#martina menegon

[jamesusilljournal]

Martina Menegon

[trashpandaqc]

a tour of art and music spaces in Web VR, recorded this May - 1 week before Mozilla shut down their hosting for Hubs

[ptumminello]

Martina Menegon - artist’s block 

[mariyamavliwala]

Reader

1.

Domsch S. (2013). Storyplaying: Agency and Narrative in Video Games, De Gruyter, Inc. Berlin/Boston. Chapter 2, pp. 13-17. Available at: https://ebookcentral.proquest.com/lib/herts/reader.action?docID=1000613&ppg=4. [Accessed 2 January 2025].

This book investigates the concept of “storyplaying,” where players actively shape narratives through their decisions, creating unique storytelling experiences. Domsch examines the intersection of game mechanics and narrative structures, highlighting how video games differ from other forms of media by allowing player agency to influence outcomes. Through examples like Mass Effect, the text illustrates how branching storylines can adapt dynamically, engaging players in co-creating the story. The book delves into the challenges of maintaining narrative coherence while giving players freedom. I selected this work for its practical insights into blending player agency with cohesive storytelling. It is highly relevant to my interest in crafting interactive narratives where gameplay mechanics enhance immersion and emotional engagement. This study provides tools for designing experiences that balance structure and flexibility, essential for dynamic storytelling projects.

2.

Šisler V. (2008). "Digital Arabs", European Journal of Cultural Studies, 11(2), pp. 203–220. Available at: https://doi.org/10.1177/1367549407088333. [Accessed 2 January 2025].

This article critiques the portrayal of Arab culture in video games, focusing on the construction and perpetuation of stereotypes. Šisler examines how these representations shape societal perceptions of Arabs and perpetuate cultural biases. The text highlights how design and narrative choices can reinforce harmful stereotypes, while also proposing ways to incorporate more authentic and respectful representations of diverse cultures. The analysis is grounded in specific examples from popular games, making the discussion both accessible and actionable. I selected this article for its focus on the intersection of cultural representation and game design, which aligns with my goal of creating inclusive and ethical narratives. It is particularly useful in guiding the development of content that avoids cultural appropriation, fosters diversity, and offers players meaningful, respectful depictions of different cultures.

3.

LaPensée E. (2020). "When Rivers Were Trails: cultural expression in an indigenous video game", International Journal of Heritage Studies. Available at: https://doi.org/10.1080/13527258.2019.1578980. [Accessed 2 January 2025].

This paper discusses the video game When Rivers Were Trails, which incorporates Indigenous storytelling and cultural heritage into its mechanics and narrative. LaPensée examines the collaborative efforts with Indigenous communities to ensure authenticity and respect for cultural values. The game’s narrative intertwines traditional practices, environmental themes, and historical contexts to create an educational and emotionally resonant experience. What I found most compelling is the game’s use of mechanics to reflect cultural values, such as resource gathering tied to Indigenous philosophies. This work inspires approaches to designing games that educate and engage through diverse perspectives. It is a valuable resource for understanding how to authentically integrate underrepresented narratives into interactive media, ensuring that cultural storytelling is both meaningful and respectful while reaching a broader audience.

4.

Petrey G. (2022). "The affective flows of the sublime in Martina Menegon's new machinic subjectivity", New Techno Humanities, 2(2), pp. 130-135. Available at: https://doi.org/10.1016/j.techum.2022.04.001. [Accessed 2 January 2025].

This paper examines Martina Menegon’s work in digital art and video games, focusing on how technology is used to evoke the sublime and emotional responses. Petrey analyzes the interplay between the mechanical and human aspects of art, demonstrating how digital platforms create immersive and affective experiences. The text explores the emotional dimensions of gameplay, such as awe and disorientation, and how they contribute to player immersion. I was drawn to this work for its emphasis on emotional engagement, which is critical for creating captivating interactive experiences. This study provides a framework for designing games that elicit strong emotional responses, enhancing player connection to the content. It is particularly useful for exploring how game design can integrate visual and narrative elements to heighten emotional impact and immersion.

