For some reason I had a difficult time thinking of a piece of art to refer to for this exercise, so I picked the last film I watched for research purposes. The film is Jiří Trnka’s stop motion film Staré pověsti české loutkový [Old Czech Legends]. This might be an interesting selection because the film doesn’t have subtitles available and I watched it without knowing Czech. I did have some access to what what happening in the film because I have an English translation of Alois Jirásek’s Ancient Bohemian Legends, the book that serves as its primary source (which Trnka also illustrated).
English translations of early Slovak digital games from the late 80s period, created in cooperation with Slovak Game Developers Association by Stanislav Hrda, Slavomír Labský, Marián Kabát, Darren Chastney and Maroš Brojo. […]
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When Lars Nilsen was growing up in North Carolina in the seventies, his local multiplex used to program kids’ movies on summer afternoons. Stuff like Swiss Family Robinson or (far more meaningful to Nilsen) Godzilla vs. the Smog Monster that you could watch for a dollar while your parents worked. […]
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Since version 10.2, Modo uses the Instant Meshes algorithm to implement its automatic retopology feature. An interview discussing this technique and more recent projects is available here. The following binaries (Intel, 64 bit) are automatically generated from the latest GitHub revision. […]
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In a booth at Ted’s Fish Fry, in Troy, New York, my friend Daniel Beck and I sketched out our plans for the metaverse. It was November 1994, just as the graphical web was becoming a thing, and we thought that the 3-D web could be just a few tweaks down the road. […]
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Peter Burr and Porpentine Charity Heartscape’s 4-channel video installation Cave Exits (recalling both Hans Blumenberg’s ‘Höhlenausgänge’ and a history of cave exploration videogames) explores biology and architecture through a trans lens in a game-like zone with mutable parameters. Informed by both game and cinematic conventions, the project illuminates the challenges of both the world-building and self-building drives of game design and transness, and suggests an alternative to the ideas of completeness and stasis in both constructed world and constructed self.
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