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censorship’s bloody spell

xirdalium Posted on Wednesday, 23rd August 2006 by zephyrin_xirdalThursday, 3rd April 2014

BloodSpell censored
 

Although the matter meanwhile ↑has been settled for good—more or less—I nevertheless will recount a portion of it, as it delivers some insights into various issues, namely the computergames and violence debate and the perception of ↵machinima by insiders of the movement and by outsiders.
 

↑“BloodSpell” is a feature-length machinima-movie by ↑Strange Company based on the computergame ↑“Neverwinter Nights”. It is released on the Internet piecemeal in the shape of five to seven minutes long episodes every two weeks or so. Until today all in all ↑seven episodes can be downloaded, the eigth being on the verge of release.
 

It is a story of a world where men and women carry magic in their blood, and spilling it can unleash terrible power. Where these “Blooded” hide in fetid slums from the Church of the Angels, commanded by their divine masters to “cleanse” the Blood Magic. Where choices are fraught, alliances rarely safe, and blood is all. A young monk named Jered flees the Church when his own Blood Magic is released. Now he must survive the pursuit of the Church, the gladiatorial pits of the Blooded underground, and the hidden truths of the ancient struggle. The choices he makes will tip the balance of the war between Church and Blooded, and change his world forever. (↑about BloodSpell)

Now, Strange Company has been invited to screen “BloodSpell” at this year’s ↑Games Convention (GC) in Leipzig, Germany, taking place from 24th through 28th August 2006. Subsequently they were asked to only show “peaceful and violence-free scenes”, or the movie not at all. The rationale behind this, as ↑related by Hugh Hancock is quite interesting: “They feel that German journalists are looking for violent scenes in video games, and wish to show Machinima as “a positive example of what players do with games.” The implication, of course, is that BloodSpell is not one of those positive things.” As I am absolutely not into the Fantasy-genre—I once was as a teenager, a long time ago—I only watched episodes one and eight. What stands out are storytelling and the machinimatics, the soundtrack and the originality, but not the occasional shooting of people by means of crossbows, or the sometimes spilled blood. And I really embraced looks and animation of the robots and female characters in episode eight :-) “BloodSpell” is all but a gore-feast—quite to the contrary, what I have seen could righteously be called dialogue-heavy.
 

Hancock, “BloodSpell”‘s writer, director, and executive producer, founder of ↑machinima.com and “guru of the machinima movement”, who has worked for the BBC and Electronic Arts—just to name a few—goes on to describe his view of machinima ↑that way:
 

[…] I’m angry that the reason we make Machinima—the chance to tell stories—is being treated as a mere by-product, something that can be chopped, changed or censored at will. […]
 

As far as I’m concerned, Machinima is filmmaking. That’s it. It’s not a quirky Internet movement that journalists can get an easy by-line from. It’s not something neat that kids can do with those nasty computer games to “express themselves” (whenever I hear that phrase, it seems to come with the association that the end product will be crap, but who cares, right?). It’s a way to tell quality stories that will matter to other people.
 

We’re making Machinima so that we can tell the stories we couldn’t tell any other way. We’re making Machinima so that we can tell stories free of interference or censorship.

Meanwhile the GC seemingly came around and “BloodSpell” will be shown to the press today—uncensored, but not on public days. Nevertheless the statements by members of the ↑BloodSpell crew are interesting and carry some weight. Especially the one by ihatesheep I chose as a closing quotation to this entry. Referring to the politically and in many other respects heavily charged ↵discussion around the Grand Theft Auto (GTA) series of computergames, he ↑has written a memorable sentence: “If playing GTA is all it takes for your child to go out and murder prostitutes, then there are far, far bigger problems that you probably need to address.”
 

“BloodSpell” developer wiki and blog

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face off/on

xirdalium Posted on Wednesday, 23rd August 2006 by zephyrin_xirdalThursday, 12th July 2012

appropriation’s commodification
Face Off
 

↑Boingboing reported that a ↑new application for the Xbox 360 by Digimask allows gamers to paste their own faces on game characters. ↑Gamersgame reported that the developers of an upcoming ↑beat ’em up, ↑“Battle of the Gods” (BOTG) launched an unique promotion event via eBay. If you win the according auction currently running your likeness will be included into the game as a background character.
 

