As the title suggests, The Importance of Abstraction discusses what I believe is the most significant feature of video games, and pushes for additional abstract thinking and conceptualizing in games. It was presented at the Different Games Conference earlier this year, and now lives here among several other select papers in this special issue.
This is a passage from the introduction to Jed Rasula's book, Destruction Was My Beatrice: Dada and the Unmaking of the Twentieth Century (p. xi).
I'm participating in the Different Games 2015 Conference this weekend, April 3-4 at NYU's MAGNET Center in Brooklyn where I will present The Importance of Abstraction in the session called On the Nature of Video Games.
Images (L to R): Dana Miller, A Theory of All Things #2455 (2012); Daniel Lopera, still from In Utero, Being Life, Doing Death, Next State? (2014); Kimberly Witham, Still Life with Watermelon and Chipmunk (2011); Caryn Cline, still from Left Side, Riverside (2011); Erica Magrey, screenshot from Face, Porthole, Window, Glovebox (2013)
CURATED BY NATASHA CHUK
March 5–27, 2015
Opening reception: Thursday, March 5, 6-9pm
Refreshments will be served.
Made in NY Media Center by IFP
30 John Street
Brooklyn, New York, 11201
Hours: daily 9am – 10pm
NATURALLY SYNTHETIC | With the ability to extend sight, memory, and interaction, our media tools foster a naturally synthetic hub through which nature and experience are visualized, made accessible, and become normalized, achieving something that feels naturally synthetic.
The artists selected for this group show make subtle use of their chosen medium to capture and construct synthetic environments that serve to analyze or question things like humanity, what it means to be alive, and under what conditions can fantasy and reality become enmeshed.
Last night I attended Dina Kantor's opening at A.I.R Gallery in Dumbo where she's exhibiting images from her photographic series Treece. This is the body of work that inspired a significant part of one of my chapters in Vanishing Points, for which I also had the pleasure of interviewing Kantor. The exhibition features many images I hadn't seen before or have included in my publication, plus there are some found images and artifacts on display from the now dissolved town.
The exhibition runs from June 26 - July 20, 2014.
A.I.R. Gallery | 111 Front Street #228, Brooklyn, NY. | GALLERY HOURS: Wed-Sun, 11AM - 6PM
After putting together what turned out to be a very colorful discussion on Walter Benjamin's Arcades Project and Guy Debord's notion of psychogeography for my Writing and Orality class, I couldn't resist including this memorable closing scene in Michelangelo Antonioni's 1966 film Blow-Up. I'm very happy to make this kind of introduction.
Located within these pages of the MFA Photography, Video and Related Media (at the School of Visual Arts) annual department journal All the Best, Alice Spring 2014 issue, is my short essay, The In-Betweenness of Cinema, which accompanies the incredible filmic work of three department alumni: Sharon Mooney, Bo Wang, and Ivan Cortazar.
The journal is beautifully designed and filled with a range of striking images by talented students in the department. It's definitely worth thumbing through its entirety.
Read my essay here.
This past weekend I turned my attention to Christian Marclay's The Clock to discuss time, perception, and the sneaky relationship between presence and absence at the Southwest Popular/American Culture conference in Albuquerque, NM. My paper, A Cinema of Perpetual Invisibility, is derived from a chapter of my soon-to-be-published book, Vanishing Points.
This weekend I'm headed to the Rendering the Visible II: Figure Conference, organized by Moving Image Studies at Georgia State University in Atlanta, where I'm presenting a paper called The Color of Absence in a panel called Phantoms. This paper is derived from my research for Vanishing Points, and focuses on two brilliant filmic works of invisibility: Guy Debord's Hurlements en faveur de Sade and Nam June Paik's Zen for Film.