THE SECOND EDITION OF THE MILAN MACHINIMA FILM FESTIVAL PROMISES UNCANNY VISIONS.
The MACHINIMA FILM FESTIVAL returns to Milan on March 15 2019 during the Milano Digital Week.
Featuring a selection of artworks created by artists appropriating, repurposing, and remixing commercial video games, the MMF includes short films and experimental works created by Lisa Carletta, COLL.EO, Joseph DeLappe, Kara Gut, Ismaël Joffroy Chandoutis, Chris Keric, Luigi Marrone, Luca Miranda, Leonhard Müellner, Bram Ruiter, Brenton Smith, Petra Szeman, Twee Whistler and Brent Watanabe.
An international panel of critics, curators, and academics contributed to the selection and evaluation process: Valentino Catricalà (Artistic Director of the Media Art Festival in Rome), Marco De Mutiis (Digital curator at Fotomuseum Winterthur), Stefano Locati (member of the Scientific Committee of the Ca’ Foscari Short Film Festival in Venice and Director of the Asian Film Festival in Bologna), Henry Lowood (Curator for the Germanic Collections and the History of Science and Technology Collections at Stanford University), and Jenna NG (Professor of Cinema and Interactive Media at the University of York).
This year’s theme is the UNCANNY, the perceptual phenomenon caused by experiences that are at once familiar and alien. Disquieting visions pervade an eclectic program in which glitches, shocks, and disturbing repetitions become a metaphor for societal chaos in the age of algorithms, surveillance capitalism, and artificial intelligence. These alternative narratives question the relationship between authenticity and performance, identity and self preservation in everyday (digital) life. Two longer documentary works examine the unexpected side (effects) of virtual gaming.
Curated by Matteo Bittanti and presented by Gemma Fantacci, the MILAN MACHINIMA FESTIVAL 2019 is organized by the Master of Arts in Game Design at IULM University. Admission is free upon registration. The screenings take place in Sala dei 146 located in the IULM Open Space.
Two days before the Festival, on March 13, 2019, Jenna NG will deliver a keynote as part of the ongoing GAME TALKS series at IULM. Titled MACHINIMA AND THE ALLURE OF EPHEMERALITY: GAMEPLAY, LIVE STREAMS & DIGITAL CULTURE, the talk will address the explosion of interest in the live streaming of gameplay as witnessed in the popularity of Twitch, whose latest number of daily active users has reached 15 million, as well as other major platforms such as YouTube Gaming, Mixer, and Facebook Live. Specifically, the talk will link the current phenomenon of video game live streams with machinima and its origins in game demos and captured video game play, arguing not only for live streams to be the next logical evolution for machinima, but also for a critical theorisation of screen media that pursues a realist trajectory, one which potentially works its way from neorealist cinema to drone culture.
Sponsored by the City of Milan, Department of Digital Transformation and Public Services, the Milano Digital Week celebrates the driving forces that are reshaping work, leisure, and learning. By highlighting the interplay behind production and consumption made possible by digital technology, MDW connects citizens, companies, institutions, universities, and research centers.
LINK: MILAN MACHINIMA FESTIVAL
NEWS: ANDREA LUCCO BORLERA'S HORSES IS COMPETING FOR THE "MOST AMAZING GAME " AWARD AT THE 2019 A MAZE. FESTIVAL
Andrea Lucco Borlera’s surreal Horses is among the nominees of the 2019 edition of A MAZE., the 8th international games and playful media festival in Berlin.
A recent graduate of the M.A. in Game Design, Andrea received an M.A. in Cinema, Television and Multimedia from the Università Roma Tre in Rome. In addition to several experimental videos and avant garde short films, Andrea developed Horses, a narrative game inspired by silent, surrealist films, as a final project during the 2017-2018 academic year.
Since 2012 A MAZE. has been awarding a prize for The Most Amazing Game. The winner is selected by an interdisciplinary, international and independent jury. In 2019, the international selection committee of about 50 people and the A MAZE. team reviewed 181 submissions from 32 countries. A MAZE 2019 takes place in Berlin between April 10–13 2019. Horses is the only Italian game nominated this year.
We wish Andrea the best of luck!
