LINK Editions
Domenico Quaranta, In Your Computer, 2011 Valentina Tanni, Random, 2011 Miltos Manetas, In My Computer – Miltos Manetas, 2011 Gene McHugh, Post Internet, 2011 Domenico Quaranta (ed.), Collect the WWWorld. The Artist as Archivist in the Internet Age, 2011. Exhibition Catalogue. Texts by Josephine Bosma, Gene McHugh, Joanne McNeil, Domenico Quaranta Brad Troemel, Peer Pressure, 2011 Domenico Quaranta (ed.), Gazira Babeli, 2011 Yves Bernard, Domenico Quaranta (eds.), Holy Fire. Art of the Digital Age, 2011 Kevin Bewersdorf, Spirit Surfing, 2012
Mathias Jansson Everything I Shoot Is Art
Publisher: LINK Editions, Brescia 2012 www.linkartcenter.eu
This work is licensed under the Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA.
Printed and distributed by: Lulu.com www.lulu.com
ISBN 978-1-291-02050-2
Mathias Jansson is a Swedish art critic and researcher. He writes about New Media Art and Game Art for blogs and magazines such as Gamescenes, Digimag and Next Level. His main body of work consists of a huge corpus of interviews with the pioneers of Game Art, as well as critics, curators and gallery owners operating in the field of Game Art. www.janssonswebb.se Contents
Preface 1
ESSAYS 5 > Confessions of a Game Art Addict 7 > Insert Art to Play 13 > From Plaintext Players to Avatar Actors: A Short Survey of Online Gaming Performance 19 > Pain is not the Game: Virtual and Real in Video Game Art 31 > Video Game Appropriation in Contemporary Art 37
INTERVIEWS 61 > Pippin Barr 63 > Nils Deneken 69 > Constant Dullaart 73 > Jakub Dvorsky 81 > Sachiko Hayashi 85 > Krystian Majewski 97 > Christy Matson and Melissa Baron 101 > Iman Moradi and Max Capacity 109 > Shinji Murakami 117 > Jason Nelson 123 > Martin Pichlmair 131 > Rafel Rozendaal 135 > Jonatan Söderström 143 > Jeroen D. Stout 147 > Erik Svedäng 151 > Anders Weberg 155
Mathias Jansson – Everything I Shoot Is Art
Preface
1 Mathias Jansson – Everything I Shoot Is Art
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ESSAYS
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Confessions of a Game Art Addict
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Tobias Bernstrup, Palle Torsson, Museum Meltdown, 1996 – 1999. Above: screen shot from The Contemporary Art Centre of Vilnius, 1997; below: screen shot from The Modern Museum, Stockholm 1999. Images courtesy the artists
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Game Art is any art in which digital games played a significant role in the creation, production, and/or display of the artwork. The resulting artwork can exist as a game, painting, photography, sound, animation, video, performance or gallery installation.
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Insert Art to Play
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Bill Viola, The Night Journey, 2005 – 2008. Screenshot, © 2005-2008 University of Southern California
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From Plaintext Players to Avatar Actors: A Short Survey of Online Gaming Performance
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Eva and Franco Mattes aka 0100101110101101.org, Reenactment of Gilbert&George's The Singing Sculpture, 2007-10. Online performance. Exhibition view, Galerie Mirchandani+Steinruecke Gallery, Mumbai. Image courtesy the artists.
