Move over Minecraft—a new video game is letting aspiring gallery designers build their own art worlds. In the massively multiplayer online (MMO) game Occupy White Walls (OWW), players can build their own galleries, raise in-game cash by ticketing other players for entry, and expand their art collection using an algorithm that learns what type of art the player enjoys. OWW’s developers claim that with a toolkit of 1,762 and counting distinct architectural components, players can build any type of gallery they’d like, from MoMA PS1 to classical European art museums. Every gallery can be placed in its own specific context as well, from the urban metropolis to the middle of an infinite void. Players will need to not only place art, which ranges from 18th-century pieces to contemporary works, in a pleasing place to view it, but need to control for lighting, viewing angles, the appropriate frame, and more. In an interview with Rock Paper Shotgun, developer StikiPixels described their approach as taking the introverted, thoughtful world of gallery design and turning it into a social experience. Everyone’s creations can be patronized by real-world players who can buy the art on display and fuel further expansion. Another goal of OWW, according to the developers, is to broaden players’ artistic horizons without breaking the bank. Players are given options of (real world) pieces to display, and the game’s art discovery AI, DAISY, will give recommendations on future works that can be approved or dismissed. As DAISY gives more recommendations, the AI refines its suggestions across the entire player base. OWW is currently available for free through the game distribution platform Steam as of November 14. The game is still in the early access phase and may change before its official release, and the developers are soliciting feedback on how they can improve the experience.
Posts tagged with "Video Games":
For New Yorkers, it’s no secret that the MTA is rapidly deteriorating. Practically defined by delays and diversions—and not to mention the impending L train shutdown—the financial and political behind-the-scenes of the subway system has come under increasing scrutiny. While numerous articles, commentaries, reports, and angry tweets have been published on the state of the MTA and its causes, Everyday Arcade has released what might be the first video game on the crumbling system, MTA Country. Styled after a classic Nintendo-style platformer (its name references the 1994 SNES game Donkey Kong Country), MTA Country is a ride through a roller coaster of subway tunnel. For players, the goal of MTA Country is to get its main character, Gregg T (Gregg Turkin, a lawyer, NYPD Legal Bureau member, and much meme-ified face of the NYPD’s “If You See Something, Say Something” subway campaign) to work. Luckily, he has help from his friends Bill (de Blasio) and Andrew (Cuomo). After watching the trio be launched from a trashcan, gamers can ride down tracks collecting coins as they leap over track fires, stopped trains, broken rails, the notorious Pizza Rat. Graffiti in the background reads “Giuliani was here,” among other commentary. Without giving away any spoilers, users skilled enough to collect all the letters that dot the tracks will be in for a special high-speed transformation à la Elon Musk and rocketed off to a new destination. Luckily for New Yorkers, MTA Country also works on your phone, making it an ideal way to pass time when your train inevitably gets stuck.
1980's video game addicts should stay away from the BIG-Bjarke Ingels Group website. The Copenhagen, Denmark-based international firm's homepage has long featured pixelated font and colorful icons representing their myriad projects. Recently, BIG teamed up with Danish website design firm Ruby Studio to add a playful spin on a layout that seems—at least in retrospect—ripe for a video game transformation. Inspired by the 1986 game Arkanoid, users can now slowly delete the firm's projects (complete with sound effects). Enjoy!
There’s much to be said about SCUP’s 50th Annual International Conference, held this year at the Hyatt Regency Chicago, in Chicago, Illinois, July 11 – 15. Aside from what one must imagine are the typical characteristics of this globe-trotting annual event—mission-oriented indoctrination, relentless networking against seemingly never-ending waves of competition and sweets, a diverse range of diurnal activities and workshops concerning a stunning miscellany of unpredictable subjects (including drones)—this year’s event presented interesting spins on an emergent, “integrated” planning strategy involving the use of Data in University programming. One of the conferences most interesting topics was the common theme of SIMULATION across the conference, specifically, in the context of using data born from a projected reality or fantasy, which ultimately ends up informing reality to such a magnitude as to change something. This is tied to video games, role-playing and the sensibility of the gamer. In “How to make the Future – With Games,” Jane McGonigal, Game Designer and Future Forecaster, leveled the crowd with an exegesis on the collective intelligence and “collaboration superpowers” of gamers and their seemingly shared, innate ability to, not sit in a dark room for hours ingesting potato chips on a pleather couch peppered by blades of setting sunlight that make it through the blinds but not the headphones (the blinds reference could be 80’s: American Gigolo, Less Than Zero), but “strengthen and transform” Society. McGonigal’s milieu, becoming ours, involves “massively multi-player future forecasting games” that enable us to imagine and plan for “strange and wonderful futures”. She is, according to SCUP’s description of the Plenary Session, today’s “leading speaker on the engagement economy and the application of game-design to the real world.” https://youtu.be/8HjjMv4LvbM McGonigal’s initial visualization and consequent circumlocutory word-play involved the construction of a predictive model in the form of an asteroid threat, which utilized player response to inform a “collective intelligence around real-world pandemic response.” She described her use of social media as a ready-made network to host this particular simulation or game. She defined a geographic region or corridor. Players fantasized about impacts to everything from available medicine to the stock market and their responses were ultimately used to inform responsive, BIG BROTHER agency thinking. McGonigal further described concepts of “Interactive Documentary” and concluded with a very compelling description of “Find the Future: The Game”, a game in which over 500 players explored the New York Public Library’s 70 miles of stacks using laptops and smartphones, following clues that amalgamated in short personal essays inspired by the event which are to be compiled in a volume to be stored within the Library’s collection. “The game is designed to empower young people to find their own futures by bringing them face-to-face with the writings and objects of people who made an extraordinary difference,” said McGonigal McGonigal made mention of one other related item of interest relative to reality and gaming, the text Ready Player One, by Ernest Celine. I just read this book, which takes the notion of Simulation to a level that displaces reality while at the same time, supplies the, let’s just say participant, with many forms of currency which have palpability in the real world, be it knowledge, a sense of physical security, or income. Celine constructs a post-apocalyptic world in typical sci-fi fashion. He integrates '80s lore (Music, Advanced Dungeons & Dragons, Video Games, TV, etc.) into the construct. His seamless interweaving of the content informing the game with the game itself and reality is fascinating, and it takes McGonigal's expertise to its logical conclusion: Data generated from Fantasy has value in the real world and has the capacity to inspire change on many levels, even policy. McGonigal’s influence put a strange, intellectual spin on the lens through which Data might be perceived on the level of Programming. It seems that Fantasy has as much to teach us about reality as human tracking. Going back to the idea of a predictive model, devoting more time to fully flushing out worlds that don’t exist, could significantly inform our approach to data-driven design methodologies in a way that is less invasive than human telematics.