5.

Malaspina M., Barbato J.A., Cremaschi M., Gasparini F., Grossi A., & Saibene A. (2023). "An experimental protocol to access immersiveness in video games", arXiv preprint arXiv:2310.16431. Available at: https://arxiv.org/abs/2310.16431. [Accessed 2 January 2025].

This study proposes a systematic framework for evaluating immersiveness in video games, combining visual, auditory, and mechanical elements. The authors use experimental protocols to measure player engagement and emotional responses, providing insights into how game design impacts player immersion. The paper emphasizes the importance of balancing technical and narrative components to create cohesive and engaging experiences. I was particularly intrigued by the methodical approach to studying immersion, which offers measurable parameters for assessing player experience. This study is valuable for projects aiming to enhance the immersive qualities of games, particularly in understanding how design elements interact to draw players into the game world. It provides actionable insights into creating environments that maintain player attention and foster deep engagement.

6.

Guglielmi E., Scalabrino S., Bavota G., & Oliveto R. (2023). "Using Gameplay Videos for Detecting Issues in Video Games", arXiv preprint arXiv:2307.14749. Available at: https://arxiv.org/abs/2307.14749. [Accessed 2 January 2025].

This paper explores how gameplay videos can be used to identify design issues in video games, offering a data-driven approach to iterative development. The authors propose analyzing gameplay footage to extract actionable insights about player behavior and design flaws. The study emphasizes the efficiency of video analysis in refining mechanics, optimizing user experience, and addressing player challenges. I found this work particularly innovative for its focus on leveraging existing player-generated content for game improvement. It is highly relevant to projects involving user feedback loops and iterative design. This research provides a practical methodology for enhancing game quality by identifying and resolving issues early in the development process, ensuring smoother gameplay and greater player satisfaction.

7.

Shaw A. (2022). "Do you identify as a gamer? Gender, race, sexuality, and gamer identity", New Media & Society, 24(1), pp. 28-44. Available at: https://doi.org/10.1177/1461444811410394. [Accessed 2 January 2025].

This article investigates the intersections of gender, race, and sexuality within gaming culture, examining how identity influences experiences in gaming spaces. Shaw critiques the exclusionary dynamics of mainstream gaming and highlights the ways marginalized communities navigate these spaces. The study provides insights into how representation in games impacts player identity and sense of belonging. I found the exploration of identity politics within gaming particularly thought-provoking, as it emphasizes the need for inclusive narratives and character diversity. This research is invaluable for designing games that reflect a broader range of experiences and foster inclusivity, making it a critical resource for projects focused on diverse storytelling.

8.

Donald I. (2019). "Just War? War Games, War Crimes, and Game Design", Games and Culture, 14(4), pp. 367-386. Available at: https://doi.org/10.1177/1555412017720359. [Accessed 2 January 2025].

This paper examines the ethical dimensions of war games, critiquing how they depict conflict and violence. Donald analyzes how game mechanics and narratives often glorify warfare, overlooking its moral complexities. The study discusses alternative approaches to designing war games that encourage critical reflection on the ethics of conflict. I selected this work for its relevance to socially responsible game design, particularly in addressing how media influences perceptions of war. This research provides a framework for creating games that engage players in meaningful discussions about ethical dilemmas, ensuring that entertainment does not trivialize serious issues.

9.

Bizzocchi J., & Tanenbaum T.J. (2012). "Mass Effect 2: A Case Study in the Design of Game Narrative", Bulletin of Science, Technology & Society, 32(5), pp. 393-404. Available at: https://doi.org/10.1177/0270467612463796. [Accessed 2 January 2025].