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Antoinette LaFarge
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I got involved with MOOs in early 1994 while I was in graduate school. I was initially entranced by the immersive quality of these spaces and the way they straddled a line between performing and being, and between writing and doing. From the outset I had a strong impulse to play in MOO, to make up stuff, to not take part under my own name and history. Some
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of my fellow students had a similar impulse, and at first we would just meet up online and improvise very loosely. For instance, we might change our avatar names (@rename) 4 or 5 times an hour just to prod each other to change how we were interacting. We were the puppetmasters and the puppets. [2]
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Joseph DeLappe
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It was in the spring of 2001 that I engaged in my first online gaming performance – Howl: Elite Force Voyager Online. I entered the game as Allen Ginsberg and proceeded to perform the entirety of his seminal beat poem Howl, word for word. [3]
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I see these works as a way to break through and perhaps expand the notion of “the magic circle” in gaming. We do not 'play' in contexts that are unrelated to our political, social and economic realities. Reactions during the first performance, Howl were mostly humorous. I recall one player noting “wow, poetry and shooting!”. Reactions to my work have been most fierce within the context of the ongoing project, dead-in-iraq, commenced in 2006. Other players routinely insult me, demand to know why I am doing what I am doing and are generally very hostile. [5]
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Eva and Franco Mattes aka 0100101110101101.org
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Synthetic Performances are online live gaming sessions inside the virtual world of Second Life, performed by Eva and
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Franco Mattes through their avatars, which were constructed from their bodies and faces. People can attend and interact with the live performances connecting to the video-game from all over the world. [6]
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Rainey Straus and Katherine Isbister
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Games invite our participation and projection – we are actors in these virtual spaces, and they are such plastic, malleable worlds. They are a tremendously powerful venue for exploring issues of representation, of identity, of control of our own image, as well as issues of aesthetics and how our senses are framed by the context in which we experience art. The Sims itself is a world in which these kinds of explorations are happening on a mass scale for everyday consumers, and was a ripe context for conducting such investigations. [7]
Caleb Larsen
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Mark Beasley and Pippin Barr
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Waiting is such a no-no in games […] it's regarded as so abusive, and yet it's a major part of life. To the extent we want games to (sometimes) be “about life”, waiting is fair game.
Conclusion
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Pain Is Not the Game: Virtual and Real in Video Game Art
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Volker Morawe, Tilman Reiff, PainStation, 2001 - 2004. Installation view at the O.K Center for Contemporary Art Upper Austria, during Ars Electronica 2002. Image courtesy O.K Center
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The most popular was probably Folter-Mau-Mau: a simple card game where the looser would be punished according to the cards that remain in his hand. We remember the special tension that arose from the threat of possible punishment and the excitement that came with it. The relief if you came away unpunished. It simply adds a lot of feelings to the experience.
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The group met at the Academy of Media Arts Cologne. It was during our studies – we moved in together and had a shared office in our apartment. One year later – in 2001 – the Painstation was born and we founded //////////fur//// as a label for our collaborative work. Painstation is based on the idea to incorporate the body into the gaming experience, to make gaming a more physical experience.
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Video Game Appropriation in Contemporary Art
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Miltos Manetas, after TombRaider #2, 1996. Vibracolour print on superglossy paper, 50x75 inches. Edition: unique. Image courtesy the artist
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Appropriation is a fundamental aspect in the history of the arts (literary, visual, musical). Appropriation can be understood as “the use of borrowed elements in the creation of a new work.” In the visual arts, to appropriate means to properly adopt, borrow, recycle or sample aspects (or the entire form) of man- made visual culture. [1]
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Pong
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The exhibition “pong.mythos” installed at the Kunstverein Stuttgart (february 11 – March 19, 2006). Photo: Mathilde Mupe
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No other video game has been the origin of artistic production quite as often as the simple black-and-white tennis game. In addition to its popularity, it seems to be this minimalism that especially appeals to artists, since the playing pattern is a virtual prototype of the essence of each and every communication situation: the ball as the smallest possible unit of information, oscillating between sender and receiver. [2]
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David Kraftsow, First Person Tetris, 2010. Screenshot
Tetris
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For me creating works by stacking and organizing ordinary objects is very much about putting things we all recognize from a certain situation into a new context, and by this altering their meaning. And I think for me the most fascinating thing
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with the Tetris-effect is the fusion of two different worlds, that something you recognize from the world of the video game merges into the real life as well, and makes you step out from your daily routine and look at things in a different way. [3]
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Super Mario
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Miltos Manetas, Supermario Sleeping, 1998. Dvd after SuperMario for Nintendo 64. Courtesy the artist.
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Space Invaders
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Douglas Edric Stanley, Invaders!, 2008. Screenshot, courtesy the artist.
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Pac-Man
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Katie Sokoler, Real Life Pacman, 2010. Image courtesy the artist.
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Racing Games
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Objects of Virtual Desire exploits the augmented value of immaterial objects to create and market tangible products, thereby reversing the process and highlighting the materiality of the immaterial. [4]
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Garnet Hertz, OutRun, 2009 – 2012. Sketch of the cabinet with electric drivetrain. Image courtesy the artist.
