Resist, She Said by Nancy Mauro-Flude
Installation: Retro game-mod, digital c print series, single channel video - audio/colour/continuous
Awesome Game-mod python assistance by the super excellent Lowstandart.net
play IT ON YOUR OWN MACHINE GET IT [here]
tested on Gentoo 2.6.20.7 and Debian. Unzip it.
#python punkrockpacman.pyw
*start playing*.
Premiere at MQ- quartier 21
in
solo exhbition Resist, She Said Curator: Elizabeth Hajek. April
AIRBASE Q 21 LISTEN TO the interview RADIO_FM4
Resist, she said is a performative an account of someone
who evokes game references, in a creative mêlée, by
picking up ready made pieces of consumer capitalist wreckage and
playing with them _for real_.
It is a study of form in the props and dramatic action, related to video-Game culture. I highlight repetitive, ritualistic
and quasi-mythical elements by paying careful attention to logos,
costume, colours, flags, hierarchy and tools. In the stills also can see direct
references to games such as 'counterstrike', 'Half-life2', 'Capture
the Flag', in the characters theatrical performance. The dramatic use
of objects such as; the crowbar, the dead red roses, the drill and
the flag. Some otherwise, known as mêlée weapons. Despite
the obvious cultural references, through surrealism, DaDa tactics,
repetition, level design and use of location as narrative, there are
many parallels and strong connection to theatre and video-games.
Although, there is no dialogue and no significant character
development - except determination to resist.
*screen shots of Punk Rock packman*
Installation view - Right click -then scroll view image for full view
PunkrockInn
** 'Resist, she said', here we see an account of someone who decided to play with the mechanism and open these questions up to a
perspective, that is other than, or other to, the Military Entertainment Complex. It highlights larger issues of security and control paradigms embedded into technology and the way the technology, tools, props, are represented, designed and played out in action.
One example, among others is how in computer security, capture the flag is a computer security war game, along-side the common game play modeCapture the Flag,is found in many first-person shooter games, such as Quake. On
another level, the work questions technocratic people who play with
high tech games, without critique; Is this simply in order to be
immersed and adore them? This work has an agenda of thinking through
such questions; Where does this technology, these TOOLS, extend from?
If we know this answer then, we should ask 'What is the real use of a
computer game'? Or in fact, 'What are the social issues behind these
tools, these games'? Also we see here that dramatic theatre clearly
plays a larger role, so therefore, how is this considered, if at all,
in relation to game culture and role play? This work most obviously
can be criticized for being rather, riot porn. However, I
maintain that this is a study of dramatic form in contemporary life.
It highlights creative practices, such as these mentioned above, and
that studying theatricality in such an old form as the public street
protest, has direct references to popular contemporary game-culture
because, so, among other things, it gives a clear message to the
public because of its popularity whilst it makes transparent these
other technological agendas and mechanisms at play that are, in my
view, perverse and desperately in need of critique. (Note:Especially
after seeing how many people in Vienna have and use iphone and
twitter...) And finally, despite all morals, this work is a personal
requiem to the *The Punk Rock Inn*, an autonomous cultural centre in
Amsterdam, The Netherlands, that was evicted in 2005.
Throwing Dead Red Roses, dramatic sign for an end.
Bat and twirl of the crow bar, a 3D video game classic melee weapon.
Capturing the flag. A common gameplay mode called Capture the Flag is found in many first-person shooters such as Quake, Urban Terror, Unreal Tournament, Tribes, the Halo series.
For the fine artist, the cordless drill has become an indispensable tool.
in solo exhbition Resist, She Said Curator: Elizabeth Hajek. April
AIRBASE Q 21 LISTEN TO the interview RADIO_FM4
It is a study of form in the props and dramatic action, related to video-Game culture. I highlight repetitive, ritualistic and quasi-mythical elements by paying careful attention to logos, costume, colours, flags, hierarchy and tools. In the stills also can see direct references to games such as 'counterstrike', 'Half-life2', 'Capture the Flag', in the characters theatrical performance. The dramatic use of objects such as; the crowbar, the dead red roses, the drill and the flag. Some otherwise, known as mêlée weapons. Despite the obvious cultural references, through surrealism, DaDa tactics, repetition, level design and use of location as narrative, there are many parallels and strong connection to theatre and video-games. Although, there is no dialogue and no significant character development - except determination to resist.
*screen shots of Punk Rock packman*
Installation view - Right click -then scroll view image for full view
PunkrockInn
** 'Resist, she said', here we see an account of someone who decided to play with the mechanism and open these questions up to a perspective, that is other than, or other to, the Military Entertainment Complex. It highlights larger issues of security and control paradigms embedded into technology and the way the technology, tools, props, are represented, designed and played out in action. One example, among others is how in computer security, capture the flag is a computer security war game, along-side the common game play modeCapture the Flag,is found in many first-person shooter games, such as Quake. On another level, the work questions technocratic people who play with high tech games, without critique; Is this simply in order to be immersed and adore them? This work has an agenda of thinking through such questions; Where does this technology, these TOOLS, extend from? If we know this answer then, we should ask 'What is the real use of a computer game'? Or in fact, 'What are the social issues behind these tools, these games'? Also we see here that dramatic theatre clearly plays a larger role, so therefore, how is this considered, if at all, in relation to game culture and role play? This work most obviously can be criticized for being rather, riot porn. However, I maintain that this is a study of dramatic form in contemporary life. It highlights creative practices, such as these mentioned above, and that studying theatricality in such an old form as the public street protest, has direct references to popular contemporary game-culture because, so, among other things, it gives a clear message to the public because of its popularity whilst it makes transparent these other technological agendas and mechanisms at play that are, in my view, perverse and desperately in need of critique. (Note:Especially after seeing how many people in Vienna have and use iphone and twitter...) And finally, despite all morals, this work is a personal requiem to the *The Punk Rock Inn*, an autonomous cultural centre in Amsterdam, The Netherlands, that was evicted in 2005.
Throwing Dead Red Roses, dramatic sign for an end.
Bat and twirl of the crow bar, a 3D video game classic melee weapon.
Capturing the flag. A common gameplay mode called Capture the Flag is found in many first-person shooters such as Quake, Urban Terror, Unreal Tournament, Tribes, the Halo series.
For the fine artist, the cordless drill has become an indispensable tool.