Submitted by devoid on August 15, 2006 - 17:21.
Giles Askham and Ruth Catlow discuss the Game/Play exhibition on ResonanceFM.
Submitted by gameplay on July 14, 2006 - 06:29.
For psychologist DW Winnicott,1 the space between a mother and young child, which becomes the space between the individual and society, is the space where play begins and develops, and which eventually leads to cultural life. Game/Play foregrounds this transitional space as a cultural place, and it is this essence, as explored by the works exhibited, the spatial and critical relationships set up between these, and the organisations involved, which is the subject of our project.
Submitted by gameplay on July 13, 2006 - 14:28.
The particular skills that we evolve with different kinds of play help to construct and shape who we are, how we view our world and what we become capable of as individuals and societies. Among other things play informs our ideas about agency, social relations and the technologies that we develop. The works in the Game/Play exhibition subvert and extend the logic of everyday play and games. They invite audience members (individually and collectively) to take the role of players and contributors to their meaning. When interacting with these pieces in physical space or across digital networks, audiences/players generate alternative, active ‘social spaces’ through their experience of the work and dialogues with each other. The aesthetic experience is primarily “based on the dynamics of communicated consciousness rather than visual criteria” (Larner, C. et al. 1995).1
Submitted by gameplay on July 7, 2006 - 10:42.
When placing Furtherfield.org's VisitorsStudio in the context of a 'work' (sic) in the traditional sense, one might have a problem with definitions. For example, VS, an interesting acronym upon reflection, is formally a 'stone soup' model. That is, VS acts as a container, connector, and root node for artists and performers wishing to virtually get together and 'jam' online. This is a brilliant metaphor for an artspace informed by elements of rave culture, where in many cases, the participants network, do their own performances, like fire-dancing, trade 'props', and share one another's presence. In many ways, it almost creates a networked 'Temporary Autonomous Zone'1 in which the participants freely trade media, perform, and chat under the loose rules of behaviour established upon entering the VS.