recentpopularlog in

robertogreco : taleoftales   6

Cathedral-in-the-Clouds
"Cathedral-in-the-Clouds is a digital art project. A cathedral in virtual reality forms the home of an ever expanding collection of virtual dioramas intended for contemplation. Many of these dioramas are inspired by religious imagery but the experience does not require faith. The dioramas are individually distributed, for free, via a variety of media."

[See also: https://www.kickstarter.com/projects/taleoftales/cathedral-in-the-clouds-contemplation-in-the-digit

"Virtual dioramas to contemplate ancient religious themes in real-time 3D, created by avant-garde indie studio Tale of Tales.

We are Auriea Harvey and Michaël Samyn. We’re a wife and husband team working out of Ghent, Belgium. We’ve been making videogames together — as Tale of Tales — for the past 12 years. This new project, however, is a little bit different.

Our vocation has always been the arts. And with Cathedral-in-the-Clouds we want to return to some of our original inspirations for working with interactive media — as expressed, for instance, in the Realtime Art Manifesto.

We think of Cathedral-in-the-Clouds as an ever expanding collection of virtual dioramas depicting scenes created for contemplation. The individual pieces will be available in a variety of digital media (downloads, web, apps, video, etc). Or they can be explored together in virtual reality (VR) in the eponymous cathedral. The subject matter for the dioramas is inspired by the medieval art that we find ourselves surrounded by in our home town of Ghent in Flanders.

Despite of being atheists, we can’t help being intensely moved by some of the religious art made during the Gothic and Renaissance period. These experiences can’t convert us to Christianity but they do make us think about universal themes as kindness, self-sacrifice, patience, empathy, love, and so on. We feel they make us better people. These experiences are intense and often accompanied by tears. And they last! They stay with us, become part of us, tremendously improve our lives on this planet.

We're looking to transfer the intense experiences we sometimes have in museums to cyberspace and the comfort of our living rooms.

We love visiting museums and churches in search of these experiences. But it’s not always convenient to do so. And since there’s all this wonderful technology now, it really shouldn’t be necessary anymore. We should all have works of art in our pockets or on our laptops, for when the mood strikes, or when we need a moment of calm and focus. On top of convenience, computer graphics running in realtime are not confined to 2D static images anymore. Now we can create scenes that are three-dimensional and alive (and still fit in your pocket and can be shared generously)!

Each individual diorama in the virtual cathedral consists of a box that houses a life-size virtually sculpted body. Often the body of a saint, or the Virgin Mary or Jesus Christ himself. The way that they are depicted always refers to some ancient tale. But don’t worry, we’ll make sure to explain the context of each piece, in case you’re not familiar with this particular part of the story.

The dioramas are alive. Air flows, light shifts, insects scurry around, wind affects clothes, chests move when breathing, and so on. Accompanied by subtle, immersive sound effects. In many scenes an event will slowly unfold, from a beginning to an end. This should help you take the time needed for the contemplative effect. These are not casual experiences! They are a form of meditation that require a certain state of mind that may take some effort or concentration to achieve. But it’s so very much worth it! Such experiences can be life enhancers, sensation multipliers. They open our eyes and help us embrace and enjoy existence as it presents itself. ]
taleoftales  art  arthistory  vr  virtualreality  religion 
october 2015 by robertogreco
Sunset: Interview with game developers Tale of Tales - The Skinny
"Such divergent and nuanced subject matter is nothing new for Tale of Tales. The Belgian studio headed up by married couple Auriea Harvey and Michaël Samyn have spent more than a decade making games that deal with ambitious and lesser explored topics, like The Graveyard, their 2008 vignette about old age, or The Path, a psychological horror based on Little Red Riding Hood about female adolescence. These earlier games had an air of confrontation about them, recklessly experimenting with video game form and its tried-and-tested control schemes in way that at times felt even disdainful: there’s something deliciously blasphemous, for instance, about having to let go of the controls in The Path to allow the character to interact with objects in the world, a critique of the incessant subservience of video game characters to their players.

