Aesthetics of Computer Games for Virtual Environments by Stefanie Toth PDF

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So the problem is because there is such a lack of writing and scholarship in this area. I mean in relation to other kinds of art history generally. 17 These issues have, since my discussion with Cook, begun to be addressed – and I do this here with the ‘return to image’ thesis below – but there are still gaps and challenges to the established histories. Another concern raised by filmmaker/curator Lucy Reynolds is that most of the 1970s histories have to date been written from within. While this may give a certain depth of detail, they could also lack the necessary objectivity an ‘outsider’ might bring.

S. Johnson’s Fat Man on the Beach (1973) are a few examples which could hardly be described as minimalist. David Larcher’s Monkey’s Birthday (1975) was anything but pared down with its multi-layered imagery, montage-style and hand-worked frames. 48 In this essay O’Pray possibly did more than most to begin consolidation of the ‘return to image’ thesis, which has since been propagated to fulfil the problematic myth. 52 Surely, calling Jarman a ‘documentarist’ stretches the term somewhat. One could then even go so far as to call Peter Gidal a documentarist because he filmed clouds, aeroplanes, rooms and a hallway.

But the question of obsolete technologies also raised some pertinent issues: The technology used by David Hall’s Progressive Recession [1974] is now completely obsolete. Do you fake it with modern equivalents? 30 Curtis was concerned that these works should not be lost to history, suggesting that even if technology needed to be faked or documentation exhibited in glass cases this would be better than having no record of the work at all. Similar concerns were also reiterated by Rees when he noted that ‘[o]nly a few works are likely to survive in their original state, permanently installed in museums’.

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Aesthetics of Computer Games for Virtual Environments by Stefanie Toth

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