Real-life SimCity in New Mexico to become testing ground for new technologies that will power smart cities
A simulation video game can become a powerful innovation lab for new urban technologies, where researchers can test-drive every outlandish “what-if?” in a controlled environment. The Center for Innovation, Technology and Evaluation is launching a full-scale SimCity—a small, fully functioning ghost town equipped with the technology touted by futurists as the next generation of smart cities. Resembling a modest American town with a population of 35,000 spread over 15 miles, the virtual metropolis is sited on a desolate stretch of land in southern New Mexico. Set to be wired with mock-up utilities and telecommunications systems as realistically as possible, the quintessentially mediocre town will even have a gas station, big box store, and a simulated interstate highway alongside its tall office buildings, parks, houses and churches. The town will also be sectioned into urban, rural and suburban zones. From nuclear war to natural disasters to a stock market crash or a triple whammy of all three, the ho-hum hypothetical town will soon play host to driverless cars and packages delivered by drones, alternative energy power generation and never-before-tested public monitoring, security and computer systems. The goal of CITE is to provide the opportunity to test large-scale technology experimentations in real-world conditions “without anyone getting hurt,” said Bob Brumley, managing director of Pegasus Global Holdings, the Washington state-based technology development firm behind the concept. Brumley estimates that support infrastructure, including electric plants and telecommunications, will take 24 months to create, while the city will be fully built between 2018 and 2020. The uninhabited virtual city affords possibilities to test otherwise non-starter ideas hampered by safety and feasibility concerns in the real world, where human beings are the most fickle of variables. “It will be a true laboratory without complication and safety issues associated with residents. Here you can break things and run into things and get used to how they work before taking them out into the market,” Brumley told Wired. One of numerous experiments he envisions involves deploying a fleet of driverless freight trucks controlled by a centralized wireless network. Testing on a real freeway, on the other hand, would be too hazardous. Other ideas range from simple practicalities—having small drones drop off packages on doorsteps—to cataclysm readiness—simulating, a large-scale, real-time attack on energy, telecommunications and traffic systems, or the effect of a “massive electromagnetic pulse attack on all the integrated circuits in our economy.” Brumley estimates an initial investment of $550–600 million in direct investment, with an estimated total cost of $1 billion over the next five years as the city grows in size and complexity. We can only hope that their servers don’t crash.
In what appears to be an April Fools' prank launched a day early, Google has added an eight-bit video game, ahem, Easter Egg feature to Google Maps. While browsing around the city of your choice, look for the Pacman box in the lower left-hand corner right next to the aerial photography button. Click it, and you're transported into a dot-filled, ghost-infested city street grid in search of cherries. Take a look!
Whatever you may think of video games (new media art form, societal ill, lame waste of time) there was no avoiding them in downtown Denver this summer. From June 7 to July 26, three blocks of Champa Street between 14th Street and the 16th Street Mall were transformed into one big video arcade. Known as Oh Heck Yeah, the project assembled local and national arts groups and businesses to activate this stretch of turf with a variety of programming centered around a series of custom designed, family friendly video games. Designed by Denver-based creative teams Legwork Studio and Mode Set, the games were played on the Theatre District's giant LED screens. Players controlled the games' characters with their body movements and had the opportunity to interact with them via Twitter profiles backed by local improv comedy group Bovine Metropolis. In addition to the games, Oh Heck Yeah's business and institutional sponsors put on a variety of "fun" happenings, such as karaoke, live music, dancing, and street theater. According to Brian Corrigan, the purpose of Oh Heck Yeah was to "use the power of play to connect people on the street." Connecting people, he said, makes the street safer and the city more "resilient," which has replaced sustainability as everyone's favorite buzzword. In its two months of operation, Oh Heck Yeah attracted 40,000 players and garnered Denver its fair share of national media attention.
In MoMA's Applied Design exhibition, which opened over the weekend in The Phillip Johnson Architecture and Design Galleries, celebrity curator Paola Antonelli brings us a diverse sampling of recent and contemporary design, from old school video games like Tetris and Pac-Man to 3D printed furniture and energy efficient medical equipment. As in last year’s Talk to Me exhibition, museum guests get the opportunity to interact with the objects on display, including playing the video games. While the connections between the different pieces may be tenuous and visitors may struggle to identify the relationship between Ido Bruno’s Earthquake Proof Table and The Sims, Applied Design allows viewer to see items that have been churning up quite a bit of hype around the blogosphere, such as Massoud Hassani’s wind-powered mine detonator, pairing them with modern relics from the MoMA archives, including drawings from Lebbeus Woods and Douglas Darden. While disjointed, Applied Design does afford a glimpse of the wide varieties of methods, technologies, and materials utilized by today’s design vanguard. The exhibition is on view through January 14, 2014.