WarGames is a 1984 video game developed by Coleco for the ColecoVision, and laterported to the Atari 8-bit family and Commodore 64. The game’s goal is to defend the United States against nuclear attack, much in the style of a less frantic Missile Command. The principal designer was Coleco staffer Joseph Angiolillo.[citation needed]

The game was directly inspired by MGM’s 1983 film WarGames, but instead of depicting the film’s events adapts its iconic NORAD scene into playable form. It is one of a handful of games that feature waging nuclear war, and one of the few without an aim of winning it.

from wikipedia

farocki

In 1991, when images of the Gulf War flooded the international media, it was virtually impossible to distinguish between real pictures and those generated on computer. This loss of bearings was to change forever our way of deciphering what we see. The image is no longer used only as testimony, but also as an indispensable link in a process of production and destruction. This is the central premise of “War at a Distance”, which continues the deconstruction of claims to visual objectivity Harun Farocki developed in his earlier work. With the help of archival and original material, Farocki sets out in effect to define the relationship between military strategy and industrial production and sheds light on how the technology of war finds applications in everyday life. (Antje Ehmann)

farocki

Immersion

director, scriptwriter: Harun Farocki research: Matthias
Rajmann editor: Harun Farocki Max Reimann cinemato-
grapher: Ingo Kratisch sound: Matthias Rajmann
production: Harun Farocki Filmproduction, Berlin, with
support from Medienboard Berlin-Brandenburg GmbH
co-production: Jeu de Paume, Paris, Stuk, Leuven
2 videos, color, sound, 20 min. (loop)

Eye / Machine III

The third part of the Eye-Machine cyclo structures the material around the concept of the operational image.These are images which do not portray a process but are themselves part of a process. As early as the Eighties, cruise missiles used a stored image of a real landscapes then took an actual image during flight, the software compared the two images. A comparison between idea and reality, a confrontation between pure war and the impurity of the actual.This confrontation is also a montage and montage is always about similarity and difference. Many operational images show coloured guidance lines, intended to portray the work of recognition. The lines tell us emphatically what is all important in these images, and just as emphatically what is of no importance at all. Superfluous reality is denied – a constant denial provoking opposition. (Harun Farocki)

Eye / Machine II

How can the distinction between “man” and “machine” still be made given today’s technology? In modern weapons technology the categories are on the move: intelligence is no longer limited to humans. In “Eye / Machine II” Farocki has brought together visual material from both military and civilian sectors, showing machines operating intelligently and what it is they see when working on the basis of image processing programs. The traditional man-machine distinction becomes reduced to “eye/machine”, where cameras are implanted into the machines as eyes.As a result of the Gulf War, the technology of warfare came to provide an innovative impulse which boosted the development of civilian production. Farocki shows us computer simulated images looking like something out of science-fiction films: rockets steer towards islands set in a shining sea; apartment blocks are blown up; fighter aircraft fire at one another with rockets and defend themselves with virtual flares … These computer battlefields – will they suffice or shall we need further rationalization drives for new wars?”Eye / Machine II” is the continuation of a wider examination of the same subject: Intelligent machines and intelligent weapons. As an installation the work is presented on two monitors or as a double projection. In this, the single-channel version, the two image tracks are shown simultaneously on one screen. (Antje Ehmann)The film centers on the images of the Gulf War which caused worldwide sensation in 1991. In the shots taken from projectiles homing in on their targets, bomb and reporter were identical, according to a theory put forward by the philosopher Klaus Theweleit. At the same time it was impossible to distinguish between the photographed and the (computer) simulated images.The loss of the ‘genuine picture’ means the eye no longer has a role as historical witness. It has been said that what was brought into play in the Gulf War was not new weaponry but rather a new policy on images. In this way the basis for electronic warfare was created. Today, kilo tonnage and penetration are less important than the so-called C3I cycle which has come to encircle our world. C3I refers to Command, Control, Communications and Intelligence – and means global and tactical early warning systems, area surveillance through seismic, acoustic and radar sensors, radio direction-sounding, monitoring opponents’ communications as well as the use of jamming to suppress all these techniques. (Antje Ehmann)

Eye / Machine

The film centers on the images of the Gulf War which caused worldwide sensation in 1991. In the shots taken from projectiles homing in on their targets, bomb and reporter were identical, according to a theory put forward by the philosopher Klaus Theweleit. At the same time it was impossible to distinguish between the photographed and the (computer) simulated images. The loss of the ‘genuine picture’ means the eye no longer has a role as historical witness. It has been said that what was brought into play in the Gulf War was not new weaponry but rather a new policy on images. In this way the basis for electronic warfare was created. Today, kilo tonnage and penetration are less important than the so-called C3I cycle which has come to encircle our world. C3I refers to Command, Control, Communications and Intelligence – and means global and tactical early warning systems, area surveillance through seismic, acoustic and radar sensors, radio direction-sounding, monitoring opponents’ communications as well as the use of jamming to suppress all these techniques. Harun Farocki explores the question of how military image technologies find their way into civilian life. (production statement)]

 

laboral

http://www.laboralcentrodearte.org/playware/

TETSUYA MIZUGUCHI / United Game Artists, Sonic Team / 2002 / Japón
Para la consola Sony PlayStation 2

Inspirándose en las teorías de Kandinsky sobre las asociaciones sinestésicas entre colores y sonidos, Rez introduce una experiencia multi-sensorial en el tradicional juego “space shooter”. Rez tiene lugar no en el espacio, sino en una sofisticada red informática.

estilo tron

Perfect Time
H.O / 2004 / Japón
Instalación artística itinerante interactiva

Perfect Time convierte al visitante en una interfaz entre la virtualidad y la realidad, que los demás observan desde el otro lado de una serie de pantallas de proyección