Filmmakers and video artists engaged in the practice of appropriating, repurposing, and remixing video games are encouraged to send us their work for consideration. All submissions will be judged by an international panel of jurors comprising scholars, curators, and critics. A Critics' Award will be awarded to the most groundbreaking work.
EVENT: THE MILAN MACHINIMA FESTIVAL MMXXII IS NOW HAPPENING
The MILAN MACHINIMA FESTIVAL MMXXII returns with a hybrid format —both online and in situ screenings — after a long disruption in the face of an unprecedented global crisis. The festival program is now online: 25 works of machinima and game video created by 21 artists representing 9 countries are featured in two distinct sections — EVERYTHING MUST CHANGE (March 26 2022, IRL) and FOR EVERYTHING TO STAY THE SAME (March 21-27 2022, online) — for a total of 11 programs.
Below is a breakdown of all the features:
EVERYTHING MUST CHANGE (Museum of Interactive Cinema, Milan, March 26 2022): MACHINEMA (MACHINE CINEMA), BRAND NEW YOU ARE RETRO, and MADE IN ITALY
FOR EVERYTHING TO STAY THE SAME (March 21-27 2022, online): THE GOOD, THE BAD, AND THE AI, BAD TALES, SONG TO SONG, GAME VIDEO ESSAY, IDENTITIES/INTIMACIES, HISTORIES/HERSTORIES, NO DRAMA, PLEASE, and GAME OVER PRESENTS: THIS IS NOT A GAME.
This year the curators are unlocking the various features gradually, like levels of a video game. The online section comprises seven back-to-back features and one special screening.
The first two — THE GOOD THE BAD AND THE AI — featuring works by Phil Rice (US) and Beatrice Carpina (IT) — and SONG TO SONG - featuring machinima by Paolo Santagostino (IT) and Lorenzo Antei (IT) are now available.
EVENT: MILAN MACHINIMA FESTIVAL MMXXI (MARCH 15-21 2021, ONLINE)
MILAN MACHINIMA FESTIVAL MMXXI
FROM VIDEO GAMES TO VIDEO ART
March 15-21 2021
Online event
Milan, Italy
An official event of the Milan Digital Week, the MILAN MACHINIMA FESTIVAL showcases audiovisual non-interactive works produced with video games otherwise known as machinima. This year, the retrospective will take place exclusively online due to the ongoing pandemic. The program feature six sections: IN FOCUS, GAME VIDEO ESSAY, GRAND THEFT CINEMA, [CODE] CONFINEMENT, GLITCH 'N SCAPES, and SPECIAL SCREENING. Selected artists include Iono Allen, Adonis Archontides, Nilson Carroll, Nick Crockett, Luca Giacomelli, Gina Hara, Kamilia Kard, Chris Kerich, Felix Klee, Eddie Lohmeyer, Luca Miranda, Alessandra Porcu, Riccardo Retez, Alessandro Tranchini, Lena Windisch, XUE Youge (薛 又 戈), and HU Yu (胡 煜).
The main theme of the MMXXI edition, From Video Games to Video Art, alludes to the variety of artistic manipulations of video games and their evolution into game videos. The authors deconstruct digital environments by subverting and reinterpreting their constitutive codes. From a matrix of postmodern cinematic citations embedded in Grand Theft Auto V to the notion of “limbo” as an existential condition, the selected machinima critically examine the logic, politics, and ideologies of the contemporary moment, triggering unexpected epistemological short circuits.
As in previous years, a Critics’ Choice Award will be awarded to the most significant machinima by an international jury composed of critics, curators, and academics: Valentino Catricalà (Artistic Director of the Media Art Festival in Rome), Marco De Mutiis (Digital curator of the Fotomuseum Winterthur), Stefano Locati (member of the Scientific Committee of the Ca 'Foscari Short Film Festival of Venice and Co-director of the Asian Film Festival of Bologna), Henry Lowood (Curator for the Germanic Collections and the History of Science and Technology Collections at Stanford University), and Jenna NG (Professor of Film and Interactive Media at the University of York).
Curated by Matteo Bittanti with Gemma Fantacci, Luca Miranda, and Riccardo Retez, the MILAN MACHINIMA FESTIVAL 2021 is an official event of Milano Digital Week organized in collaboration with GAMESCENES. Art in the age of video games and the M.A. in Game Design at IULM University. A follow-up to the 2016 exhibition GAME VIDEO/ART. A SURVEY, the MILAN MACHINIMA FESTIVAL brings to Milan idiosyncratic video works that lie at the intersection of video art, cinema, streaming, and digital games.
All the works will be accessible for free on festival website from 15 to 21 March 2021.
LINK: MILAN MACHINIMA FESTIVAL
BOOK: MACHINIMA VERNACOLARE
We’re happy to announce the release of volume one in the new series GAME VIDEO/ART. STUDIES edited by Matteo Bittanti: Machinima vernacolare by Riccardo Retez.
Available both on Amazon and Blurb in Italian, Machinima vernacolare examines the relationship between cinema, television, and video games, focusing on fandom productions that made machinima into a recognizable expression of popular culture and one of the most popular examples of user generated content.
Retez focuses on Grand Theft Auto V’s Rockstar Editor, a popular video editing tool used to created countless machinima. The author describes the production, consumption and distribution practices within an increasingly complex media environments. The analysis, which is accompanied by six case studies, demonstrates that far from being passive users, video game players can become guerrilla video makers.