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Users look at a screen that combines both physical, realtime recorded elements, in a digital game with digital objects. They play the game with with a custom made joystick that controls a small real life car and moving elements in the installation competing against digitally generated objects in a race against time. The car and other mechanic objects are realtime recorded with a small camera which transports its signal to a computer that runs the game. Users see a screen where both digital and physical elements are visible and controllable in the game. [5]
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Where game simulations strive to be increasingly realistic (usually focused on graphics), this system pursue “real” driving through the game. Additionally, playing off the game- like experience one can have driving with an automobile navigation system, OutRun explores the consequences of using only a computer model of the world as a navigation tool for driving. [6]
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Lara Croft
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Miltos Manetas, Untitled (Lara Croft), 1998. Vibracolour print on super glossy paper, courtesy the artist and Gloria Maria Gallery
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This shows the male dominancy within the game world by having a female lead appearing like a super model. By presenting her naked, it makes the game seem satirical just pushing the creators’ ideas a little further. [8]
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Grand Theft Auto (GTA)
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Stefano Spera, Grand Theft Auto, 2009. Oil on canvas, 120 x 100 cm. Courtesy Artra Gallery, Milan.
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I find it ironic that these beautifully serene landscapes were designed to house horrid simulations of unspeakable and appalling violence – a world where thievery, murder, warfare, and prostitution are the order of the day. Mesmerized by these atmospheric digital surroundings, I intended to capture and re- emphasize this intangible, sublime, and fleeting reality. [9]
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Burn Out / Erased by the First Rain is comprised of two sequences staged and recorded from within the game GTA – San Andreas. The virtual biker does an extended circular burn out, using the motorcycle’s image of freedom and rebellion as a starting point, yet alluding to the repetition and futility of contemporary society.” [10]
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INTERVIEWS
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Pippin Barr
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Pippin Barr, The Artist Is Present, 2011. Image courtesy the artist.
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Mathias Jansson: In your game The Artist Is Present you recreated a performance by artist Marina Abramovi , presented at the Museum of Modern Art in New York 2010. What’s your own relationship to Abramovi 's art and why did choose to turn this particular performance into a game? 10" + 3 3 A C 0 2 *3 + 8 N @ 2 0 ' ' 0_ A `C> 2 * + - < 3 A# C / * + 3 A C 2 * + # @ A: % % - 1C 3 % A C* +
In your games Safety Instructions (2011) and The Artist Is Present you describe the graphics as “Sierra-style”, after Sierra Entertainment, a video-game developer very active in the eighties. Why do you (and many other indie game developers) choose to work with the style of old video games instead of adopting the photo-realistic approach used in the commercial game scene?
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How do you experience the development and interest for independent video games during the last years? And how do you like to contribute to the indie game scene? 10._ A C 2 * + 3 ; 3 * + 3 _ " 3
Your academic expertise is “video game values”. What does it mean? And do you see any difference in values between indie games and commercial games? 10< - A * +C A C @ 1 2 + U&V %
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Nils Deneken
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Die Gute Fabrik, Rückblende, 2006. Screenshot, courtesy the artists.
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Mathias Jansson: What is the history behind Die Gute Fabrik? :- 0 -? < 677( <3 9 3 3 2 2 1 / ,0@4 ! 3 - # - / 8 /
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Why are you so interested in recycling old game concepts? :- 0 2 3
The game Johann Sebastian Joust was part of the art exhibition “Space Invaders” at the Nikolaj Contemporary Art Center in the beginning of 2012. Can you tell me about the game and why do you think it was selected to be exhibited in an art hall? : - 0 / 8 / @ @ 6 G A / 4 CI % # 9 5/1 3 % % /;;/ % 2
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What qualities do you think a video game should have to be an interesting work of art? :- 0 % 3
Both Where is my heart? and Rückblende are based on a childhood memory. The childhood is a common theme in literature and film, but how can personal experiences and memories from a person’s childhood be used in video games? :- 0= 2
What's your experience of the indie game scene in Copenhagen? :- 03 9 D 9 ? 9 1 9 9
And how do you see the future for indie game developers? :- 0.
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Constant Dullart
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Constant Dullaart performing DVD Screensaver at The Influencers Festival, Barcelona 2012.
