Game Arts Curators Kit

User Tools

Site Tools

Trace:
formats

Differences

This shows you the differences between two versions of the page.

Link to this comparison view

Both sides previous revision Previous revision
Next revision 		Previous revision
formats [2021/05/10 13:30]
john [FORMATS] 		formats [2021/08/31 10:51] (current)
jim [Editors for this section:]
Line 14: Line 14:
   * [[https://emreed.net/Blank_Arcade2016.html|The Blank Arcade]] is a series of short-term exhibitions held in conference and gallery spaces.   * [[https://emreed.net/Blank_Arcade2016.html|The Blank Arcade]] is a series of short-term exhibitions held in conference and gallery spaces.
   * David Wolinsky's [[https://nodontdie.com/|Don't Die]] series is an ongoing archive of interviews with people involved in gaming culture.   * David Wolinsky's [[https://nodontdie.com/|Don't Die]] series is an ongoing archive of interviews with people involved in gaming culture.
-  * [[https://www.museumofplay.org/|The Strong Museum]] is a permanent museum and collection of videogames as well as other toys and play-related artefacts. +  * [[https://www.museumofplay.org/|The Strong Museum]] is a permanent museum and collection of video games as well as other toys and play-related artifacts. 
  
  
Line 21: Line 21:
   * **Venue:**  Do you already have access to a particular space for the activity? For how long? How much will it cost to rent a space that suits your needs?   * **Venue:**  Do you already have access to a particular space for the activity? For how long? How much will it cost to rent a space that suits your needs?
   * **Time:** What length of time suits your goals best (one off, temporary, ongoing)? Are you scheduling for a period that overlaps with other similar activity in your area, or presents other challenges to participation? Who will be responsible for promoting the activity within its active period, documenting it, and maintaining the documentation? Is there a plan in place to pass off these responsibilities in case of a change?    * **Time:** What length of time suits your goals best (one off, temporary, ongoing)? Are you scheduling for a period that overlaps with other similar activity in your area, or presents other challenges to participation? Who will be responsible for promoting the activity within its active period, documenting it, and maintaining the documentation? Is there a plan in place to pass off these responsibilities in case of a change? 
-  * **Durability:** If there are components visitors will need to touch or use, will they be durable or replenishable? Have you incorporated spares into your budget? Is there budget for interfaces to be constructed in a more durable way? Do you have a contingency plan for presenting a work that is broken, run out, or out of order?+  * **Durability:** If there are components visitors will need to touch or use, will they be durable or periodically replaced? Have you incorporated spares into your budget? Is there budget for interfaces to be constructed in a more durable way? Do you have a contingency plan for presenting a work that is broken, run out, or out of order?
   * **Safety:** What are potential safety and accessibility risks with the venue and activity? (Low light, flashing light, noise level, stairs, uneven footing, alcohol available, motion controls or VR headsets in close quarters, etc.) Can these risks be mitigated over the entire course of the activity, and are alternatives available for accessibility challenges?   * **Safety:** What are potential safety and accessibility risks with the venue and activity? (Low light, flashing light, noise level, stairs, uneven footing, alcohol available, motion controls or VR headsets in close quarters, etc.) Can these risks be mitigated over the entire course of the activity, and are alternatives available for accessibility challenges?
   * **Programming:** Are there things like a talk series, opening party, tours, or other programming happening alongside your activity? How do they fit with the curatorial framing, and where do they take place? Do you need to limit who can come along or sell tickets to ensure the venue is not overcrowded?   * **Programming:** Are there things like a talk series, opening party, tours, or other programming happening alongside your activity? How do they fit with the curatorial framing, and where do they take place? Do you need to limit who can come along or sell tickets to ensure the venue is not overcrowded?
Line 36: Line 36:
 Working with We Throw Switches on Games Are For Everyone Nights V and VI, I was able to curate highly experimental and ephemeral approaches to displaying experimental first-person horror games. Because the event was only a few hours long, durability was not a significant concern and visitors were encouraged to fully engage with the environment created around the game. The event was funded and number of visitors managed through ticket sales. In the venue, the lights were low and the footing was occasionally uneven, due to it being a historical building then used for concerts and parties, so special care had to be taken to reduce trip hazards, leave enough of the floor clear for crowds, and offer sufficient seating to encourage engagement with longer games. The sale of alcohol also limited the audience for the event. Information on the artworks and curatorial framing was provided by both illuminated signs provided by We Throw Switches and texts provided by the artists in the space, or selected and contributed by the curator. These were presented in the manner of “feelies” or props to enhance the environment the game was experienced in. This event was primarily documented through photographs and diagrams of the space before and during the activity, as well as visitor observation and note-taking.  Working with We Throw Switches on Games Are For Everyone Nights V and VI, I was able to curate highly experimental and ephemeral approaches to displaying experimental first-person horror games. Because the event was only a few hours long, durability was not a significant concern and visitors were encouraged to fully engage with the environment created around the game. The event was funded and number of visitors managed through ticket sales. In the venue, the lights were low and the footing was occasionally uneven, due to it being a historical building then used for concerts and parties, so special care had to be taken to reduce trip hazards, leave enough of the floor clear for crowds, and offer sufficient seating to encourage engagement with longer games. The sale of alcohol also limited the audience for the event. Information on the artworks and curatorial framing was provided by both illuminated signs provided by We Throw Switches and texts provided by the artists in the space, or selected and contributed by the curator. These were presented in the manner of “feelies” or props to enhance the environment the game was experienced in. This event was primarily documented through photographs and diagrams of the space before and during the activity, as well as visitor observation and note-taking. 
  