Back in ye olde times when ↵MP1-modding was striving, and when we were still in the first stages of the infamous ↵Lightsaber modification, DopeTek, a founding member of our team, perfected his technique of giving game characters faces. Then he encouraged the community members to send him mugshots of themselves, which he converted into the heads of playable characters. In the first installments of the mod, the main protagonist indeed sported the ↵face of HairlessWookie, our team leader.
 

Clearly there are feedback-loops at work, leading from the games industry to the gamers and back again. Via commodification practices of appropriating computergames [developed within gaming culture] are re-appropriated by the industry. Complex moves within gamespace initially unintended and based on bugs and glitches, like ↵snaking and strafe-jumping [their being possible discovered by gamers], are redefined to be features of subsequent games. ↑Peter Molyneux‘ ↵“The Movies” commodifies the making of ↵machinima. Now the customization of game avatars by means of mapping the own face upon them has been commodified, too.
 

The picture is a screencap from Terry Gilliam’s “Brazil” (1985)—it shows Mrs. Lowrie (Katherine Helmond) undergoing preparations for plastic surgery.
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game over

xirdalium Posted on Wednesday, 23rd August 2006 by zephyrin_xirdalThursday, 12th July 2012

Game Over
 

Using everyday household objects ↑PES has done a wonderful ↑stop motion movie recreating famous computergame classics like ↑Pac-Man, ↑Frogger, ↑Space Invaders et al. All actions are synchronized to the original game sounds. The movie is called ↑“Game Over” [1:35min | .mov | 7.89MB], and what I want for Christmas are playable recreations of the games featured in the movie, featuring the graphics from the movie. There’s still enough time till Christmas—gamemodders of the world, go ahead …
 

Game Over: Pac Man
 

Game Over: Frogger
 

via entry at boingboing

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kitsch guns

xirdalium Posted on Tuesday, 22nd August 2006 by zephyrin_xirdalFriday, 6th July 2012

antonio riello’s ladies weapons
 

Guns by Antonio Riello
 

This is definitely not street tech, but an artist appropriating the aesthetical appropriation of weapons for his own expressive ends. Italian artist Antonio Riello [of whom I couldn’t find an own site on the Web, but about whom I have read at diverse pages that he was born in Kabul, Rio de Janeiro, and Marostica, Italy] has peculiar interests: “Since the beginning of his artistic career,” ↑Hoard Magazine wrote in 2001, “he wanted to be a social reporter investigating his immediate environment. He is particularly interested in the “dark sides” of Italian contemporary life.”
 

Rifles by Antonio Riello
 

The background of his ↑“Ladies Weapons”, displayed here are all of them I could find on the Web, Riello describes like this:
 

In 1998 I decided to focus my artistic research mainly about a “fashion-fiction” visual story regarding an old passion of mine: weapons—objects full of symbolic senses. I want to mix, in an artistic way, traditional ‘female stuff’ like fashion with very traditional ‘male stuff’ like guns. It consists in a restyling of real military weapons into fashion items for ladies. […] Using leopard skins, brightly lacquered colors, inset jewels and fake furs, I create a range of specialized items for wives of mafia bosses, arms dealers, sophisticated ladies and exigent soldiers….hybrids born from Italian obsession for high fashion as well as for violence.

Maybe the recently issued ↑pimp-style gold and silver Razr cellphone by Dolce & Gabbana appeals to a matching clientele ;-)
 

Kalashnikovs by Antonio Riello
 

Riello’s artefacts remind me of the MP5k over and over engraved with traditional gun-ornaments, of Saddam Hussein Abd al-Majid al-Tikriti’s gold-plated assault- and sniper-rifles [see ↵golden guns], of the ↑countless weapons [selection] ↑endo modelled for Max-Payne modifications, among them fine decorated specimens as well, of the decorated guns in Buz Luhrmann’s 1996 movie ↑“Romeo + Juliet”—or was it Andrzej Bartkowiak’s 2000 ↑“Romeo must die”?—and of car-modding Chicano-style in general.
 

