Video games as an art form - Wikipedia
MAEC - Mellwood Art & Entertainment Center's photo. SEP8 Splash into history at our first ever Mellwood Interactive Art Show on September 8th and 9th!. The Electronic Entertainment Expo (E3 ) was the 24th Electronic Entertainment Expo Electronic Arts; Microsoft; Bethesda; Devolver Digital Electronic Arts ran a separate event near the Convention Center, rather than Limited Run Games held its E3 press conference on June 11 at 12pm PT. Conference Dates, Nov 13, - Nov 17, We invite researchers, developers, and digital artists to share ideas on topics at the entertainment AI problems, enable new forms of interactive digital entertainment, literature from adjacent fields (including but not limited to psychology, art, music.
This began to change in as some courts began to make rulings in distinction and carving out narrow exceptions for some elements of video games. Louis County that "just like bingothe Court fails to see how video games express ideas, impressions, feelings, or information unrelated to the game itself". Entertainment Merchants Association the United States Supreme Court ruled that games are entitled to First Amendment protection, with the majority opinion reading, "Like the protected books, plays, and movies that preceded them, video games communicate ideas—and even social messages—through many familiar literary devices such as characters, dialogue, plot, and music and through features distinctive to the medium such as the player's interaction with the virtual world.What is Digital Art?
That suffices to confer First Amendment protection. Munroe suggested that video games often face a double standard in that if they conform to traditional notions of the game as a toy for children then they are flippantly dismissed as trivial and non-artistic, but if they push the envelope by introducing serious adult themes into games then they face negative criticism and controversy for failing to conform to the very standards of non-artistic triviality demanded by these traditional notions.
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He further explained games as a type of art more akin to architecture, in which the artist creates a space for the audience to experience on their own terms, than to a non-interactive presentation as in cinema. She feels video games should aspire to be toys through which adults can exercise their imaginations.
Infollowing an online discussion concerning whether or not knowledge of the game Doom was essential to a proper appreciation of the film Doom which Ebert had awarded one star as a commentary on the game,  Ebert described video games as a non-artistic medium incomparable to the more established art forms: 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. Are Video Games an Art Form?
- Video games as an art form
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As an example, Ebert posed the idea of a version of Romeo and Juliet that would allow for an optional happy ending. Such an option, according to Ebert, would weaken the artistic expression of the original work. Submissions should contain a link to the demonstration materials, which can take the form of a recorded demonstration session, an executable version of the demonstration with written instructions, or a detailed description of the demonstration heavily illustrated with screenshots.
Submissions will be judged on technical merit, accessibility to developers and researchers, originality, presentation, and significance. Complete games or other playable experiences are best suited for the playable experience track.
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This includes novel game designs that leverage existing AI techniques, as well as innovations in the techniques themselves that lead to new kinds of playable experiences. For example, AI-composed musical performances for audience consumption would be more at home in the demo track. Alternatively, participatory AI-facilitated musical theatre would be welcomed and encouraged as a playable experience. Playable experience submissions should be sufficiently complete and polished enough for new users to play them.
Submissions should be in PDF format and preferably follow AAAI two-column, camera-ready style as above; however, Playable Experience authors may submit their content in any reasonable format for review, and AIIDE will assign an editor to help meet publication formatting requirements for accepted work.
It should also include a publicly accessible link to a web-based, mobile, or downloadable player experience, as well as instructions for how to play it. This link must remain live at least through the end of the conference. If the playable experience cannot be remotely distributed e. The peer review process for playable experiences is not blind.
The abstract will be published in the conference proceedings. Authors will have the opportunity to show their playable experience during the evening reception of the AIIDE conference. Playable experience authors are expected to attend the conference in-person to showcase their work.
The conference organizers are currently exploring opportunities for providing travel support to facilitate participation of authors with financial need. For examples of previously accepted playable experiences, please see: Research prototypes, AI-based software tools, and non-interactive systems are best suited for the demo track.
