digital poem, to coaxing the reader/player into living and creating within the game/poetry space.
GGGAG (http://www.secrettechnology.com/gamegame/gamegame.html) is a digital poem, game, and anti-design statement. The western world’s surroundings, belief systems, designed culture-games, create the built illusion of clean lines and definitive choice, cold narrow pathways of five colors, three body sizes and capsule philosophy. Within new media art the techno-filter extends these straight lines into exacting geometries and smooth bit rates. This game attempts to re-introduce the hand-drawn, the messy and illogical into the digital, via a retro-game. Hovering above and attached to the poorly drawn aesthetic is a personal examination of how we/I continually switch and un-switch our dominate belief systems. Moving from faith to real estate, from chemistry to capitalism, triggering corrected poetry, jittering creatures and death and deathless noises.
Using a top down, platform engine (without gravity) Evidence of Everything Exploding (http://www.secrettechnology.com/explode/evidence2.html)is a game driven digital poem exploring various historical and contemporary texts. Each level’s poetic content is built from the document’s sub-sub texts and curious consequences. With Bill Gates’ letter to the Computer Brew Club about monetizing hobby computing, we find the seeds of an empire, James Joyce is caught in an infinite loop of changing texts, Fidel Castro’s boyhood letter to the US president praising America and asking for money signals an opportunistic future.
Each day the internet is humming wi th a million small interventions. From the humoresque mocking of community content sites like Fark, to the net gate keepers Yahoo and Google, partisan political portals like Huffington Post or the open source/file sharing ‘priates’ of Mininova, the web is an easy tool/weapon for meddling/influencing and sharing/forcing/alluring your opinion on whomever clicks. And yet this digiscape is a deceiving and uneasy place, with continual streams of generic expression/content, cute dogs and accident clips, knocking against an incredible range of political/social beliefs hidden beneath the screen. Even short sequences of words, titled links or blinking ads can reveal the strange, wondrous and treacherous.
“i made this. you play this. we are enemies.” (http://www.secrettechnology.com/madethis/enemy6.html) is an art game, interactive digital poem which uses game levels built on screen shots from influential community based websites/portals. And using messy hand drawn elements, strange texts, sounds and multimedia layering, the artwork lets users play in the worlds hovering over and beneath what we browse, to exist outside/over their controlling constraints. Your arrow keys and space bar will guide you, with the occasional mouse click begging for attention.