More guns by Antonio Riello
 

Riello ↑paints weapons as well, but I take the ladies weapons to be more impressive. Especially as they strive to voice an emic cultural insight: “Italians have two great passions,” ↑says Riello, “on the one hand, we like costly, lavish things. But at the same time we have this morbid attraction for violence and for blood.” In today’s world, ↑Fabergé eggs look accordingly …
 

Grenades by Antonio Riello
 

initially via entry at boinboing

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golden guns

xirdalium Posted on Monday, 21st August 2006 by zephyrin_xirdalFriday, 6th July 2012

Because of current events—namely Saddam Hussein Abd al-Majid al-Tikriti since today facing court again—and because I just discovered something different on which I will report later, I felt the urge to rewrite and revive an old entry I ↑originally posted over at ethno::log:
 

An engraved Heckler&Koch MP5k
 

↑Bruce Sterling received the above picture from ↑William Gibson, ↑posted it at his weblog and commented: “Wow, a custom-detailed, one of a kind, post-consumer-altered MP5!” [Nitpick: a Heckler&Koch MP5k] Ain’t that a fine example of aesthetic technology adaption? Envision an exhibition in an ethnographical museum, showing weapons like the above one—and of course the gold-plated AK-47s from Iraq’s ex-elite:
 

A gold-plated AK-47 from Iraq
 

The wooden barrel handle is engraved in Arabic:
 

Detail of the gold-plated AK-47 from Iraq
 

The engraving reads: “Present by his Excellency Saddam Hussein, President of the Republic of Iraq”—thanks to ↑Kurt Beck for the translation. There were more golden guns discovered in Iraq, for example this ↑Dragunov sniper rifle:
 

A gold-plated Dragunov from Iraq
 

And now envision the size and kind of crowd that would flock into an exhibition like that ;-) Seriously: Those indeed are examples of the acculturation, or even cultural appropriation, of industrial artefacts by modifying them; and therefore an issue of sociocultural anthropology. Both, choice of the weapons, and the kind of modification are culturally informed. Decoration of weapons with ornaments is nothing special per se—it is done especially with hand guns like pistols and revolvers or hunting rifles. The examples in the pictures are peculiar, because we deal here with fully automatic weaponry, which is designed for combat, and combat only—that’s the context of weapons like that.
 

golden pics via smugmug and alaska rifle club

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animator vs. animation

xirdalium Posted on Sunday, 20th August 2006 by zephyrin_xirdalFriday, 6th July 2012

Animator vs. Animation
 

The legacy of ↑Xiao Xiao lives on—in Alan Becker’s ingenious ↑Animator vs. Animation “An animator faces his own animation in deadly combat. The battlefield? The Flash interface itself. A stick figure is created by an animator with the intent to torture. The stick figure drawn by the animator will be using everything he can find—the brush tool, the eraser tool—to get back at his tormentor. It’s resourcefulness versus power. Who will win? You can find out yourself. —This took three long months … I think it’s worth it.” I think so, too.
 

At least since the times of Tex Avery, cartoon characters becoming conscious of the shape of the world they live in, and that there’s a whole universe around this world, is an ever resurfacing topic. Within the genre of ↵machinima this tradition is unbroken, see ↵counter existentialism and ↵the awakening. Can this tradition be traced back to ↵flatland? Or is this a little too far-fetched?
 

initially via entry at boingboing

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afrigadget

xirdalium Posted on Thursday, 17th August 2006 by zephyrin_xirdalThursday, 11th April 2013

solving everyday problems with African ingenuity
 

Afrigadget
 

Yet another blog collecting instances of cultural appropriation of technology, in the case of ↑Afrigadget it’s a group-blog: “The purpose of Afrigadget is to showcase African ingenuity with technology. Many times Africans do not have access to the same quality tools or items that are found in other areas of the world. What is available to be used to solve problems or fix equipment can be wide and varied. You would be surprised at what can be made, fixed or created with bailing wire, inner-tubes and wood.” Afrigadget features not only high resolution pictures, but also the occasional you-tubed video clip.
 

via entry at street use
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bedford’s appropriation

xirdalium Posted on Thursday, 17th August 2006 by zephyrin_xirdalThursday, 11th April 2013

the social organisation of craftsmen’s innovation in Sudan
project by Prof. Dr. ↑Kurt Beck, Chair of Anthropology, University of Bayreuth
 

Sifinja
 

The glistening Sifinja [meaning “Sandal”, the local name for the modified Bedford TJ], after hundreds of thousands of kilometres still a blazing beauty.

