Eddie Lohmeyer - Unstable Aesthetics: Game Engines and the Strangeness of Modding
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- Book:Unstable Aesthetics: Game Engines and the Strangeness of Modding
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Unstable Aesthetics: Game Engines and the Strangeness of Modding: summary, description and annotation
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Throughout the 1990s, artists experimented with game engine technologies to disrupt our habitual relationships to video games. They hacked, glitched, and dismantled popular first-person shooters such as Doom (1993) and Quake (1996) to engage players in new kinds of embodied activity. In Unstable Aesthetics: Game Engines and the Strangeness of Art Modding, Eddie Lohmeyer investigates historical episodes of art modding practices-the alteration of a game systems existing code or hardware to generate abstract spaces-situated around a recent archaeology of the game engine: software for rendering two and three-dimensional gameworlds.
The contemporary artists highlighted throughout this book-Cory Arcangel, JODI, Julian Oliver, Krista Hoefle, and Brent Watanabe, among others - were attracted to the architectures of engines because they allowed them to explore vital relationships among abstraction, technology, and the body. Artists employed a range of modding techniques-hacking the ROM chips on Nintendo cartridges to produce experimental video, deconstructing source code to generate psychedelic glitch patterns, and collaging together surreal gameworlds-to intentionally dissect the engines operations and unveil illusions of movement within algorithmic spaces. Through key moments in game engine history, Lohmeyer formulates a rich phenomenology of video games by focusing on the liminal spaces of interaction among system and body, or rather the strangeness of art modding.
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Unstable Aesthetics
To Bandit and Lou.
Unstable Aesthetics
Game Engines and the Strangeness of Modding
Eddie Lohmeyer
Contents
Crack intro sequence from the early demoscene. Screenshot. |
Cory Arcangel, Super Mario Clouds , 2002. Hacked Super Mario Bros. game cartridge. Courtesy of Cory Arcangel. |
Cory Arcangel, Super Mario Clouds, 2002. Screenshot. |
Cory Arcangel and Paper Rad, Super Mario Movie , 2005. Screenshot. |
The Quay Brothers, Street of Crocodiles , 1986. Still. Vitalist energies of the Schulz puppet and dolls in Street of Crocodiles . |
Cory Arcangel and Paper Rad, Super Mario Movie , 2005. Screenshots. A sequence of glitched tile patterns and Marios flight through the deteriorating gameworld. |
Lewis Klahr, Pony Glass , 1997. Still. Cut out dmod commodities animated through stop-motion techniques in Pony Glass. |
Cory Arcangel and Paper Rad, Super Mario Movie , 2005. Screenshots. The scrolling repetition of game icons. |
Cory Arcangel and Paper Rad, Super Mario Movie , 2005. Screenshot. Mario transforming into the energy of the NES system. |
Cory Arcangel, Super Mario Clouds , 2002. Installation view, Whitney Museum of American Art, New York. Whitney Museum of American Art / Licensed by Scala / Art Resource, NY and Cory Arcangel. |
Cory Arcangel, Super Mario Clouds , 2002. Installation view, Masters exhibition, 201213. Carnegie Museum of Art, Pittsburgh. Courtesy of Cory Arcangel. |
Wireframe environments from Akalabeth: World of Doom (Richard Garriot, 1980). Screenshot. |
The rendering of first-person perspective in Catacomb 3-D (id Software, 1991). Screenshot. |
Fast-paced navigation in Wolfenstein 3D (id Software, 1992). Screenshot. |
Run and gun tactics within the 3D gamespace of Doom (id Software, 1993). Screenshot. |
Thousands of monsters in the joke WAD Nuts (B.P.R.D., 2001). Screenshot. |
Palle Torsson and Tobias Bernstrup, Museum Meltdown II: The Vilnius Vengeance , 1997. Screenshot. |
Orhan Kipcak and Reini Urban, ArsDoom, 1995. Screenshot. Firing at an enemy artist using a crucifix gun. |
Orhan Kipcak and Reini Urban, ArsDoom, 1995. Screenshot. Architectural rendering of the Brucknerhaus exterior. |
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