Born and raised in Florence, Riccardo Retez received a Master's Degree in Television, Cinema and New Media from the IULM University of Milan in 2019 and a Degree in Graphic Design and Multimedia from the Free Academy of Fine Arts in Florence in 2017, where he studied the relationship between technology-based art practices culture and the humanities. Passionate about cinema, video games and visual culture, in the past five years Riccardo produced, edited, and directed several short films and video clips. Machinima vernacolare is his first book.
GAME VIDEO/ART. STUDIES examines the complex interaction between digital gaming and the visual arts through academic contributions situated at the intersection of different disciplinary areas – game studies, art criticism, visual studies, media studies and cultural studies – and gives voice to a new generation of researchers as well as established scholars. Both a critical and creative laboratory, GAME VIDEO/ART. STUDIES promotes open dialogue, constructive debate, and sometimes idiosyncratic investigations of ideas, practices, and artefacts that – by their very nature – occupy different layers of today’s visual culture. Using a comparative rather than specialized approach, GAME VIDEO/ART. STUDIES probes the most diverse visual experiences inspired by digital gaming.
To learn more about Machinima vernacolare, please visit this page, which includes a video walkthrough (in Italian).
To learn more about GAME VIDEO/ART STUDIES, please click here.
Siamo felici di annunciare la pubblicazione del primo volume della nuova collana GAME VIDEO/ART. STUDIES diretta da Matteo Bittanti: Machinima vernacolare di Riccardo Retez.
Disponibile su Amazon e Blurb in lingua italiana, Machinima vernacolare esamina il rapporto tra cinema, televisione e videogiochi e le dinamiche del fandom videoludico che ha elevato il machinima a una marca di riconoscimento delle produzioni user generated.
Retez esamina il Rockstar Editor, il software di montaggio video integrato a Grand Theft Auto V (2013),. L’autore descrive le dinamiche di produzione, consumo e distribuzione del machinima all’interno di un ecosistema mediale sempre più complesso. L’analisi, impreziosita da sei studi di caso, attesta che gli utenti di videogiochi non sono consumatori passivi di testi audiovisivi, bensì soggetti attivi in grado di comprendere e manipolare i significati variabili codificati in tali testi, proponendo sofisticati remake.
Nato e cresciuto a Firenze, Riccardo Retez ha conseguito una Laurea Magistrale in Televisione, cinema e nuovi media presso l’Università IULM di Milano nel 2019 e una Laurea in Graphic Design e Multimedia presso la Libera Accademia di Belle Arti di Firenze nel 2017, dove ha studiato la relazione tra la cultura tecnico-artistica e tradizione umanistica. Appassionato di cinema, videogiochi e culture visive, Riccardo ha realizzato numerosi cortometraggi e videoclip. Machinima vernacolare è il suo primo libro.
Laboratorio critico e creativo, la collana GAME VIDEO/ART. STUDIES promuove un dialogo aperto, un confronto costruttivo e una disamina non necessariamente ortodossa di temi, pratiche e fenomeni che, per loro natura, s’intersecano con differenti livelli della cultura visiva. Privilegiando un approccio comparativo anziché specialistico, GAME VIDEO/ART. STUDIES scandaglia le più diverse esperienze mediali ispirate dal e al videogioco per dare voce a una nuova generazione di ricercatori così come a studiosi consolidati.
Per ulteriori informazioni su Machinima vernacolare, visitate la pagina del libro, che contiene contenuti extra, tra cui una video presentazione dell’autore.
Per ulteriori informazioni su GAME VIDEO/ART STUDIES, cliccate qui.
CALL FOR ENTRIES: MACHINIMA FILM FESTIVAL 2021
The fourth edition of the MACHINIMA FILM FESTIVAL will once again take place at IULM University (Milan, Italy) during the Milano Digital Week, which celebrates the driving forces that are reshaping art, culture, and technology of Italy’s main engine.
Filmmakers and video artists engaged in the practice of hijacking, repurposing, and remixing video games are encouraged to submit their work for consideration. All submissions will be evaluated by an international panel of jurors comprising scholars, curators, and critics. A Critics' Award will be awarded to the most groundbreaking work.
Screenings of selected machinima will be curated around different themes and presented across different sections. The most interesting submissions are those which seek to capture or highlight a specific facet of contemporary life, from politics to art, from violence to creativity, from technology to ideology, through the aesthetic lenses of digital gaming.
The deadline for submissions is December 15, 2020.
The full program will be announced in February 2021.
The MMF is organized in collaboration with GAMESCENES. Art in the age of video games.
Please carefully read our simple submission guidelines and requirements below before sending your work.
INTERNATIONAL OPEN CALL FOR NEW MEDIA ARTWORKS
GUIDELINES:
INTERNATIONAL OPEN CALL FOR NEW MEDIA ARTWORKS GUIDELINES:
The Milan Machinima Festival defines machinima as any digital video made using video game technology (game engines, game tools, assets such as characters, items, environments etc.).
A preference is given to machinima created with/in video games rather than virtual worlds such as Second Life.
Submissions must be 10 minutes or less in length.
The minimum duration is 2 minutes.
Submissions must have been produced between January 1, 2020 and December 15, 2020.