GET READY FOR THE SECOND GAME TALK OF THE YEAR, ORGANIZED IN COLLABORATION WITH THE MILAN MACHINIMA FESTIVAL!
In this talk, Jenna Ng will address the explosion of interest in the live streaming of gameplay as witnessed in the popularity of Twitch, whose latest number of daily active users has reached 15 million, as well as other major platforms such as YouTube Gaming, Mixer, and Facebook Live. Specifically, the talk will link the current phenomenon of video game live streams with machinima and its origins in game demos and captured videogame play, arguing not only for live streams to be the next logical evolution for machinima, but also for a critical theorisation of screen media that pursues a realist trajectory, one which potentially works its way from neorealist cinema to drone culture.
Jenna Ng first trained as a finance lawyer in Singapore and London before switching to film studies, in which she obtained a PhD from University College London (UCL), and currently teaches film and interactive media at the University of York, UK. She is the editor of Understanding Machinima: Essays on Filmmaking in Virtual Worlds (Bloomsbury, 2013) and her current book project, Undoing the Screen: Space, Spectacle, Surface (Palgrave), explores the effacing of screen boundaries in relation to contemporary display technologies and the resulting erasure between images, objects, surfaces and spaces.
IL MACHINIMA E IL FASCINO DELL'EFFIMERO: GAMEPLAY, LIVE STREAMS E CULTURA DIGITALE
Nel suo talk, Jenna Ng discute il crescente interesse per il live streaming videoludico attestato dalla popolarità di Twitch, il cui numero di utenti attivi su base quotidiana ha superato i quindici milioni e a cui si aggiungono piattaforme come YouTube Gaming, Mixer e Facebook Live. Secondo Jenna, il fenomeno dei live stream dei videogiochi rappresenta un'evoluzione diretta del machinima e della cultura demo e dei replay. La studiosa propone inoltre un inquadramento teorico dei media a schermo che persegue l’imperativo estetico del realismo collegando il cinema neorealista alla machine vision dei droni. La presentazione è in lingua inglese.
Formatasi inizialmente come avvocato finanziario a Singapore e a Londra, per dedicarsi successivamente alla filmologia, Jenna Ng ha conseguito un dottorato di ricerca alla University College London (UCL). Oggi insegna cinema e media interattivi all'Università di York, nel Regno Unito. Ha curato l’antologia Understanding Machinima: Essays on Filmmaking in Virtual Worlds (Bloomsbury, 2013) e sta lavorando a Undoing the Screen: Space, Spectacle, Surface (Palgrave), che esplora il concetto di bordo in relazione alle nuove tecnologie di visualizzazione e la cesura tra immagini, oggetti, superfici e spazi.
On February 27, 2019, Cardboard Computer co-founder Jake Elliott led a guided tour through the electronic tunnels and nocturnal highways of the magic realist adventure game. Kentucky Route Zero.
Elliott paid special attention to the little detours and dead-end tunnels for a journey into virtual caves. The audience was mesmerized.
Indie studio Cardboard Computer drew up a simple outline for their magical realist adventure game Kentucky Route Zero, but over the nearly 8-year development process they found themselves lost in a twisty maze of passages, all different. In this conversation about Kentucky Route Zero , Cardboard Computer co-founders Jake Elliott and Tamas Kemenczy will lead a guided tour back through these electronic tunnels and nocturnal highways, paying special attention to the little detours and dead-end tunnels.
Jake Elliott is co-founder of Cardboard Computer, where he is a writer, programmer, and designer on the game Kentucky Route Zero. His work is characterized by playful text, reflective pacing, and human-scale drama. He has taught videogame design, programming, and experimental animation at The School of the Art Institute of Chicago, DePaul University and Northwestern University. He lives in central Kentucky.
Tamas Kemenczy is co-founder and one-third of Cardboard Computer, an award-winning studio known for Kentucky Route Zero, where he does game design, visual art and graphics programming. His visual work on the game has received awards from both Independent Game Festival and IndieCade, and has been shown at the Art Institute of Chicago, Victoria & Albert Museum, Museum of Pop Culture (EMP), and The Museum of the Moving Image in New York. His visual art takes an art-historical approach, calling back to early video hardware and computer graphics efforts by artist-programmers. He has a BFA from the School of the Art Institute of Chicago, where he studied new media and art games.