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Mathias Jansson: On the 18th of January you and many other artists followed Wikipedia’s example and blacked out your homepage as a protest against the SOPA act [1]. You also made the page thecensoredinternet.com, that displays censored search results from Google. As an artist using and remixing material from different sources on the internet, what's your position in the ongoing discussion about copyright on the internet? 9 - 0 ; H U6V . - % A9 C D / 1 4 / UEV ? % . >
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In your art you are trying to visualise the internet grammar and software dialects, in a way that reminds me of JODI's work. Is JODI an inspiration for you, or where else do you find inspiration? 9 - 0>5"- 5 . %3 1 1 ? 4 @ 9 < . UFV "
In your works baselitz.org, internetspread.com, thedis- agreeinginternet.com and therevolvinginternet.com you work
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with simple methods as flipping the page and rotating it in order to change the viewer's perspective on everyday internet services. What’s the idea behind these works? 9 - 0 / / (7 A < C ? 2 4 % 9
In Youtube on the Floor, you sit on the floor and move circles to create the effect of the loading icon of Youtube. Furthermore, in the DVD screensaver performance you use a DVD sign to create a performance about the floating DVD sign you can see on the screen when your DVD is inactive. Why did you choose to go off-line? 9 - 0" ' 1 3 ; -=- / A C -=- - &7
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You took part in Transmediale 2012 in Berlin. What were you showing there and how important are festivals like Transmediale for you as a net artist? 9 - 0 .I8I- c.+ c 1 * ; +A 6767&7C > 1 % * + ; 8; ! / A D!8 C 1 3 - % / %
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Jakub Dvorsky
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Amanita Design, Machinarium, 2009. Wallpaper
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Mathias Jansson: You made Samarost when you still were a student at the Academy of Arts in Prague. How was the attitude towards games and art games back then? 5 - 0 @ @ # 3 ?
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Where do you find inspirations for your games and art? 5 - 0 1 1
What did Amanita Design 's success mean for the indie game scene in the Czech Republic? 5 - 0 9; . / ! ?
Amanita Design’s latest game Machinarium will be available for iPad. How did the last year’s explosion of smartphones and handheld devices affect you as game developer?
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Sachiko Hayashi
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Alan Sondheim's Yoshikaze “Up-In-The-Air” residency project. Image courtesy Yoshikaze
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Mathias Jansson: Since the middle of the nineties, you have been working with interactive media. What, in the beginning, made you so interested in these media? / .0 / 5 ! &'('@'7 &B &B@67 @ 3 W 2 3 % < % % 3 3 : '7 4 DH 9-@!"4 3 1 9-@!"4 3 % <
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Which main issues interest you as an artist? / .0 4 2 % I # 2 % % 8 0 @ @# # % # A " C % % 2 4 % % @ 2 % @ '7 :44 @ @ :4 4 Q
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The development of new media and technology has been very fast in the last 20 years. How working with that tool kit has affected you as an artist? / .0 " A C A C < Q 2 :4 3 : 4Q % % A C " % 8 < I # @ 2 * +" % 4 8 1 3
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You are also involved in the Swedish organisation Fylkingen. What kind of organisation is it? / .0< @ @ @ / I &'EE % (7 @ @@ / % I4AI @ 4 C B7= G7A = (7C. )7 G7 / I '7 @ / / < 8 1 H ; / 5 9 4 9 - : 5 / H 8 4 > " 4; / 2 < / A% % % @ C / % 1 .AI4 CH@ I # A W C< !A Cf . A % @ C 4 f A C / . A % @ W C 9 4 . A W C 9 4d A / F7C g < \ A% / )7C . R 4 4R 4R / ! < I AI4/WI 4 / C / %
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For Fylkingen you are editing the online Hz-journal. What is its focus? / .0@A1F < @ 3 '7 94 . 1 ! < 1 &'))< 3 6777.; H 83 < 677E @ A 6 83 C @ @ A EC< E 3 .;@3 4 @A1 F 3 3 @ @ @ @A1F 3 * + @ % 3 % @A1F % 4 % H9 P* <0P @ - P 9 9 4 + " P *J 09 + ! P *4 =!+
Togehether with HUMLab, you set up a Second Life residency program. Can you tell me about its background? / .0/ 67&7.D4 DdD / > ;*D @ @ @+! .D4 / 8 A /8C .D4 !8A!8 /8C DdD .D4 / 8 .D4 !8.D4 @ > ; /8.D4
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What are the conditions for the residency program and how many artists have joined it so far? / .0# G H; /8 / /8I H / /8 3 H; ( W .D4 /8 /8 W!8 &@E Q W 3 % 3 W
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Do you like to mention some outcomes of the programme? / .0/"( GB GB@@ GB @ @ @ ( 8 8 4 4 G
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Why is SL so interesting for artists? What does it offer that no other virtual world can offer? / .0 2 *# /8 + /8 3 : 4 I * +
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Krystian Majewski
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Krystian Majewski, TRAUMA, 2011. Screenshot
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Mathias Jansson: What inspires you? H 43 0 I
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You mention TRAUMA, can you tell me more about it? H 43 0 !% 3 ; 1 I % 8 9 4 I 9 ; !D4 % # ;; # # / -I - - 4
Besides creating games you are also running a blog called Game Design Reviews. Can you tell me the idea behind the blog and what do you think makes a good game design? H 43 0 ? - ! ? - / 3 3 >
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What do you think about the current German indie game scene? H 43 0 ? @ ! ? ? 5 E @
Finally do you have any advice to give to someone that is thinking of working as an indie game designer in the future? What kind of education and skills does she need to succeed in this hard branch? H 43 0 0 " :II- 3 . . . 5 1 i IQ .Q- . j " 2/ / * + 3
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Christy Matson and Melissa Baron
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Melissa Barron, Jacquard Weavings, 2010. Image courtesy the artist.