Multiple versions of the same machinima will not be considered.
Acceptable submission formats: digital video files only.
Acceptable exhibition formats: mp4, avi, mpg, Quicktime file (ProRes 422).
Each submission requires a one-time, nominal submission fee of 15 euros. Submissions that have not been accepted will not be refunded.
The applicant holds the sole responsibility of copyright clearance of any copyrighted material in the machinima.
Each submission must include an accompanying artist statement/description no longer than 500 words in English.
The MMF is under no obligation to provide comments regarding submitted machinima to any applicant.
All applicants must complete the official festival submission form located on FilmFreeway.
Submission deadline: December 15, 2020
NEWS: WELCOME TO THE 2020 EDITION OF THE MILAN MACHINIMA FESTIVAL
THE 2020 EDITION OF THE MILAN MACHINIMA FESTIVAL IS NOW AVAILABLE ONLINE!
From May 25th until the 30th 2020, the work of 25 different artists from 13 nations are exhibited online in 6 different programs. Click here to see the full lineup. Most of these works have never been presented in Italy before.
An official event of Milano Digital Week, the MILAN MACHINIMA FESTIVAL is organized in collaboration with GAMESCENES. Art in the age of video games and the M.A. in Game Design at IULM University. A follow-up to the 2016 exhibition GAME VIDEO/ART. A SURVEY, the festival brings to Milan idiosyncratic video works that lie at the intersection of video art, cinema, and digital games.
The 2020 MILAN MACHINIMA FESTIVAL is presented by FANTAGEMMA, Gemma Fantacci’s alter ego.
Start watching now!
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EVENT: MILAN MACHINIMA FESTIVAL 2020 GOES FULLY DIGITAL
We are happy to announce that the 2020 edition of the MILAN MACHINIMA FESTIVAL - which was postponed due to the ongoing COVID-19 pandemic - will indeed take place. And sooner than later.
From Monday 25 till Saturday May 30 2020, the entire program will be fully available on the Festival website. This year, the work of 25 artists from 13 countries will be presented in 6 sections: GAME VIDEO ESSAY A, GAME VIDEO ESSAY B, THE WEIRD, THE EERIE, AND THE UNREAL plus three special programs (IN FOCUS).
The MILAN MACHINIMA FESTIVAL is part of the revamped Milano Digital Week 2020.
Click here to read the full program
SIAMO FELICI DI ANNUNCIARE CHE L’EDIZIONE 2020 DEL MILAN MACHINIMA FESTIVAL PRECEDENTEMENTE POSTICIPATA PER VIA DELLA PERDURANTE PANDEMIA COVID-19, SI SVOLGERÀ ANCHE QUEST’ANNO.
Da lunedì 25 a sabato 30 maggio, l’intero programma sarà infatti interamente disponibile sul sito del festival. Il programma dell’edizione 2020 include opere realizzate da 25 artisti provenienti da 13 nazioni suddivise in 6 sezioni: GAME VIDEO ESSAY A, GAME VIDEO ESSAY B, THE WEIRD, THE EERIE, AND THE UNREAL e tre approfondimenti (IN FOCUS).
Il MILAN MACHINIMA FESTIVAL è un evento ufficiale della Milano Digital Week.
Clicca qui per leggere il programma completo.
NEWS: INTRODUCING VRAL
We are happy to announce VRAL, a uniquely curated game video experience, available for free on the MILAN MACHINIMA FESTIVAL website offering screenings of machinima created by artists and filmmakers whose work lies at the intersection of video art, cinema, gaming, and other visual practices.
The program features exceptional machinima selected based on their cultural relevance, artistic achievement, and innovative style. Often presented only in the context of festivals, exhibitions, and surveys, these works best represent the variety, ingenuity, and creativity of game-based video practices. A space providing access to diverse and innovative voices, VRAL is an online-only supplement to the MILAN MACHINIMA FESTIVAL. Throughout the year, VRAL celebrates a new generation of digital filmmakers and artists engaging with video game-based technologies, aesthetics, and practices.
The project comprises exclusive interviews, image galleries, and an archive.
VRAL begins April 25 2020 with the world premiere of Rapid Transit: Preface by Victor Morales.
LINK: VRAL
CFP: MACHINIMA, THE STATE OF THE ART
The 2020 edition of the MILAN MACHINIMA FESTIVAL will be followed by the release of a printed bilingual (English and Italian) publication later this year featuring critical contributions on machinima. The book/catalog will be edited by Matteo Bittanti and Gemma Fantacci.
Scholars, critics, artists, and curators are invited to submit an extended abstract (between 500-1000 words excluding references) or full papers to matteo.bittanti@iulm.it either in English or Italian.
Timeline:
April 15, 2020 Abstract submission deadline (full papers are also accepted);
May 15, 2020: Notification of acceptance/rejection sent to authors;
July 1, 2020: Full paper submission deadline;
Sept 1, 2020: Review deadline;
Oct 1, 2020: Deadline for edited papers.
Possible topics include:
Vernacular machinima vs. avantgarde machinima
Exhibition & screening of machinima
Art historical perspectives on machinima
Recording and sharing of in-game performances
The evolution of in-game video editors
Critical analysis of an artist's oeuvre/work
The changing audiences of machinima
Machinima as mash up/remix culture
Inquiries may be directed to matteo.bittanti@iulm.it
EVENT: MILAN MACHINIMA FESTIVAL 2020 (MARCH 09-13 2020, MILAN, ITALY)
We are delighted to announce the full program of the 2020 MILAN MACHINIMA FESTIVAL.