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The purposes of the artifact evaluation are: To promote reproducibility of our research results by reviewing the claims made in the paper and how well they are supported by the corresponding software; To promote reuse by encouraging authors to release software that is well-documented and easy to use by peers; To recognize software artifacts as important scholarly contributions in addition to the paper itself.
All submitted artifacts will be stringently peer reviewed through a separate review process from the main conference.
Artifact evaluation is an optional round of additional reviewing available to authors of accepted papers and posters; the quality of artifacts will not affect acceptance decisions for main conference papers in any way. One companion artifact may be submitted per paper.
Artifacts may only be submitted if they are associated with an accepted paper or poster in the main conference. Questions about the artifact evaluation process should be directed to the Artifact Evaluation co-chairs: Chris Martens and Rogelio Cardona-Rivera.
Workshop participants will have the opportunity to meet and discuss issues with a selected focus, providing an informal setting for exchange ideas. In54 percent of streaming video subscribers said they had signed up for a service to watch original content. This content may be driving more consumers to watch via paid streaming services than free streaming services, a trend that flipped in figure 2.
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The high quality of original content being offered by video streaming services was officially recognized at the Golden Globe Awards, when the three largest streaming video services, Netflix, Hulu, and Amazon by number of subscribers combined to win 5 of 11 awards in the television category. Nearly one-half 48 percent of all US consumers streamed television content every day or weekly incompared with just 37 percent of consumers doing so in figure 3.
Video streaming trends cause industry to rethink business models As video streaming becomes more frequent, and as more and more original content becomes available, traditional and premium cable broadcasters will continue to see fierce competition from technology companies that, in just a few short years, have morphed from distribution platforms into formidable sources of programming.
In addition, media companies are increasingly going direct-to-consumer with their own digital streaming services. One challenge, however, is that consumers may be reluctant to pay for exclusive content on top of their other paid subscription services.
They may find multiple subscription services to be costly and confusing, and choose to scale back. For this reason, we may see some form of reaggregation over the next year or two as limits on consumer spending could hinder the growth of certain content platforms.
Pay TV is increasingly under siege because it often does not deliver the value consumers expect in the digital age—the content they want, whenever they want it, on their device of choice. In addition, since many pay TV subscription packages include hundreds of channels many of them unwantedcontent discovery has become difficult for consumers.
As a result, subscribers perceive a widening value gap between what they expect and what pay TV providers actually deliver. In fact, in our survey, nearly one-half of all pay TV subscribers said they are dissatisfied with their service. Cost is a big reason: This dissatisfaction is widespread, even among boomers and matures, most of whom rely on their pay TV subscriptions for the vast majority of their video entertainment figure 4. Value gap causes decline in pay TV penetration Inthe pay TV value gap produced an inflection point for providers.
Our study revealed that, after remaining steady at about 75 percent for years, pay TV penetration fell to 63 percent in Subscribers are leaving for many reasons We have noted the widespread dissatisfaction with pay TV among subscribers. But the steep decline in pay TV penetration during was driven by a variety of factors. Of course, two key reasons were: However, our study showed that there are other causes as well: Another 19 percent say they simply cannot afford it.
The threat to pay TV services is not limited to the factors outlined above. What could happen when alternative Internet access technologies such as 5G become widely available? With pay TV and home broadband, most consumers feel they are not getting enough value for their dollar. Streaming services have given them an alternative for their entertainment, and they are starting to cut the cord in earnest. In a couple of years, the availability of 5G could lead them to do the same for connectivity—and encourage those still holding onto their cable and connectivity bundle to drop the whole thing.
Generation X will experience the highest increase in share of national wealth through the forecast period, growing from under 14 percent of total net wealth in to nearly 31 percent by On the other hand, because Gen X consumers are watching more streaming services and watching video on mobile devices, it may be more challenging for pay TV providers to keep them in the fold.