-Working with Now Play This to feature a zine library at their annual festival involved curating a set of publications related to the themes of the festival and working with zine distros, online shops and creators to gather the publications by the exhibition date. It also involved working with the director to gather functionally appropriate furniture, like bookshelves, sofas, chairs and crafting tables for the zine area, as well as a Xerox machine and craft supplies that had to be replenished throughout the activity. Clear labelling and signage was important to separate the area for reading zines and the area for zine-making. A system to record lost or damage zines was also developed. A rota to ensure the area was always supervised during the festival was also essential to minimize lost or damaged publications, and to facilitate contributions to the festival zine. This activity was documented through photography and a spreadsheet used to document the included zines, as well as a zine made in the library space throughout the festival which documented the festival's events program and visitor responses. The zines from the library are also now a travelling collection available for other events.+Working with Now Play This to feature a zine library at their annual festival involved curating a set of publications related to the themes of the festival and working with zine distros, online shops and creators to gather the publications by the exhibition date. It also involved working with the director to gather functionally appropriate furniture, like bookshelves, sofas, chairs and crafting tables for the zine area, as well as a photocopier and craft supplies that had to be replenished throughout the activity. Clear labelling and signage was important to separate the area for reading zines and the area for zine-making. A system to record lost or damaged zines was also developed. A schedule to ensure the area was always supervised during the festival was also essential to minimize lost or damaged publications, and to facilitate contributions to the festival zine. This activity was documented through photography and a spreadsheet used to document the included zines, as well as a zine made in the library space throughout the festival which documented the festival's events program and visitor responses. The zines from the library are also now a travelling collection available for other events.
  
  
Line 45: Line 45:
 ==== Editors for this section: ==== ==== Editors for this section: ====
  
-Add yourself if you edited something+Jim Munroe
formats.1620671402.txt.gz · Last modified: 2021/05/10 13:30 by john

Page Tools

Except where otherwise noted, content on this wiki is licensed under the following license: CC Attribution-Noncommercial-Share Alike 4.0 International
CC Attribution-Noncommercial-Share Alike 4.0 International Donate Powered by PHP Valid HTML5 Valid CSS Driven by DokuWiki