The event takes place between March 09-13 2020 at IULM University in two separate locations: the Contemporary Exhibition Hall and the Sala dei 146, both located in the IULM Open Space building. Both venues are open to the public, but we kindly encourage attendees to register for the screening on Friday March 13 2020 in the Sala dei 146 as seats are limited.
Please note that each day features a different program. The festival is bookended by two sections titled GAME VIDEO ESSAY A (March 09 2020) and B (March 13 2020), after a successful run in the 2019 event of the4 same title. From Tuesday until Thursday we will present an indepth look at four artists whose daring, groundbreaking, unclassifiable work has redefined the aesthetics of machinima: Larry Achiampong, David Blandy, Jacky Connolly, and Oscar Wagenmans in the context of the Contemporary Exhibition Hall.
The festival concludes on Friday March 13 with The Weird, The Eerie, and The Unreal, which includes a selection of the most impressive works submitted this year and evaluated by our international jurors. During the screening, we will announce the 2020 Critics’ Award.
SCHEDULE
Monday March 09 2020
GAME VIDEO ESSAY A
Contemporary Exhibition Hall (IULM OPEN SPACE)
09:00 - 19:00 Free Entry
Tuesday March 10 2020
FOCUS: SAVEME OH
Contemporary Exhibition Hall (IULM OPEN SPACE)
09:00 - 19:00 Free Entry
Wednesday March 11 2020
FOCUS: JACKY CONNOLLY
Contemporary Exhibition Hall (IULM OPEN SPACE)
09:00 - 19:00 Free Entry
Thursday March 12 2020
FOCUS: LARRY ACHIAMPONG & DAVID BLANDY
Contemporary Exhibition Hall (IULM OPEN SPACE)
09:00 - 19:00 Free Entry
Friday March 13 2020
GAME VIDEO ESSAY B
Sala dei 146 (IULM OPEN SPACE)
09:00 - 19:00 Free Entry
Friday March 13 2020
THE WEIRD, THE EERIE, THE UNREAL
Sala dei 146 (IULM OPEN SPACE)
18:00 - 20:00 Please RSVP
Click here to read the full program
Siamo lieti di annunciare il programma completo del MILAN MACHINIMA FESTIVAL 2020.
L'evento si svolge dal 09 al 13 marzo 2020 presso l'Università IULM in due sedi separate: la Contemporary Exhibition Hall e la Sala dei 146, entrambe situate nell'edificio IULM Open Space. Le sedi sono aperte al pubblico, ma invitiamo i visitatori a registrarsi per la proiezione di venerdì 13 marzo 2020 nella Sala dei 146, poiché i posti sono limitati. Si prega di notare che ogni giorno è previsto un programma diverso. Il festival è incorniciato da GAME VIDEO ESSAY A (09 marzo 2020) e B (13 marzo 2020), dopo il successo dell'esperienza nel 2019.
Da martedì a giovedì presenteremo uno sguardo approfondito su quattro artisti il cui lavoro innovativo ha ridefinito l'estetica del machinima: Larry Achiampong, David Blandy, Jacky Connolly e Oscar Wagenmans nel contesto della Contemporary Exhibition Hall.
Il festival si conclude venerdì 13 marzo con The Weird, The Eerie e The Unreal, che comprende una selezione delle opere più significative presentate quest'anno e valutate dai nostri giurati internazionali. Durante la proiezione, verrà annunciato il Premio della Critica 2020.
CALENDARIO
Lunedì 09 marzo 2020
GAME VIDEO ESSAY A
Contemporary Exhibition Hall (IULM OPEN SPACE)
09:00 - 19:00 Ingresso gratuito
Martedì 10 marzo 2020
FOCUS: SAVEME OH
Contemporary Exhibition Hall (IULM OPEN SPACE)
09:00 - 19:00 Ingresso gratuito
Mercoledì 11 marzo 2020
FOCUS: JACKY CONNOLLY
Contemporary Exhibition Hall (IULM OPEN SPACE)
09:00 - 19:00 Ingresso gratuito
Giovedì 11 marzo 2020
FOCUS: LARRY ACHIAMPONG & DAVID BLANDY
Contemporary Exhibition Hall (IULM OPEN SPACE)
09:00 - 19:00 Ingresso gratuito
Venerdì 13 marzo 2020
GAME VIDEO ESSAY B
Sala dei 146 (IULM OPEN SPACE)
09:00 - 19:00 Ingresso gratuito
Venerdì 13 marzo 2020
THE WEIRD, THE EERIE, THE UNREAL
Sala dei 146 (IULM OPEN SPACE)
18:00 - 20:00 Registrazione richiesta
Cliccate qui per leggere il programma completo
BOOK: TRAVELOGUE CATALOG NOW AVAILABLE!
TRAVELOGUE is now available from Concrete Press.
