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>> And finally to games or interactivity.
There's a consideration here
in that artists have been using games for a very long time,
and games and game metaphors, and there's a big difference
between using the metaphor of game and using a game itself.
And I want to, I mean, I really want to be clear about that
because if we're looking at a game, we're looking
at something that is playable.
Something that has a specific sort of entertainment value
to it that has specific qualities to it, and we'll talk
about those a little bit later.
Now, we're talking about using game metaphors or game,
pieces of games, and we're talking
about making references to them.
We're talking about, like, the art that's embedded in games.
We're talking about, perhaps, the assets.
Individual assets are the pieces of a game being art,
but perhaps, then, we're not talking
about the game itself being art.
The first one I want to look at is Mario Cloud,
Super Mario Clouds by Corey Archangel,
and this is a really beautiful sort
of lyric piece even in its simplicity.
The clouds are taken or appropriated directly
out of Super Mario Brothers, and everything else is removed.
Now, there's a history of working with clouds and working
with nature and the landscape in painting,
and this piece makes beautiful references to it,
but in addition to that, this piece is also about sort
of the physicality of it in that this artwork is created
as a cartridge that can then be played on the Nintendo system,
and the, each individual cartridge is, then, signed and,
and made an individual work of art.
Looking at games, we're sort of still faced with a this and that
in that it's easy to take something like a game,
like a Pacmandrain [phonetic] and use, or Pacman in this case,
and layer over top of it contemporary art
and create an art space around it.
I want to show you a couple of quick videos
and outtakes from games.
This, this first one is from Braid which creates a,
an interesting means of telling the story
and an interesting means of, like, creating emotional context
and questioning, like, our understanding of time
and regret through the game.
And the, one of the key features is
that the player can reverse time and undo what they've done.
So in this case, the player, then, is able to undo a mistake
that would lead to their death, but the question is, then, well,
what happens, then, to the people that get encounter.
What happens to their understanding
if they're able to sort of rewind?
The last piece I want to show you is, is called Passage.
It's by Jason Roarer, and it is a, just a beautiful, like,
poem about life, and the game itself takes all of five minutes
to play and is very simple.
And I've seen very old people playing the game
and very young people playing the game.
It's very accessible to everyone.
In conclusion, I want to say that, I want to point
out that interactivity is one of the key features in games,
that there has to be some sort of feedback loop involved in it,
and, but even without that, even with just looking at the,
sort of the, the pieces or the constructs of games,
it's possible to create compelling art.