Resident Evil
Takashi Murakami
publicado en originalmente en :
artstechnica
1. Roger Ebert says games will never be as worthy as movies
By Jeremy Reimer | Published: November 30, 2005 - 04:30PM CT
Roger Ebert, the movie critic for the Chicago Sun-Times and co-host of the syndicated TV show "Ebert and Roper at the Movies" has thrown down the gauntlet on his web site by stating that video games will never be as artistically worthy as movies and literature. Ebert does not believe that this quality gap can ever be crossed, as he feels it is a fundamental limitation of the medium itself:
There is a structural reason for that: Video games by their nature require player choices, which is the opposite of the strategy of serious film and literature, which requires authorial control.
Whether or not interactive art can still be art is an interesting question. Modern artists such as Chin Chih Yang, who design interactive multimedia projects as well as creating "traditional" art, would probably tell you that whether something is "art" depends on only the artist and the audience, and not the medium itself. However, there are undoubtedly more conservative artists who would dismiss "interactive multimedia projects" as not being worthy of the term art. Of course this debate is not a new one, nor has it been confined to video games. Movies and comic books both struggled (and still struggle) to receive the same level of respect as traditional media, such as literature and dramatic plays.
But is it really the "interactive" part of video games that Ebert is criticizing? To me, it seems like a convenient excuse to dismiss for all time a new form of entertainment that has not only influenced movies (with endless releases of video-game-themed movies such as Tomb Raider, Mortal Kombat, Resident Evil, etc.) but at times even seems to be in competition with cinema itself. Every time movie sales go down, some pundits start looking to the video game industry as being the source of the problem.
I don't believe the "interactive" nature of video games is what Ebert is really railing against here. While he gave a poor review to the movie Clue, which featured multiple endings, he admitted in his review that it would have been more fun for viewers to see all three endings. He seemed to be indicating that if the movie itself was of higher quality, being given a choice of endings would have made it even more entertaining. Like Clue, video games can feature multiple endings or storylines, but all of them have been written by the writer ahead of time. The fact that the player can choose between them does not make any of the choices less of a creation by the game developers.
A closer examination of Ebert's comments seems to indicate that he is critical of the artistic value of the games themselves, not their structure:
I am prepared to believe that video games can be elegant, subtle, sophisticated, challenging and visually wonderful. But I believe the nature of the medium prevents it from moving beyond craftsmanship to the stature of art. To my knowledge, no one in or out of the field has ever been able to cite a game worthy of comparison with the great dramatists, poets, filmmakers, novelists and composers. That a game can aspire to artistic importance as a visual experience, I accept. But for most gamers, video games represent a loss of those precious hours we have available to make ourselves more cultured, civilized and empathetic.
Some might be eager to tell Ebert about games that he may not have ever seen or played, such as Star Control II, or Planescape Torment, where the story is given higher focus than the graphics and is at least comparable to literary fiction. Or games such as ICO, where the atmosphere and feel of the environment and characters is on par with any "serious" art film. But perhaps Ebert hasn't heard of these titles because video games in general have been deluged with an endless parade of flashy sequels and movie tie-ins that favor graphics over gameplay. Perhaps if a viable analog to the independent movie industry emerged for video games, Ebert might change his tune. But is this likely to happen?
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2. 'Pa Ningun Lao
video sobre high art y low art en la radio Puertoriqueña
3. enlace a lectura teórica de Guy Debord:
La Sociedad del Espetáculo
filmes:
filmes en UB WEB
Bio:
Guy Debord (1931-1994),
Debord's best known works are his theoretical books, Society of the Spectacle and Comments on the Society of the Spectacle. In addition to these he wrote a number of autobiographical books including "Mémoires", "Panégyrique", "Cette Mauvaise Réputation..." and "Considérations sur l'assassinat de Gérard Lebovici". He was also the author of numerous short pieces, sometimes anonymous, for the journals "Potlatch", "Les Lèvres Nues," "Les Chats Sont Verts," and "Internationale Situationniste".