This paper analyzes the narrative structure of Mass Effect 2, focusing on how its branching storylines and character development enhance player engagement. It highlights the role of narrative coherence in creating emotional investment and maintaining player interest. The study provides a detailed examination of how design choices, such as character arcs and player agency, contribute to storytelling success. I found this case study particularly useful for its practical insights into balancing player choice with narrative depth. It is a valuable resource for designing games that combine immersive storytelling with interactive gameplay mechanics.

10.

Robb J., Garner T., Collins K., & Nacke L.E. (2017). "The Impact of Health-Related User Interface Sounds on Player Experience", Simulation & Gaming, 48(3), pp. 402-427. Available at: https://doi.org/10.1177/1046878116688236. [Accessed 2 January 2025].

This study investigates the role of health-related sound effects in enhancing player immersion and experience. It explores how auditory cues, such as alerts and ambient sounds, influence player reactions and engagement. The research emphasizes the importance of sound design in creating intuitive and immersive gameplay environments. I chose this paper for its focus on auditory elements, an often overlooked but critical aspect of game design. It provides actionable insights for improving the auditory experience in games, ensuring that sound enhances rather than distracts from the player’s immersion in the game world.

[wangliangying]

Blog Post 8 EMOTIONS - The visceral side of digital media

25/11/2023

Today in class we learned about the impact of visuals on emotions. Through this class, I realized that the plots of many film and television works are relatively ordinary, but due to their excellent artistry, they have high ratings.

“Lev Manovich concurs with Haraway in that, emerging virtual technologies offer up new spaces for subjectivity that move beyond Marshall McLuhan's “cool” media, to present a new “hot” media of intensities and affect for digital artists to explore (Manovich, 2001).” (Petrey 2023). For example, Cyberpunk: Edgerunners is one of them. This story is about a corrupt city in the future. The male protagonist lost everything due to a shooting incident. Later, he met the heroine and her team, embarked on the path of crime, and finally died for love. In fact, Lu's story is unremarkable, and I even feel that the details of the characters need to be improved. For example, there is no process of how the heroine falls in love with the hero. The overall story also does not reflect the depth of the current state of contemporary society.

So this got me thinking, people are actually more susceptible to visual influences. This also symbolizes why the cyberpunk style is popular. We can think of cyberpunk as a global phenomenon Myerson, S. (2020). Although cyberpunk symbolizes our technological progress. But looking back at our lives, we live in an online world, and playing games online with friends has become a social need. Sometimes when we lose a game, our teammates immediately start scolding us. While playing the game, I forgot about the rice cooking in the pot. I think our real life is really cyberpunk, and we would rather place our spirits in the virtual world than find happiness in reality. People don’t even like to think deeply about problems.

Reference

Cyberpunk: Edgerunners (2022) Directed by H. Imaishi. CD Projekt.

Myerson, S. (2020) ‘Global cyberpunk: Reclaiming utopia in Japanese cyberpunk film’, Science fiction film and television, 13(3), pp. 363–386.

Grant, P (2022) The affective flows of the sublime in Martina Menegon's new machinic subjectivity, New Techno Humanities, pp.130-135,

[basedvienna]

animated_currency_01 will eine künstlerische Auseinandersetzung mit dem Medium Gif, also animierten Bildern im Graphic Interchange Format, anstoßen. Gifs komprimieren und verdichten visuellen Input – also komplexe, oft auch emotionale Inhalte – aufs Wesentlichste und leisten damit viraler Verbreitung Vorschub. So sind sie ein aus digitaler Kommunikation nicht mehr wegzudenkendes Ausdrucksmittel geworden. Als künstlerisches Medium geht das Gif in seiner Bedeutungskraft sowohl über kommunikative, mimetische als auch ökonomische Aspekte hinaus und entwickelt sich zu einer eigenständigen Ausdrucksform. Für animated_currency_01 wurden sechs Kürzestanimationen im Gif-Format eigens bei lokalen und internationalen Künstlerinnen in Auftrag gegeben und werden im Rahmen einer zweiwöchigen Gruppenausstellung bei Suzie Shride auf Screens in den physischen Raum geholt. Ziel der Schau ist es, das künstlerische Potenzial des Mediums Gif aufzuzeigen, auszureizen und gleichzeitig seine gesellschaftliche Rolle zu reflektieren. Künstlerinnen: Schirin Charlot Stefani Glauber Daniela Grabosch Martina Menegon Soso Phist Anna Vasof Eröffnung: 23.05.2019, 19.00 Öffnungszeiten: Dienstag bis Freitag: 15–19 Uhr Sams-, Sonn- und Feiertage: 13-17 Uhr Suzie Shride, Girardigasse 10, 1060 Wien Diskursprogramm: tba Grafik: Andrea Lehsiak Kuratiert von Gabriel Roland, Martina Schöggl, Oida Amira Unterstützt von MA7 (Bildende Kunst)

