ARTBASE (2)
BIO
Jim Andrews does http://vispo.com . He is a poet-programmer and audio guy. His work explores the new media possibilities of poetry, and seeks to synthesize the poetical with other arts and media.
Re: samorost.swf: Czech flash piece
> Jim -- I only got to the scene with the dude smoking the pipe. How do I
> move on from there? Thanks Rachel
>
> > Here is a Czech flash piece:
> > http://www.freshsensation.com/samorost.swf done
> > by Jakub Dvorsky and Tomas Dvorak
Hi Rachel,
Tighten the ski-lift line by clicking it where it is clickable.
Then get the dude stoned. When the hash is all gone, he drops the pipe,
which is also the key. Click the pipe/key, and click the button on the lock.
Or is it click the button on the lock and then click the pipe/key?
The little hero will then ski up the hill.
Change the sign at the top of the hill to point to the left, and get the guy
at the bottom of the hill out of the way (the little hero will complain
otherwise). Then click the little hero and he'll ski down the hill and off
into the next scene.
This sort of piece is a matter of looking for significant items and cursor
changes; things that are clickable cause the cursor to change shape, and one
proceeds via some sequence of clicks/actions.
Someone on the dirGames list criticized this sort of 'myst'-like
logic-of-unfolding as just click-like-mad ness. but i disagree. it's no fun
if one just clicks like mad all over the place on whatever is clickable; the
fun is in trying to discern what one is trying to do to advance.
ja
http://vispo.com
> move on from there? Thanks Rachel
>
> > Here is a Czech flash piece:
> > http://www.freshsensation.com/samorost.swf done
> > by Jakub Dvorsky and Tomas Dvorak
Hi Rachel,
Tighten the ski-lift line by clicking it where it is clickable.
Then get the dude stoned. When the hash is all gone, he drops the pipe,
which is also the key. Click the pipe/key, and click the button on the lock.
Or is it click the button on the lock and then click the pipe/key?
The little hero will then ski up the hill.
Change the sign at the top of the hill to point to the left, and get the guy
at the bottom of the hill out of the way (the little hero will complain
otherwise). Then click the little hero and he'll ski down the hill and off
into the next scene.
This sort of piece is a matter of looking for significant items and cursor
changes; things that are clickable cause the cursor to change shape, and one
proceeds via some sequence of clicks/actions.
Someone on the dirGames list criticized this sort of 'myst'-like
logic-of-unfolding as just click-like-mad ness. but i disagree. it's no fun
if one just clicks like mad all over the place on whatever is clickable; the
fun is in trying to discern what one is trying to do to advance.
ja
http://vispo.com
Re: samorost.swf: Czech flash piece
i fluked through the engine room. i just went back. i clicked the left
control to set the 0 Direction meter to 50, clicked the left white button,
and then clicked one of the right buttons. not sure of the logic of this
one. anyway, this is the second to final scene.
it's kind of 'myst' like, this piece, in the puzzles. the art is really well
done, isn't it. and the sound design is appropriate. and the
puzzles/navigation are amusing, i thought.
I don't know Jan Svankmajer's films, Neil. Why does this piece remind you of
them?
If anyone reads Czech on the list, would be interested to read what the
credits say at the end. Is this a student piece? Pretty durn good for a
student piece, if it is a student piece.
ja
> quite beautiful, reminds me why i love Jan Svankmajer's films
> i rarely play games, but this has me going nutty
> jim.. any help on how to get through the engine room ??!!!
>
> neil
>
> On Tuesday, August 12, 2003, at 11:37 am, Jim Andrews wrote:
>
> > Here is a Czech flash piece:
> > http://www.freshsensation.com/samorost.swf done
> > by Jakub Dvorsky and Tomas Dvorak, as indicated by the credits you see
> > at
> > the end of this trip/puzzle.
control to set the 0 Direction meter to 50, clicked the left white button,
and then clicked one of the right buttons. not sure of the logic of this
one. anyway, this is the second to final scene.
it's kind of 'myst' like, this piece, in the puzzles. the art is really well
done, isn't it. and the sound design is appropriate. and the
puzzles/navigation are amusing, i thought.
I don't know Jan Svankmajer's films, Neil. Why does this piece remind you of
them?
If anyone reads Czech on the list, would be interested to read what the
credits say at the end. Is this a student piece? Pretty durn good for a
student piece, if it is a student piece.
ja
> quite beautiful, reminds me why i love Jan Svankmajer's films
> i rarely play games, but this has me going nutty
> jim.. any help on how to get through the engine room ??!!!
>
> neil
>
> On Tuesday, August 12, 2003, at 11:37 am, Jim Andrews wrote:
>
> > Here is a Czech flash piece:
> > http://www.freshsensation.com/samorost.swf done
> > by Jakub Dvorsky and Tomas Dvorak, as indicated by the credits you see
> > at
> > the end of this trip/puzzle.
Time Hunt by Danny Kodicek and friends
Here is an ambitious Director/Flash piece made in a UK/Slovenia collab by
Danny Kodicek and friends called Time Hunt: http://www.timehunt.com . Time
Hunt is a puzzle/game on the life of a fictive alchemist M.E. Poverus. I
note that there are about 14,500 registered players of Time Hunt. You
register, but registration is free. The puzzles in this game are quite
involved. The art work is often beautiful. The site features a forum on the
game.