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Mathias Jansson: Christy, what's your relationship with video games? 9 4 0 P # 4 : P P / 4 1 P # " # # 9 / - H PJ H J 8 8 3 '7P (7P
Melissa, when did you fall in love with old Apple games? 41 04 % 6 '7 4I99 :4 / "8 " P 6 P 9 )F % 6 P A677'C ; % P 2
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Christy, your experience with the adventure game Loom (Lucasfilms Games,1990) resulted in the project Loomscapes (2008). Can you tell me why you choose that game? 9 4 0 8 3 @ D 5 2 ; A1% % C A 1 C 5 2 8 * + P A @ I @ 0 # 1 / C 2 E- 2 2
Melissa, you also work with the Jacquard Loom. In your Apple 2 crack screens woven on a tc-1 jacquard loom, you used crack screens, that is the intro crackers made to show the world who had cracked the copyright protection of the game. Why? 41 0 5 2 # % P ; 2 A C
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Melissa, you mention you tried to “glitch” the Loom. What kind of glitches are you looking for in your art? 41 0# P 6 P3 % P 3 P # P P P P 3 # P 3 ; %
Christy, you have returned to the game Loom in one of you later works, Future Positive (2011). In this case there is a looser relationships between the virtual game world and the real installation... 9 4 0 -+ A 5 /C # P # @ *+A W W C E
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You both mention the importance of the MECC game Oregon Trail, an educational game about the 19th century pioneer life on the Oregon Trail. The game was first release in 1971, and since then have been re-published many times. Melissa, you spent hours to translate the game into L337, chatspeak and LOLcats grammar. The final work is called 73H 0r3g0n 7r41L (2009). Why did you choose Oregon Trail? 41 0" 1 P 3 9 % P
So, how did you create73H 0r3g0n 7r41L? 41 0 9K@:K: 9$ 2 6
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Iman Moradi and Max Capacity
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Rosa Menkman, A Vernacular of File Formats – Bitmap File (.BMP). Windows 24bit (irreversible databend), 2011. Digital print on Dbond, 30 x 40 cm. Image courtesy Fabio Paris Art Gallery.
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Mathias Jansson: Iman, when did glitch art start? 4 0 2 ? ? * % + % ? < / PA1 %C 677&< ; ? . % % % 677E@677F / " ? / 6776
In your PHD thesis Glitch Aesthetics (2004) you categorize glitch-art into pure-glitches and glitch-alike. What is the difference between these two categories? 4 0 ; ? % @ / ;
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Why are so many glitch artist interested in working with old software and hardware? 4 0 :" / > 5 - : % % ` Q ;
Is there any special genre in glitch-art dealing with video- games and glitches? 4 0: P 2 3 > @ % P: PA 1 CJJJ %
In your thesis you compared glitch art with modernist painting, with references to Juan Gris, Gerhard Richter etc. Could you
112 Mathias Jansson – Everything I Shoot Is Art
say that Cubism, Constructivism etc. are result of errors or mistakes during the painting process? 4 0 P 2 %
What about glitch art and the contemporary art scene? Does it have a position in the New Media Art landscape? 4 0> 5 / I 4 5 9 ! 4 : 1; ? WI A M C " ') 3 41 : > 677' P
Max Capacity, currently living in Santa Cruz, California, is an artist and illustrator often concerned with retro-style graphics, pixels and glitches. His work is well represented on Flickr and Tumblr. Max, when did you realize that you could use glitches as a medium for aesthetic expression? 4%9 0 ; < @ < P P
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Max Capacity, from the series Analog Video Glitch, 2011. Images courtesy the artist.