[ciromuseres]

Algorithmia: Art in the Era of Artificial Intelligence.

Hace unos días cerró la muestra Algorithmia en el MEIAC (Museo Extremeño a Iberoamericano de Arte Contemporáneo)

Curada por Gustavo Romano

Algunas obras pueden verse aún en el site de la muestra

http://netescopio.meiac.es/algoritmia/

https://www.facebook.com/romano.gustavo/posts/10225548314515612

Artists: Alessandro Ludovico, André Sier, Antoni Muntadas, Cesar Escudero Andaluz, Christian Oyarzún, Ciro Múseres, Constant Dullaart, Demian Schopf, Disnovation.org, Eva y Franco Mattes, Giselle Beiguelman, Joan Leandre, John F. Simon, Jonas Lund, Kim Yong Hun, Mark Napier, Martin Nadal, Martina Menegon, Matthew Plummer Fernández, Michaël Borras a.k.a SYSTAIME, Paolo Cirio, Scott Draves, Shin Seung Back, Ubermorgen.

[katelynnvrblog]

Martina Menegon & Wade Wallerstein + Leah Roh

I really enjoyed all of the speakers’ talks on virtual reality. It was really interesting to see the breadth of work happening in the virtual reality space right now, as I am very new to this field. I loved seeing all the artwork and virtual social galleries that Martina and Wade showed us. I didn’t realize there was such an extensive art community in the VR space, and it made me excited to think about the possibilities of creating VR art. I would love to maybe someday make a VR art piece once I have the skills to do so. For a while over quarantine, I had drifted from my art hobbies for some reason, but lately I have been getting back into it with classes and also I have been making a cardigan, and I just found Martina and Wade’s talk really exciting and motivating for me to create more work. 

I also found Leah Roh’s work super interesting. Specifically, I was really inspired by how she used VR to create social change. This is something I am interested in doing in my design practice through design thinking. I loved what she did with lube river, and I wish that she was able to continue that project. I agree that sex education is severely lacking. I attended Catholic school, so I only ever received abstinence-only sex education, and I had to learn a lot of stuff online, and I was very nervous for a really long time around that topic, and never felt comfortable talking to people about it. I think her project is such a cool way to normalize the conversation around something that shouldn’t be viewed as taboo, and I was really inspired again that she worked on a project like that. 

All of these artists were really inspiring, and really excited me about the VR space even more. It’s great to see what artists are doing and also feel like you can become part of an art space someday.

[cameronewomack]

Micro Assignment 09

Our visit in class with Martina Menegon, Wade Wallerstein, and Leah Roh was extremely informative, interactive, and exciting. I particularly loved how Martina and Wade allowed us as a class to experience each virtual experience that they presented to us independently. This practice allowed me to really get a sense of each project and understand each praise and critique that they both gave to each one. My favorite presentation was by Leah, however. I loved how she combined her love of virtual reality and her passion for social justice topics into a multitude of different projects. I was particularly interested in the sex toy project, and the impact that it could have made had it been fully developed. The projects Leah presented helped me to see how impactful VR work can be in education, self image, and social concepts.