This book is an extended catalogue of the exhibition TRAVELOGUE (Mantua, September 7- 11 2016) featuring artworks by Max Almy and Teri Yarbrow, Hugo Arcier, Dave Ball, William Beaudine, Bob-Bicknell Knight, COLL.EO, Clint Enns, Matthew Hillock, JODI, Kristin Lucas, Victor Morales, Leonardo Sang, Palle Torsson. Available in bilingual edition (English and Italian) TRAVELOGUE is the follow-up to MACHINIMA. 32 conversazioni sull'arte del videogioco, which was released in 2017.
You can purchase a copy of TRAVELOGUE on Blurb orAmazon US.
It will soon be available on Amazon Italy.
MEDIA: SIGHT & SOUND ON THE ART OF MACHINIMA
"Machinima – a portmanteau of machine and cinema – the process of using real-time computer graphics engines to create a cinematic production [...] has existed for as long as in-game recording has been possible." Matt Turner aka Lost Futures provides a historical and critical overview of machinima, a digital form of filmmaking that lies at the intersection of experimental cinema and video art that began with Miltos Manetas’ Miracle, for Sight & Sound magazine. A must read.
EVENT: MILAN MACHINIMA FESTIVAL (MARCH 15 2019, MILAN, ITALY)
The MACHINIMA FILM FESTIVAL returns to Milan on March 15 2019 during the Milano Digital Week.
This event showcases artistic excellence in contemporary digital image culture and experimental new media art through several on-screen works. The MILAN MACHINIMA FESTIVAL is the only event in Italy solely dedicated to machinima, a genre of digital video art created by appropriating and manipulating video games that emerged in the mid-1990s.
The theme of the 2019 program is the UNCANNY, the perceptual phenomenon caused by experiences that are at once familiar and alien. Haunting hallucinations pervade an eclectic program in which glitches, shocks, and disturbing repetitions become a metaphor for societal chaos in the age of algorithms, surveillance capitalism, and artificial intelligence. These disquieting narratives question the relationship between authenticity and performance, identity and self preservation in everyday (digital) life. Two longer documentary works examine the unexpected side (effects) of virtual gaming and the current fascination with technology’s dystopian impact on public and private life.
The 2019 lineup includes an impressive roster of short films and longer works by national and international artists and filmmakers such as Lisa Carletta (Paradise Found), COLL.EO (Reasonable), Joseph DeLappe (Elegy), Kara Gut (Resonant Flash, Ismaël Joffroy Chandoutis (Swatted), Chris Keric (Dynamic Kinetic Sculptures), Luigi Marrone (Avatar_Ascension), Luca Miranda (Alma), Leonhard Müellner (Operation Jane Walk), Bram Ruiter (Perpetual Spawning), Brenton Smith (Crashforms Studies), Petra Szeman (How to Enter a Fictional Realms), Twee Whistler (Edgy Time with Mom), and Brent Watanabe (Possessions). The vast majority of these artworks have never been shown in Italy before.
An international panel of critics, curators, and academics contributed to the selection and evaluation process, including Valentino Catricalà (Artistic Director of the Media Art Festival in Rome), Marco De Mutiis (Digital curator at Fotomuseum Winterthur), Stefano Locati (member of the Scientific Committee of the Ca’ Foscari Short Film Festival in Venice and Director of the Asian Film Festival in Bologna), Henry Lowood (Curator for the Germanic Collections and the History of Science and Technology Collections at Stanford University), and Jenna NG (Professor of Cinema and Interactive Media at the University of York).
Among the festival’s highlights is Jenna NG’s keynote talk on March 13 2019 as part of the ongoing GAME TALKS series at IULM. Titled MACHINIMA AND THE ALLURE OF EPHEMERALITY: GAMEPLAY, LIVE STREAMS, AND DIGITAL CULTURE, the talk will address the explosion of interest in the live streaming of gameplay as illustrated by the popularity of Twitch, whose latest number of daily active users has reached 15 million, as well as other major platforms such as YouTube Gaming, Mixer, and Facebook Live. Specifically, the talk will link the current phenomenon of video game live streams with machinima and its origins in game demos and captured video game play, arguing not only for live streams to be the next logical evolution for machinima, but also for a critical theorisation of screen media that pursues a realist trajectory, one which potentially works its way from neorealist cinema to machine vision.
Sponsored by the City of Milan, Department of Digital Transformation and Public Services, the Milano Digital Week celebrates the driving forces that are reshaping work, leisure, and learning. By highlighting the interplay behind production and consumption made possible by digital technology, MDW connects citizens, companies, institutions, universities, and research centers.
The MILAN MACHINIMA FESTIVAL was curated by Matteo Bittanti (Artistic Director), presented by Gemma Fantacci (Communication Manager), and organized by the Master of Arts in Game Design at IULM University. Screenings take place in Sala dei 146 located in the IULM Open Space. Admission is free upon registration.
Il MACHINIMA FILM FESTIVAL torna a Milano il 15 marzo 2019 nell'ambito della Milano Digital Week 2019.
La rassegna presenta lo stato dell’arte della cultura visiva digitale contemporanea e la new media art sperimentale. Il MILAN MACHINIMA FESTIVAL è l’unico evento italiano interamente dedicato al machinima, un genere di video arte prodotta attraverso l’appropriazione e manipolazione dei videogiochi che si è affermata a partire dalla seconda metà degli anni Novanta.