In broad terms, Debord's theories attempted to account for the spiritually debilitating modernisation of both the private and public spheres of everyday life by economic forces during the post-WW2 modernisation of Europe. He rejected as the twin faces of the same problem both capitalism of the West and the statism of the Eastern bloc. Alienation, Debord postulated, could be accounted for by the invasive forces of the 'spectacle' - "a social relation between people that is mediated by images". Debord's analysis developed the notions of "reification" and "fetishism of the commodity" pioneered by Karl Marx and Georg Lukács. This analysis probed the historical, economic and psychological roots of 'the media'. Central to this school of thought was the claim that alienation is more than an emotive description or an aspect of individual psychology: rather, it is a consequence of the mercantile form of social organization which has reached its climax in capitalism.
The Situationist International, a political/artistic movement organized by Debord and his colleagues and represented by a journal of the same name, attempted to create a series of strategies for engaging in class struggle by reclaiming individual autonomy from the spectacle. These strategies, including "dérive" and "détournement", drew on the traditions of Dada and Surrealism.
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5. Arte en el Choliseo
Pro-life' Britney Spears sculpture draws criticism
CBC Arts
An artist who has created a sexy, "pro-life" nude sculpture of pop star Britney Spears giving birth has drawn fire from several groups even before the artwork's exhibition.Both pro-life and pro-choice proponents, as well as Spears fans from around the world, have criticized the life-size sculpture, which depicts the 24-year-old pop star naked and crouched forward giving birth on a bear-skin rug.
'Monument to Pro-Life: The Birth of Sean Preston' by sculptor Daniel Edwards shows pop star Britney Spears in the nude and giving birth to her son. The work, which has already stirred up controversy, will go on display in a Brooklyn art gallery beginning April 7.Monument to Pro-Life: The Birth of Sean Preston offers "a new take on pro-life," artist Daniel Edwards told the Associated Press Tuesday."Pro-lifers normally promote bloody images of abortion. This is the image of birth," said the 40-year-old artist and father of three.
The sculpture will be mounted next to a case displaying pro-life materials.
Edwards has courted controversy with his artwork before: last year, he created a sculpture depicting the head of baseball great Ted Williams (whose body, after his death in 2002, was placed in cryonic suspension in hopes that medical science could possibly revive him in the future).
When the Brooklyn gallery that will display the sculpture announced the upcoming exhibit, officials were soon flooded with complaints – including 3,000 e-mails in about a week.
Pro-life advocates "thought this was degrading to their movement. And some pro-choice people were upset that this is a pro-life movement," David Kesting, co-owner of Brooklyn's Capla Kesting Fine Art Gallery, told AP.
He added that the gallery would hire extra security guards for the two weeks that the sculpture is on display.
The free exhibit opens at the Capla Kesting gallery on April 7.
Spears, who gave birth to her son, Sean Preston, last September, has not commented on the sculpture.
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MYSTERIOUS GIRL
KATE MOSS, contorted in every conceivable way, wearing nothing but her bra and pants: every paparazzi's dream, no? Now that dream has become a reality thanks to renowned artist Marc Quinn, whose sculpture of the model is scheduled to go on view in the Netherlands later this month. Called 'Sphinx', the work, which is made in bronze and painted white, shows her with her legs and arms behind her head in a series of yoga positions. At the unveiling, Quinn said the piece was so named because of Kate Moss's mysterious persona. "She is a contemporary version of the Sphinx. A mystery. There must be something about her that has clicked with the collective unconscious to make her so ubiquitous, so spirit of the age," said the artist, whose last sculpture of Alison Lapper - an artist without arms and fully developed legs - took pride of place in Trafalgar Square. There were, however, no actual Downward Facing Dog shenanigans for Miss Moss, who has also sat for Lucian Freud. While the body and head of the cast are that of the one model, the actual positions were drawn from a yoga expert. "It's a portrait of an image, and the way that image is sculpted and twisted by our collective desire," said Quinn. (13 April 2006, AM)
Stephen Doig
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Artículo en el Nuevo Día
Por María Ivette Vega Calles
Aunque en su trayectoria el pintor William Carmona ha plasmado la realidad en sus obras, desde el año pasado tiene que capturar con más frecuencia la esencia de una persona real, aún sin conocerla.