[craft2eu]

CREATIVE CLIMATE CARE: Wien ab 16.06.2020 bis 08.12.2020

CREATIVE CLIMATE CARE: Wien ab 16.06.2020 bis 08.12.2020

Mit der neuen Ausstellungskooperation CREATIVE CLIMATE CAREreagieren das MAK und die Universität für angewandte Kunst Wien auf die bedingt durch die Corona-Krise massiv beschränkten Produktionsbedingungen im Kunst- und Kulturbereich. Vor allem junge KünstlerInnen und Kreative, die in den letzten Jahren ihr Studium abgeschlossen haben, stehen aktuell unter Druck. In Pop-up-Ausstellungen im MAK…

[jamesusilljournal]

Martina Menegon

[trashpandaqc]

stuff I did in 2024! 🦝🦠🔊

ET Mulch Madness

Shape Variations, with a downloadable music video by Shimmering Ice Puzzle

animated the "Gaming Squid Missile" music video for ksd6700, with characters and art by firedrill

HUB ZONING mini documentary on web VR spaces, feat. the tour group of Matthew D. Gantt, rbxbx, Mechanical Whispers, and Imaginer, plus a replayable live chat with CNDSD, Martina Menegon, and Yvan Vivid on the YouTube premiere

compilation tracks "lost gnome" and "sleeping hand" for Tokinogake's Plain Music and Teknogake

"fast loris" for Datafruits HACK THE PLANET VOL 3 (out today!)

mastering for David B. Applegate's "Best Day Ever" and Eve Essex's score for "Break Break", plus a few more releases to come...

collaboration with peeq on a promo video for farmersmanual

& played some live sets with a few more tracks to come...

thanks everybody for the support this year! can't wait to get more of it out to you next year!

if you'd like a non-feed way to keep up with everything, sign up for my infrequent email list too

[estherattarmachanek]

estherartnewsletter@SPARK2021

SPARK ART FAIR VIENNA MARX HALLE BESUCHER*INNEN VERNISSAGE: Do. 24.Juni 2021 | 17 – 20 Uhr Messetage 25.–27. Juni 2021 Öffnungszeiten 11–19 Uhr Karl­ Farkas­ Gasse 19, 1030 Wien https://www.spark-artfair.com/ University of Applied Arts Vienna MARTINA MENEGON When you are close to me I shiver 2020 live simulation various © Martina…

[admartinz]

All alone, together - Martina Menegon (2020)

Sound for Martina Menegon’s Installation / virtual environment “All alone, together”. http://www.martinamenegon.com/all-alone-together

[wnmwork-blog]

More...

Firewall - Mike Alison - http://aaron-sherwood.com/works/firewall/

Firewall is an interactive media installation. So what it is exactly is a stretched sheet spandex serves as a membrane interface sensitive to depth that people can push into and create fire-like visuals and expressively play music.

“so this membrane represents a plane that you can experience but never get through. As hard as you try to understand what’s in between life and death, you can never fully know.” A very interesting concept as well as visually stunning too. I really enjoy the interactiveness side of this particular project in regards to the material used as well.

I think so few projects really incorporate on visuals that they tend to neglect I guess the deeper side of things or even how much more weight they can give the project, well at least I get caught in the trap where you want to create something so capturing to the eye, so visually impressionable that you forget to give it person which truly awakens a project and gives it something to live for. And so I guess that’s kind of where I am at this point in my project. Is what I want to do too much on the visual side of things and not enough of the meaningful and purposeful side of things. I guess that’s something I’d have to look into.

EGO – Klaus Obermaier with Stefano D’Alessio & Martina Menegon

https://vimeo.com/119042339     

“In psychology the mirror stage describes the formation of the Ego via the process of objectification, the Ego being the result of a conflict between one's perceived visual appearance and one's emotional experience. This identification is what psychoanalyst Jacques Lacan called alienation”

“The interactive installation EGO re-stages and reverses the process of alienation by enhancing and deforming the mirror image by the movements of the users.