On the streets of Latin America, Asia, and Africa, richly decorated trucks are a common vista. Occassionally this has been noted, alas, the fact escaped that the trucks are not merely outwardly decorated, but are reconstructed from scratch up in extremely unorthodox fashions, and thereby are adjusted to local conditions and indigenous cultural orientations. Without any kind of aid funds, neither from the state nor from development assistance programs, a surprisingly innovative milieu of truck mechanics has developed in Sudan. Originally stemming from the agrarian society’s basic handicraft tradition the craftsmen practice their art with extraordinary creativity. Building upon exploratory fieldwork undertaken during fall 2003 (↵Beck 2004, 2005), the project investigates technological appropriation and the continuous re-invention of the Bedford truck, the associated practices of the workshop, and the meanwhile half-a-century old tradition of local truck building. Starting from a detailled survey of the working processes, focussing on the confluence of matter, vision, and embodied knowledge, the project aims at understanding the cultural and social organisation of technical creativity. The history of the technological appropriation of the truck is seen as a sum of small and smallest modifications, reinterpretations, improvements and rededications, framed by collective processes of learning within a community of practitioners featuring individual identities. A meticulous documentation of the truck reconstruction is supporting the whole project. For this the production of an ethnographical movie has been chosen as a means. The project ties in with Kurt Beck’s work on Sudan, on cultural appropriation, and his contributions to the anthropology of work. It can be filed into the ranks of current attempts to resuscitate the anthropology of technology. Furthermore the project promises to deliver contributions to the anthropology of cultural appropriation of global goods and technologies, and insights into the actual courses which processes of technology transfer into developing nations take. In respect to anthropological research methods the endeavour harks back to techniques of visual anthropology and introduces methodological innovations suited to instruct the verbalization of implicit, non-propositional technical knowledge.
 

Workshop
 

Translation by zeph—put the blame on me, or read the ↑German original of the running project’s abstract. Note to Kurt: Mr. Chair of Anthropology Professor Sir, I hope you don’t mind that I have translated your abstract for you and posted it here ;-)
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street use

xirdalium Posted on Wednesday, 16th August 2006 by zephyrin_xirdalFriday, 6th July 2012

street use
 

That’s exactly what every anthropologist interested in the cultural appropriation of technology needed online—Kevin Kelly’s blog ↑street use “features the ways in which people modify and re-create technology. Herein a collection of personal modifications, folk innovations, street customization, ad hoc alterations, wear-patterns, home-made versions and indigenous ingenuity. In short—stuff as it is actually used, and not how its creators planned on it being used. As ↑William Gibson said, “The street finds its own uses for technology.””
 

Heavily related entries are: ↵truck-canoe hybrids, ↵Bedford’s metamorphosis: Hotbeds of creativity—the appropriation of the truck in Sudan, and ↵balineros—and in a way ↵perfect imperfect … I especially like the ↑elegant thread.
 

via entry at william gibson … how else?

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gods of cyberia

xirdalium Posted on Monday, 14th August 2006 by zephyrin_xirdalFriday, 6th July 2012

gods of cyberia
 

Yet another proposal I just submitted a minute ago in reply to a call-for-papers. The hellish thing with sent-in abstracts is that they sometimes are accepted. And then you indeed have to write up the paper or article you suggested.
 

Nowadays the Internet and its subsidiary, the World Wide Web, constitute conceptual spaces for rich human communication and interaction. The still growing technology-based possibilites for human action mediated online seemingly render this spaces in certain respects evermore similar to the offline world. It can be tentatively stated that seen from the emic vantage point of many users the whole array of online-services at hand together form a kind of environment to be lived in. Especially contested concepts like “cyberspace” hint towards a widely diffused and shared notion of an inhabitable online-world. Every human group or society interpretes its habitat, constructs a cosmology or worldview and thereby grasps the environment’s complexity in cultural terms. More often than not what we call spiritual, mythological, and religious metaphors are used within this process of interpretation. Empirical data gathered online suggests that exactly this happens with cyberspace as well. By means of selected illustrative examples stemming from the author’s own fieldwork and drawing on anthropological concepts the paper argues that sets of religious cultural ideas can be identified which inform not only the contents of communication online, but online practices as well.
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