I heard about this piece from the dirGames-L list where Kodicek posts; he is
a Director/Flash programmer/artist and a Cambridge-trained mathematician
(profile at http://director-online.com/buildArticle.php?id
Danny Kodicek and friends called Time Hunt: http://www.timehunt.com . Time
Hunt is a puzzle/game on the life of a fictive alchemist M.E. Poverus. I
note that there are about 14,500 registered players of Time Hunt. You
register, but registration is free. The puzzles in this game are quite
involved. The art work is often beautiful. The site features a forum on the
game.
I heard about this piece from the dirGames-L list where Kodicek posts; he is
a Director/Flash programmer/artist and a Cambridge-trained mathematician
(profile at http://director-online.com/buildArticle.php?id
samorost.swf: Czech flash piece
Here is a Czech flash piece: http://www.freshsensation.com/samorost.swf done
by Jakub Dvorsky and Tomas Dvorak, as indicated by the credits you see at
the end of this trip/puzzle.
Thanks to Danny Kodicek from the dirGames-L list for this link.
ja
by Jakub Dvorsky and Tomas Dvorak, as indicated by the credits you see at
the end of this trip/puzzle.
Thanks to Danny Kodicek from the dirGames-L list for this link.
ja
Re: look at the way TV looks at a monitor
> Pretty
>
> I had similar thoughts re tv on the big screen, and how it functions in
> various situations contexts - often like a live superhiway kind of
> supermedium oracle, like a very supportive supermachine connecting
> people's living rooms and bedrooms and 'locations on tv' , all over
> society.
Yes, 'they're screaming in Wisconsin' ("Network") and like. Was it
Wisconsin?
The explanation was that it really is a huge machine, from the
> studios to cable and satellite and all.
>
> What you are saying goes a step further in two ways. One you are talking
> about computers on tv rather than tv on film, and two, you are talking
> about the content of the computer on tv, that it is not so meaningful.
>
> My guess at the latter would be that it ceases to be a computer as a
> computer and functions rather as pop perceptions of what the computer
> does - hence your 'big visual message indicating, often, the problem to
> be dealt with', a criminal database search, missile launch problem...
>
> This while in reality the computer-and-internet, like the tv, has become
> something hidden [on tv!], while being a more democratic [than tv]
> organism supermedium oracle machine (oops I just remembered matrix),
> with much bad advice and cheap astrology re quality.
>
> So I would argue that it's really the 'enveloping medium' that counts.
I guess you mean 'enveloping' in the sense of 'containing'.
So is the way TV looks at a monitor TV's attempt to contain the computer as
art medium?
Well, no, probably not.
Interesting to see the way that what is shown on the monitor on TV is a plot
point, and the concentration on narrative. Often what is shown on the
monitor is presented as a kind of 'objective' verification of the current
state of the narrative/plot: now we know x. On the rare occassions when we
see text on the TV in a foregrounded way (not the credits), it is a closeup
of a sentence or cut-off newspaper or part of a page of a book or whatever
that verifies and reveals. Some sort of playing with ontological status. The
computer monitor isn't represented as an art medium but as other things,
usually, though those representations are done in Director or Flash or
whatever, ie, done with digital art tools.
The folks who make the Director stuff that appears on monitors on TV seem to
be having fun playing with this interesting intermedia zone.
> But how would you relate to virtuality? as assembled imagination?
Not sure what you mean?
ja
>
> I had similar thoughts re tv on the big screen, and how it functions in
> various situations contexts - often like a live superhiway kind of
> supermedium oracle, like a very supportive supermachine connecting
> people's living rooms and bedrooms and 'locations on tv' , all over
> society.
Yes, 'they're screaming in Wisconsin' ("Network") and like. Was it
Wisconsin?
The explanation was that it really is a huge machine, from the
> studios to cable and satellite and all.
>
> What you are saying goes a step further in two ways. One you are talking
> about computers on tv rather than tv on film, and two, you are talking
> about the content of the computer on tv, that it is not so meaningful.
>
> My guess at the latter would be that it ceases to be a computer as a
> computer and functions rather as pop perceptions of what the computer
> does - hence your 'big visual message indicating, often, the problem to
> be dealt with', a criminal database search, missile launch problem...
>
> This while in reality the computer-and-internet, like the tv, has become
> something hidden [on tv!], while being a more democratic [than tv]
> organism supermedium oracle machine (oops I just remembered matrix),
> with much bad advice and cheap astrology re quality.
>
> So I would argue that it's really the 'enveloping medium' that counts.
I guess you mean 'enveloping' in the sense of 'containing'.
So is the way TV looks at a monitor TV's attempt to contain the computer as
art medium?
Well, no, probably not.
Interesting to see the way that what is shown on the monitor on TV is a plot
point, and the concentration on narrative. Often what is shown on the
monitor is presented as a kind of 'objective' verification of the current
state of the narrative/plot: now we know x. On the rare occassions when we
see text on the TV in a foregrounded way (not the credits), it is a closeup
of a sentence or cut-off newspaper or part of a page of a book or whatever
that verifies and reveals. Some sort of playing with ontological status. The
computer monitor isn't represented as an art medium but as other things,
usually, though those representations are done in Director or Flash or
whatever, ie, done with digital art tools.
The folks who make the Director stuff that appears on monitors on TV seem to
be having fun playing with this interesting intermedia zone.
> But how would you relate to virtuality? as assembled imagination?
Not sure what you mean?
ja