Although an abstraction, it quickly becomes the self and reestablishes the tension between the real and the symbolic, the Ego and the It, the subject and the object.”

This interactive display involves diving into our minds and how we perceive ourselves. As described above the exhibition plays with the idea of our egos through the process of objectification. I think it undoubtedly executes this really well. From the moment you step forward into the area the projection starts off as a scribble on the floor. Then as you step forward the scribble is formed into the figure of a boy or girl depending on what you are. And as you move around the newly formed figure starts to follow your actions using a kinect which is the mirror stage. I think from the thinking behind this project and how it works is very well made. And for me personally the idea of the meaning and reasoning behind the project is more important than how the actual project works.

Because I do think that the project itself can be more fun and interactive. I guess because of the kind of project it is. It’s more targeted to an older audience, but that’s not to say kids won’t be able to enjoy this. But I think after a little while it can get quite boring and repetitive.  

SYNERGY - FUTURE HOME

https://vimeo.com/256365619

I’ve seen similar exhibitions to this popping up all over the place and even did something similar to this concept myself last semester for our studio project. I think the way this kind of interactive display is executed can be innovative and really deliver the message in a different unique way if done properly. What this exhibition focuses on

“Come in and discover the exciting energy innovations being developed today, and for the future. Tomorrows closer than you think.”

Honestly there’s really no fault in this display. It’s been executed so well by Sam Price and his team. From the touch displays to the on touch animations that flow really nicely. Although I do wish maybe it was a bit more colorful. A display like this is already amazing but just adding life to it and being able to make it come alive even more would have been great. Or maybe it’s just me coming from a slight visual arts background. Although it is just a straightforward project with not much depth or meaning to it. I still think it can turn into something amazing.

I want to kind of focus on our project while were here because it was literally the same. We focus on the ocean and micro plastic and how this constant cycle of micro plastic and humans are affecting the ocean and our bodies. It could have been a lot better than what we produced and even with our five members something I regret is not I guess making it visually appealing. We spent a lot of time on the production I guess that when we came to how it looked and moved it lacked a lot. I hope for my project this time around it can be just as innovative and appealing.  

[artwista]

KÖRPERWENDE: FROM NAM JUNE PAIK TO HIROSHI ISHIGURO NRW-Forum | Ehrenhof 2 | Düsseldorf, Germany https://www.artwista.com/event/K%C3%B6rperwende:%20from%20Nam%20June%20Paik%20to%20Hiroshi%20Ishiguro/201/overview The preview of the exhibition is from March 15 to March 17, 2019 as part of the META Marathon, a 42-hour digital festival on robotics. Artists: Erika Kiffl, Hiroshi Ishiguro, Ivana Bašić, Martina Menegon, Nam June Paik, Nick Ervinck, Oscar Santillan, Pinar Yoldas The preview of the exhibition is from March 15 to March 17, 2019 as part of the META Marathon, a 42-hour digital festival on robotics. https://www.nrw-forum.de/presse/meta-marathon-2019 The exhibition is curated by Cis Bierinckx and is part of "HI, ROBOT! Das Mensch Maschine Festival", which takes place from March 13 to March 31, 2019 in Düsseldorf. "HI, ROBOT!" is a themed festival about the future of the human body, initiated by the tanzhaus nrw in cooperation with the NRW-Forum Düsseldorf and the Black Box—Kino im Filmmuseum, and funded by the German Federal Cultural Foundation. www.hi-robot.de #splashingwater #water #fluid #publicart #contemporaryart #art #designboom #designporn #archilovers #suckerpunchdaily #nickervinck #nick_ervinck #3dprinter #makerspace #creativethinking #art #bestart #robot #3dprinter #instagramers #instart #artlover #artcollective https://www.instagram.com/p/BvPWM3pgETO/?utm_source=ig_tumblr_share&igshid=1jgypi6uedak0