Installing the Game: Gameplay in the Installation T_Visionarium

Installing the Game: Gameplay in the Installation T_Visionarium mELissA miLton-smith Digital art installations are using dynamic gaming elements to facilitate affective and particular experiences. Complex installations like iCinema's T_Visionarium are incorporating interactive gaming principles and media, to enable users to affect narrative outcomes and generate intimate and personalised encounters. In this paper, I will discuss critical gaming and installation convergences, and explore new forms of digital play. I will begin with an examination of how early arcade games are being remediated, and will then analyse the inclusion of online gaming principles in installations such as T_Visionarium. T_Visionarium was originally developed in 2001, concurrent to The University of New South Wales' establishment of the iCinema Centre for Interactive Cinema Research.1 The granting of an Australian Research Council (ARC) Federation Fellowship returned Jeffrey Shaw to Australia to take up the position of executive director. Supported by a council of digital artists and academics and collaboration with ZKM Institute for Visual Media (ZKM), Karlsruhe Germany, and EPIDEMIC in Paris, iCinema sought to give equal attention to practice and discourse. In 2006 T_Visionarium was re-launched, and in 2008 featured as part of the Sydney Festival and International Biennial of Contemporary Art of Seville. T_Visionarium is constructed as an immersive and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png symploke University of Nebraska Press

Installing the Game: Gameplay in the Installation T_Visionarium

symploke, Volume 17 (1) – Oct 23, 2009

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Publisher
University of Nebraska Press
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Copyright © University of Nebraska Press
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1534-0627
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Abstract

mELissA miLton-smith Digital art installations are using dynamic gaming elements to facilitate affective and particular experiences. Complex installations like iCinema's T_Visionarium are incorporating interactive gaming principles and media, to enable users to affect narrative outcomes and generate intimate and personalised encounters. In this paper, I will discuss critical gaming and installation convergences, and explore new forms of digital play. I will begin with an examination of how early arcade games are being remediated, and will then analyse the inclusion of online gaming principles in installations such as T_Visionarium. T_Visionarium was originally developed in 2001, concurrent to The University of New South Wales' establishment of the iCinema Centre for Interactive Cinema Research.1 The granting of an Australian Research Council (ARC) Federation Fellowship returned Jeffrey Shaw to Australia to take up the position of executive director. Supported by a council of digital artists and academics and collaboration with ZKM Institute for Visual Media (ZKM), Karlsruhe Germany, and EPIDEMIC in Paris, iCinema sought to give equal attention to practice and discourse. In 2006 T_Visionarium was re-launched, and in 2008 featured as part of the Sydney Festival and International Biennial of Contemporary Art of Seville. T_Visionarium is constructed as an immersive and

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symplokeUniversity of Nebraska Press

Published: Oct 23, 2009

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