Events

Exploring the Fusion: Crash Games as Art in a Contemporary Gallery

Picture this: a gallery pulsating with the energy of F777 Fighter, the cosmic allure of Space XY, and the adrenaline rush of Need for X. Can crash games be more than just pixels on a screen? Can they transcend the digital realm and materialize as captivating art installations in a contemporary gallery space? Let’s dive into the exciting realm of possibilities.

Crash games, with their dynamic visuals and interactive nature, possess the potential to become immersive art experiences. Imagine F777 Fighter translated into a kinetic sculpture, where the crashes manifest as explosive bursts of color and sound, echoing the intensity of the digital game.

Space XY, with its cosmic theme, could transform a gallery into an otherworldly environment. Picture visitors navigating through a celestial landscape, interacting with installations that mirror the unpredictability of the crash game, creating an unforgettable sensory experience.

Need for X, known for its high-speed thrills, might find its material form as a multi-dimensional installation. Visitors could step into a space where the speed and crashes are tangible, blurring the lines between virtual and physical realities.

  • Interactive Exhibits: Allow gallery-goers to engage with the crash game experience physically, triggering crashes and exploring the consequences in real-time.
  • Visual Spectacle: Harness the vivid graphics and themes of these games to create visually stunning installations that captivate and challenge perceptions.
  • Soundscapes: Consider incorporating dynamic sound elements that respond to the crashes, enhancing the immersive quality of the installations.

In the fusion of crash games and contemporary art, the possibilities are as boundless as the digital landscapes they draw inspiration from. The challenge lies in translating the essence of these games into tangible, material forms that captivate and resonate with gallery visitors. Could crash games be the next frontier in pushing the boundaries of what we perceive as art? The journey into this uncharted territory is as thrilling as the crash itself.

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Event Information:

  • Sat
    08
    Nov
    2014

    House of Psychotic Women lecture at NYU

    4:00 pmNYU, Room 471, 20 Cooper Square

    PossessionSubway2

    THE COLLOQUIUM FOR UNPOPULAR CULTURE presents: KIER-LA JANISSE on HOUSE OF PSYCHOTIC WOMEN

    WHEN: Saturday 8 November 2014, 4-5:30pm

    WHERE: Room 471, 20 Cooper Square [East 5th and Bowery]

    FREE AND OPEN TO THE PUBLIC

    Co-sponsored by the Center for the Study of Gender and Sexuality, NYU

    –

    Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart - ‘the eccentric’ - the female neurotic lives a shamed existence, making these films rare places where her destructive emotions get to play.

    Canadian author, publisher and film programmer KIER-LA JANISSE’S 2012 book HOUSE OF PSYCHOTIC WOMEN is an examination of these characters through a daringly personal autobiographical lens. Anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and examination of female madness, both onscreen and off. Through a discussion of over 200 films that span the beginning and end of the most turbulent period of the women’s liberation movement - often a source of panic in horror cinema - we witness shocking societal responses to what is characterized as “a female problem”. Collectively, these films ask the question of how much of this problem is manufactured, both from within and from without.

    KIER-LA JANISSE will be giving a presentation illustrated by clips and onscreen images in which she lays bare the process - and consequences - of inserting herself into the larger narrative of horror studies.