Il tema dell’edizione 2019 è UNCANNY, il fenomeno percettivo che contraddistingue esperienze insieme familiari e anomale, declinato all’interno di un programma eclettico in cui glitch, shock e inquietanti ripetizioni alludono al crescente senso di smarrimento sociale nell’era degli algoritmi, dei Big Data e dell’intelligenza artificiale. In queste opere, lo spazio ludico genera narrazioni alternative, sollecitando una riflessione sul rapporto tra autenticità e performance, identità e preservazione del sé. Due mediometraggi esaminano gli effetti collaterali del videogioco e la fascinazione contemporanea per la dimensione distopica della tecnologia.
Il programma dell’edizione 2019 include una selezione di cortometraggi e mediometraggi realizzati da artisti nazionali e internazionali come Lisa Carletta (Paradise Found), COLL.EO Reasonable), Joseph DeLappe (Elegy), Kara Gut (Resonant Flash, Ismaël Joffroy Chandoutis (Swatted), Chris Keric (Dynamic Kinetic Sculptures), Luigi Marrone (Avatar_Ascension), Luca Miranda (Alma), Leonhard Müellner (Operation Jane Walk), Bram Ruiter (Perpetual Spawning), Brenton Smith (Crashforms Studies), Petra Szeman (How to Enter a Fictional Realms), Twee Whistler (Edgy Time with Mom), e Brent Watanabe (Possessions). La maggior parte di questi audiovisivi sono inediti in Italia.
Al processo di selezione ha contribuito una giuria internazionale composta da critici, curatori e accademici: Valentino Catricalà (Direttore artistico del Media Art Festival di Roma), Marco De Mutiis (Digital curator del Fotomuseum Winterthur), Stefano Locati (membro del Comitato scientifico del Ca’ Foscari Short Film Festival di Venezia e Co-direttore dell’Asian Film Festival di Bologna), Henry Lowood (Curatore per la Germanic Collections e l’History of Science and Technology Collections all’Università di Stanford) e Jenna NG (Professore di cinema e media interattivi all'Università di York).
Tra gli eventi correlati spicca il keynote di Jenna NG nell’ambito dei GAME TALKS all’Università IULM che si terrà il 13 marzo 2019. Intitolato IL MACHINIMA E IL FASCINO DELL'EFFIMERO: GAMEPLAY, LIVE STREAMS E CULTURA DIGITALE, l’intervento esamina l’esplosione di interesse per il live streaming videoludico come attestato dalla popolarità di Twitch, il cui numero di utenti attivi su base quotidiana ha ormai superato i quindici milioni e a cui si aggiungono piattaforme come YouTube Gaming, Mixer e Facebook Live. Secondo NG, il fenomeno dei live stream dei videogiochi è legato a doppio filo al machinima e alle origini della cultura demo e dei replay. Per questo motivo, la ricercatrice definisce il live stream l’evoluzione diretta del machinima. NG propone inoltre un inquadramento teorico dei media a schermo che persegue l’imperativo estetico del realismo illuminando le relazioni tra il cinema neorealista e la machine vision.
Promossa dal Comune di Milano, Assessorato alla Trasformazione Digitale e Servizi Pubblici, la Milano Digital Week propone le più interessanti iniziative che stanno trasformando il lavoro, il tempo libero, la formazione e le dinamiche della progettazione e della produzione attraverso le tecnologie digitali. Un’opportunità di riflessione e confronto per cittadini, aziende, istituzioni, università e centri di ricerca.
Curato da Matteo Bittanti (Direttore artistico) e presentato da Gemma Fantacci (Direttore della Comunicazione), il MILAN MACHINIMA FESTIVAL 2019 è stato organizzato dal Master of Arts in Game Design dell’Università IULM. Le proiezioni si svolgono nella Sala dei 146 dello IULM Open Space. L’ingresso è gratuito previa registrazione.
EVENT: MILAN MACHINIMA FESTIVAL (MARCH 16 2018)
MILAN MACHINIMA FESTIVAL
The aesthetics and politics of video game cinema: IULM University hosts the first edition of the MILAN MACHINIMA FESTIVAL.
MILAN - On Friday March 16, 2018 from 6.00 p.m. in the Sala dei 146 (IULM OPEN SPACE) IULM University will host the first edition of the MILAN MACHINIMA FESTIVAL, an official event of the Milano Digital Week 2018.
A follow-up to the 2016 exhibition GAME VIDEO/ART. A SURVEY organized by IULM University, this retrospective features a selection of machinima produced by international artists. Situated at the intersection between video games, experimental cinema and video art, machinima is an audiovisual genre that defies easy categorizations. Artists appropriate and modify pre-existing video games to create visually idiosyncratic experiences.
The first edition of the MILAN MACHINIMA FESTIVAL features Tayla Blewitt-Gray (Australia), Alan Butler (Ireland), Jacky Connolly (United States), Thomas Hawranke (Germany), Jonathan Vinel (France), and Eduardo Tassi (Italy) among others. A surprise screening will be announced the day of the festival. By hijacking Grand Theft Auto, The Sims, and other titles, these filmmakers created digital shorts focusing on such themes as sexuality, politics, alienation, creativity, and violence.
Curated by Matteo Bittanti, the MILAN MACHINIMA FESTIVAL is presented by Laura Carrera and Gemma Fantacci, students of the Master of Arts in Game Design of IULM.
