polygonal canyon 243313 by Entter [web]
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"POLYGONAL CANYON 243313"
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A WILD ENTRY BY ENTTER AND GOTO80, OCTOBER 2007.
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SELECTED USED SOFTWARE:
ATTACK ANIMAL GAKUEN (NES ROM) RECODED WITH TILE MOLESTER (ROM EDITOR)
JCH EDITOR (C64 TRACKER) AND SAM (C64 VOICE EMULATOR)
FINAL FORMAT DETAILS: QUICKTIME FILE 256x224
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BLABLABLA:
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Polygonal Canyon is inspired by the first Videogames (Spacewar! 1962,
Star Raiders 1979, Vectrex Games System 1982
) and the Ciberpunk
(Neuromancer 1984) as well as from urban legends and the world
developed from those virtual systems seen throughout the 80's.
The recodified ROM isAttack animal gakuen Nintendo, 1989.
All of the formal elements are stirred up reducing the game to a battle
in which the user has to try to fight against the attack of a series of
hostile poligonal shapes, which might suggest a flux of indecifrable
data at mercy to cybernetic laws. The layout of the game is an abstract
cyberspace which conforms to a maya in 3 dimensions which extends
itself unmercifully to infinity.
The search for these abstract experiences go along with the direction
of the latest pieces developed by Entter (Raul Berrueco) and Goto80
(Anders Carlsson) in which they have suppressed practically all of
the links with the real world in the search for a language proper
to electronic art which references itself through different elements
coming from software culture and virtual reality.
'Polygonal Canyon' is a a Videogame Artwork Piece presented in
quicktime format, that consists of a fully playable recoded game, which
is mixed with perversions of the same videogame. This is made up of
other versions that are not playable full of glitches and errors along
with music and strobe flashing lights. After a certain point, the
non-lineal narration play on the distortion of the entire experience
of the game, making it impractical as it jumps beyond the logical norms
which it has composed. Almost as if a trojan virus of sorts has
infiltrated the game software.
This project explores the expressive possibilites of videogames within
the realms of elemental matter (prima materia) in media art. Not only
from the perspective of the experience of an immersive virtual video-
game but also by, at the same time by looking for the "non-diversion",
or the fear of making a mistake. That is, the aesthetic against games,
negation and deprivation.
In the words of Alex R. Galloway:
I love to put the things I love in extreme peril, wrote the artist
Jean Dubuffet. It is only at the point of failure that the thing
reveals itself. In a game, what else but fun itself can be subjected
to failure? Can we blame the artist who wishes to destroy fun entirely?
Software's essential paradox: source code as a medium is unable to
mediate as such and thus negates and resolves itself into other forms
(the interface, the executable, the game, the website). This is what
one might call, following a suggestion from Eugene Thacker, the occult
logic of software. Code hides itself in the very act of consummating
its own expression. A game expends itself in the very act of its being
played.
So in negation and deprivation, the counter-gaming aesthetic reveals
software culture as it actually is. Unfun is a revealing. It reveals
the essence of the game as something withheld. Microsoft Word is not
software in this strict sense, only some strange perversion of it.
Unfun videogame recoding artworks is software because it realizes the
essential gap that exists within any technological system. And the gap
is not denied in his work; it is accentuated and extended, becoming
coterminous with the medium itself.
Negation or deprivation. But there is a third way, always a third way.
It is pure joy. *
* Digest from UNFUN by Alex R. Galloway published in the catalogue
of GameWorld exhibition 2007 at Laboral Art Center (Spain).
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CONTACT : HTTP://ENTTER.COM/CONTACT
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