Uncanny Rd. – Drawing tool to interactively synthesise street images
Uncanny Road is a drawing tool created by Anastasis Germanidis and Cristobal Valenzuela, as a way to generate new interactions between humans and machines. Their tool uses GANs to generate new Google maps images drawn by the user. The images that are produced are beautiful, poetic, and as the title indicates, uncanny. To me, this project represents the infinite possible for creation when open to experimentation and unconventional tools. One issue I found with Uncanny Road, is the lack of control that the user asserts on the tool, however than can lead to unpredictably delightful images as well. Unfortunately, this project is still just a tool and might need to be taken further in order to be called an art piece.
Complete Demo Video:
A chicken that stabilizes its head as it moves around
The player is a worm, and can only grab the chicken by the throat
made using p5JS & Matter JS, using a chain to represent the physics of the body – also slightly reminiscent of a rubber chicken.
I have some reservations about Flanagan’s definition of critical play as it relates to game art. Flanagan suggests that “game art might be critical if it examines the medium itself”, and her propositions similarly only assign value to games as art if they are subversive, or opposite to some notion of games and gaming culture. Flanagan presents game art as valuable insofar as they are tied to their history and their context, and while I can’t argue that that is a valid critical approach, I find myself dissatisfied with limiting the potential of game art to this unimaginative definition.
With this in mind, I find Flanagan’s second proposition—toying with goals—most compelling because it shies away from the current context within which games exist and examines more the inherent semantics of games. The first proposition seems to propose games to be used as an “ethical simulation” in order to safely challenge our blind acceptance of embedded beliefs. While this is a valid purpose, I dislike that it reduces games to a doctored imitation of a greater force. The third also seems to only express criticality through opposites, which seems like too easy of an answer to me and one that I’ve resorted to too often. I’d like to explore more closely the idea of a game itself—of striving for a goal by overcoming challenges—so the second proposition aligns most closely with my goals as a maker.
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