Juegos Indie y Sexo

Swordfight, a game by  Kurt Bieg and Ramsey Nasser
Swordfight, a game by Kurt Bieg and Ramsey Nasser

Swordfight es un juego físico para dos jugadores que llevan atados, mediante arneses, unos controladores Atari 2600 . Fue presentado este año en el Festival Come Out & Play y el objetivo del juego es pulsar el botón de tu oponente con tu joystick antes de que se presione el tuyo …  como muestra, este vídeo:

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En cierto sentido Swordfight me recuerda a Dark Room Sex Game del Copenhagen Game Collective, ambos pertenecen a este tipo de juegos en torno a temáticas erótico-sexuales, que ponen al jugador en la situación de dejar de lado algunos prejuicios sociales…


Conference proceedings: 1st International Scientific Conference in the cycle «What is scene design?»

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Spectator’s interaction: use of the smartphone on performance (p. 89). Francesca Mereu, Lara Sánchez Coterón.

Abstract: In the contemporary theatre the staging is growing in strength of
successive sequences of interaction with the environment, expressed at times
that are born and die before the actor, in apparent disorder, as a dislocated
images that need repairing. Interactive digital technologies, have played a
fundamental role in all this, although it is important to note that their role is
limited to the channel, the medium of expression. In other words, the
commitment to a common language towards a viewer 2.0, and the technical
characteristics of the medium favors the fluid between actor and spectator
capacity to decide on all the formal aspects of the show in real time.
This article examines the use of smartphones on the stage, as a interaction
instruments of the audience in contemporary performance. Audience
participation in performance goes back millennia to tribal rituals and
communal dances, and the futurists were the first in the twentieth century to
systematically initiate performance that relied upon direct interaction from their
audience, typically using conflict and provocation to incite the spectators into
action. This article insists on the historicity of such relationships and traces
how they have changed from the 1980s to a contemporary moment that sees
experimental performance in a closer relationship to the art world than ever
before. The integration of smartphone as interfaces is a natural evolution of
the game at theater prompting new questions as to the place of experimental
performance amongst the mediums of art practice.