Sponsored by the City of Milan, Department of Digital Transformation and Public Services, the Milan Digital Week (March 15-18, 2018) celebrates the driving forces that are reshaping work, leisure, and learning. By highlighting the interplay behind production and consumption made possible by digital technology, MDW aims at connecting citizens, companies, institutions, universities, and research centers.
MILAN MACHINIMA FESTIVAL
March 16th 2018
From 6.00 p.m. to 7.30 p.m.
IULM Open Space (IULM 6)
Via Carlo Bo 7
20143, Milano
Free and open to the public, upon registration
milanmachinimafestival.org
HUGO ARCIER: "WE ARE LIVING IN A SIMULATION"
In this interview, French artist Hugo Arcier extols the joys of virtual hiking, explains why game playing is usually a “passive” activity, and what it really means to be stuck in limbo.
Hugo Arcier is a French digital artist - or, rather, “an artist in a digital world” - who uses 3D computer graphics to create videos, prints, and sculptures. Initially interested in the field of special effects for feature films, he worked on several projects with Roman Polanski, Alain Resnais, and Jean-Pierre Jeunet. This practice has allowed him to gain a deep understanding of digital tools, in particular 3D graphic images. His artistic works have been exhibited at international festivals (Elektra, Videoformes, Némo), galleries (Magda Danysz, Plateforme Paris, etc.), art venues (New Museum, New Media Art Center of Sichuan Fine Arts Institute, Le Cube, Okayama Art Center, Palais de Tokyo, etc.), and several contemporary art fairs (Slick, Variation).
Arcier's LIMBUS (GTAV) (2015) is featured in TRAVELOGUE.
Matteo Bittanti: One question I ask all the artists involved in TRAVELOGUE is to describe their personal relationship to simulated and real driving, that is, to video games and cars (= “concrete”, metal-and-plastic automobiles). According to Marshall McLuhan and Charissa Terranova, as a bodily extension or prosthetic, every technology - including cars and digital games - simultaneously augments” and "amputates" human beings. How do you address this tension in your work?
Hugo Arcier: In regard to my personal relationship to video games, I have to confess I consider myself a hardcore gamer. In fact, I play games nearly every day. My passion for gaming goes back to the 1980s. I discovered video games on my cousin’s Amstrad CPC. It was a true revelation. I started with adventure games, then moved onto beat’em ups and platforms. I begged my parents to purchase me this machine, but when we went to the store, the seller was adamant about PCs. This new platform was relatively new at the time and more powerful. So we bought a personal computer, but I was disappointed because the graphics were not as good as on the Amstrad. But things changed, as you know. Home computers eventually disappeared, while PCs became the ideal gaming platform. I have been a PC gamer since then. What fascinates me most about games is their environments. Games are a spatial medium: this is why I am particularly attracted to open worlds: there is nothing I like more than exploring digital places. I am also attracted to first-person shooters. I consider myself a virtual hiker. To me, playing a games means to explore, to take photographs - screenshots - and to scrutinize everything that I encounter. When I play, I eventually abandon the main, imposed narrative to go off on a tangent. I do not own a car since I live in Paris. Paris does not like cars at all: the traffic is insane and parking is nearly impossible. I use my bike and public transportation to go pretty much everywhere. And let’s face it: combustion cars are a relic of the past. They are noisy and cause massive air pollution. Their main byproduct is smog, which in turn causes lung cancer and other health related issues. All that cars produce is detrimental to human beings. Recently I saw a short documentary from the INA archive that discusses an electric car invented by a French engineer called the electric egg. It was available in 1942. I found this document utterly fascinating: it somebody were to launch such a model today, it would be as futuristic and modern as it was back then. I cannot understand how and why combustion cars have lasted so long. It is as if we were still using the Amstrad today: a complete anachronism.
My approach to virtual cars in gaming and 3D animation is very different. These cars exist in a space where they cause no health issues to humans. I love simulated driving: it is a form of pure escapism, devoid of any “real” consequence. I do not fetishize cars per se. When I play a game I am more attracted to arcade driving styles, which emphasize spectacle over verisimilitude. There is something truly hypnotic in virtual driving. Technology has positive and negative consequences, but - all things considered - I disagree with McLuhan that it “amputates” human beings. Technology has mostly positive side effects. It does expand human capabilities considerably. I do not have any faith in organized religions. I am extremely skeptical on anything that evokes the notion of the supernatural. At the same time, I am fascinated by the idea of a technologically enhanced life. Concepts like transhumanism have a certain appeal to me. I admit that my optimism is a weakness of mine. I do recognize that technology is akin to a secular religion. What truly concerns me, in the long term, is that technology can make human beings lazy, complacent, and thus less intelligent. Their technological aids can become like crutches. We increasingly use highly sophisticated devices and we have no idea how they are produced. Artists are a particular kind of user: they want to know how things are done. Artists must show what lies underneath the surface of particular technology. This is why I developed projects like the Limbus series: to show games from an unusual perspective, to disintegrate the alleged realism of virtual worlds. My recent installation, Ghost City, is about the fact that virtual worlds are shallow universes, literally, like empty shells.
Matteo Bittanti: In the TRAVELOGUE exhibition, we showed LIMBUS (GTA V) (2015), the follow up to LIMBUS (RAGE) (2011). These two works exemplify the difference between "found" and "enacted" glitches. What does the glitch represent to you? A fragment of the technological unconscious, a symptom of the true nature of simulation, a purely aesthetic style or something else altogether? And what is the "limbo of the game" you mention?