Éste es el principal reto de uno de los proyectos más recientes del artista, a quien el Coliseo de Puerto Rico le encomendó que pintara a todas las estrellas que allí se presentan, para darles la obra como recuerdo de su visita.
Otros proyectos que William Carmona tiene este año incluyen una participación en el evento Arte América, a finales de este mes. También, la subasta de su obra “Jugadores de dominó pa’ la suerte”, en Christie’s de Nueva York, la realización de su libro de pintura a cargo de la escritora Susan Albert y comenzar a trabajar en una exposición de esculturas que presentará el próximo año en el Museo de Arte de Puerto Rico. “Hago una representación del artista un tanto surrealista, que capture el mundo mágico de ese ser. Leo su biografía y me baso en fotografías tratando de ver más allá”, afirmó.
Carmona desarrolla la obra sobre una pieza de cartón que lleva una gráfica estampada -la que representa muchos boletos de los eventos que se han presentado el recinto- y la estructura del Coliseo.
Algunos de los artistas que ha pintado hasta el momento son Elton John, Michael Bolton, David Bisbal, Alejandro Sanz, Draco Rosa, The Police, Ricky Martin y Daddy Yankee, entre otros.
Precisamente, la reacción de los artistas al ver la obra ha sido uno de los aspectos más interesantes de este proyecto, según Carmona.
“No ha sido tan fácil llegar a ellos. Hay unos que no quieren recibir a nadie antes del concierto, porque no quieren perder la concentración. Pero luego cambian al ver la obra. Por ejemplo, Ricky Martin quedó muy impactado, al igual que Daddy Yankee y Draco, quien es mi amigo, quedó muy conmovido. A Michael Bolton también le gustó mucho y quiso que le hablara sobre su significado”, destacó el artista.
Uno de los ejemplos más significativos de la reacción de los artistas es la de Elton John, quien no quería recibir absolutamente a nadie en su camerino, ni siquiera a gente de la producción, pero cuando vio la obra se emocionó y fue muy simpático.
“Me dijo: ‘Mi respeto a usted, maestro’ y le dije ‘no, el maestro es usted’. Y me dijo que lo iba a colocar en su cuarto de música. Hasta se despidió de mí con dos besos, como hacen los europeos. Todo ese enigma que lo rodea se perdió, porque lo que quedó al descubierto fue su calidad de ser humano”, afirmó Carmona, quien también destaca que esta iniciativa demuestra la bondad del puertorriqueño.
Y es que para él, la satisfacción ha sido doble porque muchos de estos artistas son amantes del arte y cuentan con colecciones privadas significativas. Por otro lado, Carmona contó que en algunas de sus piezas se atrevió a tocar sutilmente una controversia del artista, como sucedió con Alejandro Sanz, a quien le dibujó un niño pequeño en alusión al hijo que tuvo fuera de matrimonio. Sin embargo, Sanz quedó encantado.
Otra de las experiencias que ha tenido es que el artista en el que se ha inspirado ha resultado ser muy distinto a lo que proyecta a través de su imagen en los medios. Así le ocurrió con Daddy Yankee, cuya imagen dura contrasta con su calor humano, algo que -sin embargo- Carmona captó y reflejó en la obra.
Por el momento el pintor continuará trabajando en este proyecto, pues supone que en el futuro también participarán otros de sus colegas.
Se espera que en septiembre, cuando sea el cuarto aniversario del Coliseo, se presente una exhibición con todas las piezas.
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