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Luis Hernandez's views some of his ideas concerning
the relationship between space and time as being driven
by concepts, echoing physics, wherein each are not different
from each other. In this way, the artist explains how
the game reflects as humans, who have a determinate
life span, experience space and time as a limited resource.
"The idea of space time within Oversaturation is
basically subject to moddings and it is to be further
explored under different contexts. The binary, as downloaded
for the Internet has a specific speed and the structures
grow and solidify within a given time, while the cube
saturates in no more than 2 minutes per round. Time,
duration and speed, are the key factors in the game
experience. I wanted this specific configuration to
allow new users to get the right feeling of finishing
a game in little time, basically because of concerns
of media time. Also, as above stated, speaking about
the looping a game like this can present, as you play
it over and over, [it] encourages considerations of
time, duration and speed, which are to be set by the
user. You can mod all those parameters in the game by
opening the correct files and throwing away the gltronPrefs.txt
file, located in the ~/library/preferences directory,
to build yourself an affordable custom model."
Luis Hernandez's dialogue about his work served as an
exchange about his ideas as well as a resource which formally
spoke about his conceptual practice in his piece Oversaturation.
The concept of playing is an important factor for Luis
Hernandez's piece (and this also transpired in our conversations
together. ) For Luis play "constitutes cultural forms
and modalities of meaning that facilitates the norms and
codes of societal semiotics."2
Thus the verb, to play, as an action is delimited by a
mediated communication and a predetermined agenda, our
conversations worked within these definitions too. Our
paradigmatic question and answers were predetermined by
the very understanding of what was being delivered and
reflected what our current local geography were and how
these influenced our thoughts. Like gaming, our interactions
and experiences of the world are predetermined by a structure,
a specific context, and our performance is entangled within
a number of variables. On this occasion, Luis Hernandez
comments on the formal choices reflecting how his videogame
works within these bounds. Saturated realities are indeed
as an interface whether offered by a game or experienced
in real life; the production of game music is a mediated
communication; thus, all these elements and conceptual
ideas reside and rely on a relationship between time and
space-the mediation between a video game or life is just
another pre-determinant structure.
Footnotes:
2 Kampmann Walther,
"Playing and Gaming, Reflections and Classifications
[1]", referring to Johan Huizinga in Homo Ludens
(1938), http://www.gamestudies.org/0301/walther/
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