Hugo Arcier: Video game glitches are very important because they grant the user access to something that is usually inaccessible, something users are generally not allowed to see. Thus, glitches produce a powerful distancing effect: the player is abruptly reminded that each simulation is an artifice, a conceit, and a deception. Although gamers are usually considered “active” in their interaction, they are mostly passive. The glitch awakens the player from her torpor: suddenly the player realizes that the ultra-realistic world she is immersed is a “just a game”. This distancing effect - almost like an epiphany - is relatively uncommon in other media. In movies, this effect can be encountered only in auteur (think Jean-Luc Godard) or amateurish productions (Z-movies and the likes), but in video games, this phenomenon happens even in triple AAA productions, the equivalent of a highly polished Hollywood blockbuster. To create the Limbus series, I specifically looked for a point of view outside the level of the game. I took advantage of a technical optimization technique of video game production: every polygon is single sided, so if you see something from the wrong angle it becomes transparent. This conundrum leads to something visually fascinating. If you can see the level from below, the ground completely disappears, but the characters and props behave as if nothing happened. I have discovered this glitch completely by chance and I captured it to create the first Limbus, in 2011. The process entailed a documentation of the glitch encountered in the video game Rage via screen capture. I felt I had to save something that a subsequent patch might have erased forever. To create the second Limbus in Grand Theft Auto V, I intentionally used a cheat mode: I made myself invincible and I teleported myself to a specific area of the game. But the process was not necessarily easy. The cheat mode did not always worked well and the “perfect spot” was hard to find. In regard to your question about the “limbo” dimension of a game, to me it’s basically a place outside the game itself. But limbo has religious connotations as well. It is a synonym of purgatory: a place where the soul is temporarily “parked” after someone’s death. It’s an in-between area, a liminal space. The video game equivalent to me is when you reach a point where you cannot proceed in the story as if you were dead: you can only wander around and look in a sort of out-of-body experience. In short, to be stuck in limbo means to be waiting for something to happen in a grey zone, not hell, not paradise. Something else altogether.
Matteo Bittanti: The notion of simulation occupies a central position within your practice. Your work brings to the surface the ideologies of digital technologies that we usually take for granted, from first-person shooters to action games, from computer animation to machine learning. How do you approach these issues as an artist, that is, as opposed to a scholar who is interested in using words and concepts to illuminate a process or a documentary filmmaker whose main goal is to document a situation via an edited audiovisual recording? How do you grasp and communicate the essence of computer graphics and algorithmic worlds through your artistic practice?
Hugo Arcier: An artist focuses on the same subjects that may fascinate a scholar or a filmmaker, but with a less theoretically-oriented approach. Art is not about explaining something. Art is about addressing the sensible. Here, the emotional and the experiential always come first. They may lead to reflection - which in turn leads to enlightenment - but only at a later stage. My artistic practice focuses mainly on computer graphics. As you know, the video game is just one of the many artifacts using computer graphics. I try to capture its essence by applying different strategies. First of all, I operate through a process of dissection: I remove layers of data until I can show one single, bare element in each series. In a sense, my modus operandi is similar to an autopsy: this is how one learns about anatomy. You start from a very complex, opaque, difficult to understand whole - a body - and then you start to take it apart, cutting smaller sections. Secondly, my goal is to make computer graphics and algorithms visible, legible, and recognizable. In fact, these elements tend to be generally invisible, under-the-hood so to speak. Even in my more realistic projects like the film Nostalgia for Nature, the simulation is rendered visible. This was meant as a meta-discourse on computer graphics, in a self-reflexive manner, a film-within-a-film.
Matteo Bittanti: Terms that "ghosts", "nostalgia", and "disappearance" recur in your works. Does simulation replace reality, as Jean Baudrillard and Paul Virilio argued? Or is simulation just another layer, another mode of being? And why is it so important for you to document this phenomenon through your artistic work?
Hugo Arcier: These notions - disappearance, substitution and more - are absolutely central in my work. I don’t know exactly what qualifies as “reality” any longer and probably I don’t care because what is important is what you experience, what you see, what you hear, and - at a deeper level - the information stored in your brain. From this vantage point, we can say that simulation replaces reality. Simulation has already won the battle because it is more malleable, efficient, flexible. You can’t take any risk in real life: people don’t like that. They like “safe”. Many years ago, I was commissioned a project to make a very realistic tree in computer graphics. That did not make much sense to me: so I asked “Why don’t you just shoot a real tree with a camera?”. They responded, somehow annoyed, that it is cheaper to make a tree in computer graphic that paying a filmmaker and a professional crew to film it. Plus, you need to spend time finding the perfect tree with all the leaves in the right spot, a certain kind of trunk… The shooting may be compromised by real-life situations like unpredictable weather conditions (rain, wind, low light etc.). In short, they said, a simulated tree is better than a real tree. When I heard this explanation, I was shocked. I realized I just witnessed a turning point. As an artist, I chose to work with the medium of computer graphics because that puts me in the trenches, in the frontline of the contemporary. To me, it’s essential to document the transformation of our world into a massive simulation and to accomplish such goal there is no better tool available than the simulation itself.