art game

Turing‘s assembly line is a cross between a gameart/artgame and an elearning (automatic learning) project. It was simultaneously developed for the amazing plato systems (automatic learning, 1960+) and for the web. It has been created by the Swiss artgroup AND-OR.ch (René Bauer and Beat Suter) in 2020.

As player you are not a user of the universal machine, you are Alan Turing‘s universal machine yourself. Please, sit down and begin to work!

You will receive task after task. You have to decide if you want to execute a task or if you don‘t. Of course you will also encounter some errors among the tasks. No program and no coder is perfect! You may even be confronted with exceptions, forkbombs ... and more.

Will you be fast enough? How many operations are you able to execute per minute? How long can you keep up the assembly line?

Turing created a slave, that works without thinking, without argueing and without any motivational design - the universal machine is just a bookkeeper with pencil and paper. Therefore Turing serialized everything to simple tasks in a line. He mechanized logic thinking to an assembly line job. And today almost everything is based on this universal (bookkeeping) slave from cars and excel sheets to servers, computers, smartphones and AI. But more and more this universal serf or slave is somehow pushing us to the edge and turns us into “fun slaves” of computers and processes.

"Some apps claim to increase your reading speed. We propose precisely the opposite:

How about reading Ulysses... with your fingers?

Through 4 episodes of increasing difficulty, your challenge is to wrestle with the text of James Joyce's monumental work, both mentally and physically.

By the end of your odyssey, you will have read up to four pages and 100 sentences chosen from throughout the novel. Your fingers' dexterity will have increased by an exponential factor, and your point of view on Modernist literature and experimental apps will have changed forever.

Note that He Liked Thick Word Soup differs depending whether played on a phone or a tablet. We recommend experiencing both versions!" 

(Description souce: http://chronotext.com/WordSoup/ 20.08.2019)

Robert Smithson realized one of his first works of Land Art at Kent, Ohio in January 1970. Partially Buried Woodshed was an example of the process he called entropy made visible. At the time, Smithson said he had always wanted to bury a building. For my part, I have always wanted to unearth a Smithson. Smithson never had the time to bury other buildings. He died in a plane crash in 1973. Or did he? What if a 70 year-old man going by the name of Robert Smithson were to show up here in Europe? Is he an impostor? Amnesiac? Suppose that Nancy Holt recognizes him as her husband and the James Cohan Gallery organizes an exhibition of his new work and the Art School at the University of Paris 1 invites him to realize an earthwork on its campus... The centre Saint Charles (University of Paris 1) has a problem with rain water collecting on the roof and infiltrating the lecture hall just below. Inspired by two of Smithson's projects, Partially Buried University involves creating a garden on the roof terrace to absorb the residual water, reduce our carbon footprint and contribute to sustainable development. Since the roof was never intended to support the weight of growing trees and shrubs, it is likely to collapse. The garden can then develop on its own, with weeds springing up throughout the bulding. A 3-D model of the roof was built, simulating weather conditions and plant growth. The visitor stands inside a 3-D VR projection of the building, on the second floor overlooking the roof which has been made into a garden. Using a flystick, she can choose seeds and move through the garden to plant them. After a number of people have sown poplars, cypresses, pines, maples and chestnut trees, the garden grows quickly, the roof just may give way and visitors suddenly find themselves climbing over rubble in the lecture hall below. A prototype was shown at the exhibition La ville, son modéle et les artistes at the Bellevilloise in January 2010 on a computer screen, using a mouse and keyboard.

The third part of Jason Nelson's artgame trilogy.

Video games are a language, a grammar or linguistics of various texts. The sounds, the movement, the graphics, the rules or lack of rules, everything about a video game is a component of language.  A digital poetry game must combine all these elements, strange and interactive stanzas, crossed out and obstructed lines, sounds and texts triggered and lost during the play.  Indeed the game interface becomes a road to inhabiting the digital poem, to coaxing the reader/player into living and creating within the game/poetry space.

Using a top down, platform engine (without gravity) Evidence of Everything Exploding is a game driven digital poem exploring various historical and contemporary texts. Each level’s poetic content is built from the document’s sub-sub texts and curious consequences. With Bill Gates’ letter to the Computer Brew Club about monetizing hobby computing, we find the seeds of an empire, James Joyce is caught in an infinite loop of changing texts, Fidel Castro’s boyhood letter to the US president praising America and asking for money signals an opportunistic future.

 With ten levels, each with video poem prizes, and strange poetic narratives, this game is a sequel to “game, game, game and again game” and “I made this. You play this. We are enemies”.

The objective of I wish I were the Moon is to discover the different endings by taking snapshots and hereby moving objects.