What are you looking for when you create your glitch art? 4%9 0 = :I/ P : P 3 P - P
Is there any particular category of games or programs that is more interesting for you to use? 4%9 0 P :I/ P 1 :I/ 1 :I/ P :I/
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Glitch theorist Iman Moradi distinguishes between two categories of glitches: the pure glitch, that is “the result of a malfunction or error”; and the glitch-alike, that happens when the artist creates the environment that is required to invoke a glitch and anticipate one to happen. What do you think about this? 4%9 0 1 2 P @ P / % P P :
How do you experience glitch art on the contemporary art scene? 4%9 0 P % % < 8 P @ % G7P (7P1 :
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116 Mathias Jansson – Everything I Shoot Is Art
Shinji Murakami
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Shinji Murakami, Happy Meal, 2011. Wood blocks, glue, acrylic, resin, screw and plastic tray, 5.5 x 13.5 x 10.5 in. Image courtesy the artist.
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Mathias Jansson: What's so fascinating in 8-bit graphics? What kind of games inspires you? / 34 0 % " ; : A:I/ / :I/C ; : P (@ % &)%&) %` @ @ @ Y
You started as a street artist and used to tag cities with your 8-bit characters Boco and Kid Snz. Can you tell me something about these characters? / 34 0> P P I 5 P I I / !? *H+A* + 5 C P 1 1 P P P % (@ H / ; % '%G %
What do you think about street art as an illegal act? / 34 04 - : HI : //: % ; " 0 5 - 3
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In a series called RPG you have worked with maps, for example you have created a map over Central Park in New York in Final Quest 1 style. Can you tell me how this RGP maps are created and why did you choose to work with a style that reminds traditional Japanese art? / 34 0* % P `+ 677E *4 + * + *9 + 5 / ; 5 :> @ ;
In your latest work you started to explore 3D-8bit. What brought you from 2D to 3D? / 34 0> P % E-@( 5 677B 3 : E-@( / 4 1 5 " A C % ; (@ E-@( 677' -=
Can you tell me something about the Japanese Game Art scene? Are there many contemporary artists inspired by video games in Japan today? Are museums and galleries interested in displaying this kind of art? / 34 0< P 5 :> 5 P 5 4 5
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Jason Nelson
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Jason Nelson, Game, Game, Game and Again Game, 2010. Online game, screenshot.
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Mathias Jansson: What kind of video games and poetry do you like, and what inspires you as an artist? 5 : 0 8 &'(7 : W % @ # !"4/ 3 % !"4/ / 9 " W % / J < ?4 4 W % &' 3 / @ @ % " % % @ 9 @
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How do you think the internet and video games have changed and will change how we read and experience poetry in the future? 5 : 0= ? % W W W W A C W W W # 3 2 @ *+ 4 *+ W W W W W 1 - : &''7 I% 1 %
Can you tell me something about your trilogy of poetic art games: Game, Game and Again Game, I made this. You play this. We are enemies and Evidence of everything exploding?
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What about I made this, you play this, we are enemies? 5 : 0 W W 55 ; % ; A C / % @ @ / 0 '0 WW 4 @ @ % @ *@@+ H = 9
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Which role has the player / reader in your games? 5 : 0I W W W : % W W W @
Evidence of everything exploding has a SF-story background about 10 important sheets of paper. Why these 10 papers and what are these levels represented in the game? 5 : 0 . % < ) 0 7' % " 0 D % 0 - - 67 # 0 3 :/ 4 ; < 01? 8 . 9 19 <0&'&(D/? # 8 / <
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Martin Pichlmair
131 Mathias Jansson – Everything I Shoot Is Art
Broken Rules, And Yet It Moves, 2007. Screenshot
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Mathias Jansson: You started as a new media artist but you then shifted focus from art to video games. Why? 4 0" ; / # &7 E77 * +
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In your artist’s days, together with Fares Kayali, you created the Bagatelle Concrete (2006-2007), a pinball machine turned into a musical instrument. What was the concept behind this piece? 4 0 =( B ) ; % 1 =( %
So, what's your opinion about games as art today? 4 0? * +3 4
You are working for Broken Rules, an independent game studio based in Vienna. What does Broken Rules focus on? 4 0" A C4 4 /
One of Broken Rules' recent games is And Yet It Moves. Can you tell me what is it that makes it stand out from other games in this genre?
