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War Media

Author: Triangulation

Section: NEW MEDIA

Date: 03.2014

 

This post shows a compilation of projects working on ideas based in the war field or pretty close of where many of the concepts and aesthetics come from video games and others from the real world, and also there are translations from the virtual scene to the physical space.

 

dust2dust, 2013 by Kent Sheely
In a modified version of a popular online wargame, two opposing teams of self-actuating firearms struggle for dominion over a dusty town somewhere in the Middle East.
The media presents war in simplistic terms: soldiers on either side of a conflict are either exalted as heroes or vilified as “the enemy.” Video games echo these harsh divisions in the way they differentiate between teams, allowing players to make split-second decisions about who they should be shooting.
When the uniforms and identifying features of combatants are stripped away, however, lines of division disappear, and determining the alignment of each combatant becomes impossible; the soldiers are reduced to weapons, wielded against one another.

 

(re):media, 2009 by Krista Wortendyke
Although most of us have never experienced war, we are surrounded by its imagery. (Re): media is an exploration of the way imagery and information from movies, videogames, newspapers, and the Internet come together to form our perception of war. Having never experienced war first-hand I am forced to put my faith in mediated expressions of the thing itself. By combining the imagery I pillage from all these sources, there is a possibility that what I am creating is more real than the individual images themselves. Explosions are war’s most universal and most spectacular signifiers. We are never falling short of this imagery. I have made use of these magnetizing images to show not only how the lines between fiction and non-fiction blur, but also to show how a mediated experience can become indecipherable from a real experience.

War Media l DRESSLAB

 

Afghan War Diary, 2010 by Matthieu Cherubini
The website connects to the server of online war game, Counter-Strike and retrieves frags (when a player kills another) in real-time. These frags trigger a chronological search in the Wikileaks database that contains over 75,000 secret US military reports on the war in Afghanistan. Based on the retrieved data, the website shows the location of the attack on Google Earth.
The story of the war in Afghanistan is thus generated by the virtual killings of the Counter-Strike’s players.

War Media l DRESSLAB

 

Formation (difference and repetition) series 2011 by Baden Pailthorpe
Made using an Afghanistan-based video game, Baden Pailthorpe’s ‘Formation’ series, explores the aesthetics and dynamics of opposition. In the work, two opposing forces of US soldiers and Taliban combatants follow invisible waypoints side-by-side. Oblivious to each other’s presence thanks to a hacked game setting, the usual violence of this relationship is transformed into a poetic, uncanny rhythm that repeats and amplifies the avatars’ movement.

 

HOTEL Episode 1, 2009 por Benjamin Nuel
“Hotel is a three-part project. The first is a kind of videogame. Indeed, terrorists and counter terrorists are isolated in a luxury hotel in the countryside. But no battles are being fought. It’s like a time-out in basketball… Neither violence nor action are taking place. It’s how I recreated, re-interpreted the “dead” moments of Silent Hill… The idea came from waiting times in Counter-Strike’s games. Once dead, the player can be in a very free browse mode in the level where he was just fighting. It controls a camera that goes very fast in all directions. It passes through the walls to literally leave the world and see it from afar, surrounded by a black nothingness, called the void. This can be done in “Hotel”. This gives an ambiguous place to the player who also has the opportunity to assist the daily routine of occupants.”
– Benjamin Nuel for Gamescenes

War Media l DRESSLAB

 

VVAR.BIZ, 2012 por Kim Asendorf
VVAR.BIZ is a web app that allows you to make war reports for everybody with an internet connection. With a simple click on the ‘war’ button the geolocation of a person at war becomes visible on the map.
War is abstract if you haven’t experienced it yourself. If you live in peace, war may even feel like a computer game, a game played by others, by soldiers with tanks and drones. Killing by screens. the times of ‘fair’ war are long gone, united nations ally to attack a single country, or dictators use their riches and armies to suppress their own people. Sure, war is and always was about technology, technical advantages determine the winner in most cases. What options do people have in an organized political conflict, led predominantly by high tech weapons? actually, just to spread the truth. This is important precisely because even the people of a belligerent nation usually don’t have a clue what is going on. Victims remain abstract if you don’t hear them scream.
Though maybe, in the age of digital media and the internet, VVAR.BIZ appears like a little weapon. A tool to report what may not remain secret. A place where war is revealed.
VVAR.BIZ brings peace and war closer together. Reflecting the understanding, the compassion and the conscience of people living in peace, they may refrain from pressing the ‘war’ button. Those that have experienced war can show the scars on the map.”

War Media l DRESSLAB

 

American Pixels, 2009-2010 por Jörg M. Colberg
“Image formats like jpeg (or gif) use compression algorithms to save space, while trying to retain a large fraction of the original information. A computer that creates a jpeg does not know anything about the contents of the image: It does what it is told, in a uniform manner across the image.”

War Media l DRESSLAB

 

Jordan Tate explores visual language and process through an examination of how we see, what we see, what merits being seen, and how images function in contemporary visual culture. The photographic image is still often viewed as a mechanical reproduction of reality. In this paradigm, the photograph functions not as an object, but as a conceptually transparent representation of a reproduced reality rather than an object loaded with historical and functional contexts.

War Media l DRESSLAB

 

Fake Ladder! is a fun piece where a fake ladder has been added as a spray in different locations of the game, many of them with no sense either destination despite that the player try to use it as functional and real ladder. Project by Michiel van der Zanden

 

Dust Excerpt 1, 2013 by Aram Bartholl
“While with the Dust project Aram Bartholl proposes to build the whole map as a building / sculpture / museum, Dust Excerpts are just pieces and sections from the game. On the way developing this rather large scale piece he is testing excerpts from the map in different formats, materials and locations. In this case Aram built 20 crates from the game and arranged them according to situations from in the map. The site is an old prison yard in Sheerbroke, Quebec which bears with its introversion a very similar quality like first person shooter computer game maps.”

War Media l DRESSLAB

War Media l DRESSLAB

 

Text_ Triangulation

 

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    Comments

  1. Guerilla Girl / 05.03.14

    really.. you couldn’t include at least one women working on these topics in your post.. ?

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