This sort of contrarianism developed out of a desire to reach beyond what they saw as an increasingly homogeneous and stagnant gaming culture at the time. “We had this idea about making games for people who don’t usually play games," she explains. "This was more of our mission statement – something we had in our heads about about the kinds of people we wanted to reach, people who were disenchanted with other games that they found. That made a lot of sense given the atmosphere around gaming at the time.”

Sunset, however, marks a new tact for the team, one which for the first time finds them openly embracing an existing format. “We wanted people who play a lot of first-person games to be extremely comfortable with Sunset," claims Harvey. "We don’t want the discussion to be around our awkward or unique control schemes, so we decided to make that disappear by just being conventional about it.”

Following in the footsteps of Gone Home, Sunset is a typical example of a first-person exploration game, a kind of narrative-driven experience in which details in the environment function as clues with which players can piece together the story for themselves rather than having it dictated to them. Like Gone Home, Sunset takes place entirely within a single domestic space, and it’s by getting to know that space, by noticing what’s changed the next time they visit that players learn about and interact with Ortega. It’s said that a bookcase tells you everything you need to know about its owner and Ortega certainly has plenty of paperbacks lying around, not to mention a bunch of confidential documents and what appears to be a covert stash of illicit art."
sunset  videogames  games  gaming  2015  taleoftales  thepath  control  subservience  gonehome  andrewgordon 
may 2015 by robertogreco
Videogames and the Spirit of Capitalism | Molleindustria
"We are only learning to speak of immeasurable qualities through videogames. It’s a slow and collective process of hacking accounting machines into expressive machines. Computer games need to learn from their non-digital counterparts to be loose interfaces between people. A new game aesthetic has to be explored: one that revels in problem-making over problem-solving, that celebrates paradoxes and ruptures, that doesn’t eschew broken and dysfunctional systems because the broken and dysfunctional systems governing our lives need to be unpacked and not idealized.

Strategies are to be discovered: poetic wrenches have to be thrown in the works; gears and valves have to grow hair, start pulsing and breathing; algorithms must learn to tell stories and scream in pain."

[direct link to video: https://vimeo.com/86738382 ]
videogames  gaming  paolopedercini  molleindustria  games  art  design  capitalism  economics  efficiency  control  rationalization  marxism  bureaucracy  consumption  commerce  standardization  socialnetworks  quantification  sybernetics  gamification  goals  society  taylorism  relationships  pokemon  facebook  farmville  zynga  management  power  labor  addiction  addictiveness  badges  behavior  measurement  commodification  rogercaillois  play  idleness  ludism  leisure  leisurearts  artleisure  maxweber  resistance  consciousness  storytelling  notgames  taleoftales  agency  proteus  richardhofmeier  cartlife  simulation  2014  douglaswilson  spaceteam  henrysmith  cooperativegames  collaborativegames  tamatipico  tuboflex  everydaythesamedream  unmanned  systemsthinking  human  humans  oligarchy  negativeexternalities  gamedesign  poetry  johannsebastianjoust  edg  srg  shrequest1  simulations  pokémon 
february 2014 by robertogreco
The Art History of Games » Games [see also: http://tale-of-tales.com/blog/2010/01/27/vanitas-trailer/]
"A memento mori for your digital hands. To lift you up when you’re feeling down. And drag you down when you’re up too high.
applications  iphone  games  gaming  taleoftales  storytelling  mementomori  ios 
january 2010 by robertogreco
The Path -------- a short horror game by Tale of Tales
"The Path is a short horror game with a unique form of gameplay, designed to immerse you deeply into the dark themes of its story. Every interaction in the game expresses an aspect of the narrative. There is one rule in the game. And it needs to be broken. There is one goal. And when you attain it, you die. The Path features a continuous soundtrack composed by Jarboe and mixed in real time through in-game activity."
games  videogames  taleoftales  littleredridinghood  gaming  indygames  forest  horror  fairytales  storytelling 
august 2008 by robertogreco
Tale of Tales -- 8 --
"“8” is a poetic entertainment title that offers peaceful and playful non-linear interaction with a continuously evolving immersive environment and a mysterious and charming autonomous character."
games  videogames  taleoftales  nonlinear  immersive  non-linear  alinear  linearity 
june 2007 by robertogreco

Copy this bookmark:





to read