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Finally, can you tell me something about Chasing Aurora, the game you are working on? What should the player expect this time from Broken Rules? 4 0" ( % # % % # > % 2
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Rafel Rozendaal
135 Mathias Jansson – Everything I Shoot Is Art
Rafael Rozendaal, Color Flip, 2008. Installation view at NIMk, Amsterdam. Photo Olof Werngren
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142 Mathias Jansson – Everything I Shoot Is Art
Jonatan Söderström
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Cactus, Evac, 2012. Computer game, screenshot
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Mathias Jansson: When did you start making your own games? Where do you find inspiration? 5 /\ \0 3
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Game developers can spend months and years to make a game, but your games are often made in a very short time. Why? 5 /\ \0 3 3 %
What's your take on the distrubution possibilities of indie games? 5 /\ \0 / $18 /: >
145 Mathias Jansson – Everything I Shoot Is Art
Can you tell me about the game Norrland that you made for an exhibition in Sweden 2010? 5 /\ \0 3 % 1 3 . %
Would you describe your games as art? 5 /\ \0# ; * + 3 3
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Jeroen D. Stout
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Jeroen D. Stout, Dinner Date, 2010. Promotional image
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Mathias Jansson: What inspires you as an artist and game designer? 5 -/ 0 3 @&' P c @ @ c c #
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Your biggest success is the game Dinner Date, which has been recognised and nominated for the IGF award. What is it that makes it so special? 5 -/ 0" " ! Q 0 " " 1 %
What about the leading character, Julian Luxemburg? 5 - / 0 5 8% . 2 Q 5 @ " " Q " " ;; Q ;;
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What about the Dutch indie game scene? Last year, the Stedelijk Museum in Amsterdam has worked with artists and game designers. Do you feel that art games are recognised as an art form in the Netherlands? 5 -/ 0 : 2 1 c / c 2 c 4 1 . Q P 3 3 P c
And what do you think about the future of indie games? 5 -/ 0D c Q 2 - @
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Erik Svedäng
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Erik Svedäng, Blueberry Garden, 2008. Computer game, screenshot
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Mathias Jansson: When did you start making your own games? I /o 0 F B #
Where do you find inspiration for your games?
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In the game Kometen you collaborated with Swedish artist Niklas Åkerblad. How important is for you the artistic quality of the graphics in your games? I /o 0 `
Your game Shot Shot Shoot was developed for iPad. How did the advent of smartphones and handheld devices affect you as a game developer? I /o 0 Q 9 9
Your latest project is called Clairvoyance. Can you tell me something about it? I /o 0 E- ! !p9# A C 2 " A C
What do you think about the future of indie games?
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Anders Weberg
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Anders Weberg, Two screenshots from 101010, 2010.
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156 Mathias Jansson – Everything I Shoot Is Art
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157 Mathias Jansson – Everything I Shoot Is Art
Anders Weberg, The URL Is the Artwork, 2009
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Mathias Jansson: When did your interest for net art and P2P start? #0 3 @'7 3 *: + 6 3 677) 0* + 1 6 : @ # " % " % / 3
158 Mathias Jansson – Everything I Shoot Is Art
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In 2009 you made a net art work called The URL is the Artwork. How did you come up with the idea? #0 3 9 ! # ?/ ? I 3
What does the URL mean for you as an artist? #0 D!8 9 D!8 D!8 W A C @ / 3
Is there any similarity between your URL-art and your P2P- art? Which ideas or concept do you like to explore or discuss in your art? #0 2
159 Mathias Jansson – Everything I Shoot Is Art
Anders Weberg, This Site Is Not Available in Your Country, 2010.
In your latest www.thissiteisnotavailableinyourcountry.com, the user finds a statement similar to the one that sites as YouTube present when there are copyright or censorship restrictions... #0 > 3 * +
What do you think about copyright as an artist? #0 * + % 4 ; 9!8W94-p 9!8W94-p : 2 0
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160 Mathias Jansson – Everything I Shoot Is Art
161 Mathias Jansson – Everything I Shoot Is Art
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