JAKE ELLIOTT & TAMAS KEMENCZY
HOW TO GET LOST IN A CAVE
Mercoledì 27 febbraio 2019, 18:00 - 19:00
Aperto al pubblico, evento gratuito, registrazione necessaria
La presentazione è in lingua inglese
Oltre otto anni fa, un piccolo studio indipendente nordamericano elabora uno schema relativamente lineare per sviluppare Kentucky Route Zero. Ma il processo di design di un gioco inzuppato di realismo magico si dimostra molto più tortuoso del previsto. In questo talk, gli autori Jake Elliott e Tamas Kemenczy ci accompagnano in un viaggio avventuroso tra caverne virtuali e autostrade digitali, prestando particolare attenzione a bivi, deviazioni impreviste e tunnel senza uscita.
Cofondatore di Cardboard Computer, Jake Elliott è autore, programmatore e designer di Kentucky Route Zero. La sua pratica autoriale è caratterizzata da uno spiccato interesse per i testi ludici, la stimolazione riflessiva e il dramma interpersonale. Ha insegnato game design, programmazione e animazione sperimentale presso la School of the Art Institute di Chicago, la DePaul University e la Northwestern University. Vive nel Kentucky.
Cofondatore di Cardboard Computer, il pluripremiato ensemble responsabile di Kentucky Route Zero, Tamas Kemenczy si occupa di game design, arti visive e grafica. Ha ricevuto riconoscimenti dai più importanti festival di arte videoludica, tra cui l’Independent Game Festival e IndieCade. Le sue opere sono state presentate all'Art Institute of Chicago, al Victoria & Albert Museum, al Museum of Pop Culture (EMP) e al Museum of the Moving Image di New York. Il suo approccio storico-artistico riprende e rielabora le esperienze di artisti-programmatori pionieristici. Ha ricevuto un BFA dalla School of the Art Institute di Chicago, dove ha studiato nuovi media e videogiochi artistici.
On February 15 2019, Ben Babbitt shared his insights on sound design in a compelling lecture open to the general public.
The talk was followed by a hands-on workshop.
It looked like this:
Ben Babbitt is an artist and musician based in Los Angeles. Since 2013, he has provided the music and sound design for the award-winning episodic videogame Kentucky Route Zero, and recently completed the score to Amanda Kramer’s debut feature film Paris Window. As one third of the game studio Cardboard Computer, his work has been exhibited at the V&A Museum in London, the Museum of the Moving Image in NYC, the EMP Museum in Seattle, and the Art Institute of Chicago. His approach to composition and sound design embraces both naturalistic acoustic sound sources and heavily processed digital synthesis as the two ends of a spectrum of possibility.
Cardboard Computer and Tale of Tales’s artworks are currently on display at the Victoria & Albert Museum in London.
Kentucky Route Zero and The Graveyard took center stage at one of the most remarkable exhibitions about video games ever staged. Curated by Marie Foulston, Videogames: Design/Play/Disrupt celebrates the art, culture, and aesthetics of video games. Professors Jake Elliott (GAME WRITING), Tamas Kemenczy (GAME ART), and Ben Babbitt’s (GAME SOUND) Kentucky Route Zero occupies the second room, DESIGN, next to Auriea Harvey (GAME LAB) and Michael Samyn’s (GAME CRITIQUE) The Graveyard, alongside their REALTIME ART MANIFESTO.
This section showcases rarely seen design materials from the desks and hard drives of leading designers sit alongside specially commissioned multimedia installations that provide new perspectives and insights into the craftsmanship and inspiration behind a selection of groundbreaking contemporary videogames.
Videogames: Design/Play/Disrupt will remain open until February 24 2019.
Cardboard Computer at Videogames: Design/Play/Disrupt, 2019.
Tale of Tales at Videogames: Design/Play/Disrupt, 2019.
Below are additional installation shots from the show, courtesy of the Victoria and Albert Museum, London:
Videogames: Design/Play/Disrupt. © Victoria and Albert Museum, London