Games leaking out

Once your museum has started collecting video games, how do you place them alongside other types of art? Eron Rauch is disappointed with how the MOMA displays Dwarf Fortress:

In fact, seeing the display, I was a bit flummoxed that I had learned so much more about the game from the text of a New York Times Magazine article than actually seeing the object in one of the most preeminent museums in the world. In fact, the truly stunning thing about Dwarf Fortress is how the game makes you painfully aware of the stupendous number of challenges and choices that we take for granted. We live in a world with nested landscapes: some visual, some institutional, and the game is not just an ASCII screen saver, it is a meditation on how overwhelmingly complex it is to even make a crude dwarf chair, let alone the low-slung museum-pieces sitting in the next room over.

Alex Fleetwood lays out a vision for a future in which spaces for gaming are publicly mapped out and funded, similar to Channel 4 or the British Film Instutute. But more importantly, he wants to see public gaming handled by new organizations rather than added to the plates of existing agencies:

Hide&Seek has operated in a landscape dominated by policy that requires existing cultural organisations to change. They have to become digital, adapt their business model, embrace new technologies, chase after participating audiences. To ‘innovate’. The policy makers set targets to measure their success. So the cultural organisations in turn looked to outfits like Hide&Seek. Our work proved useful, in this context, for their instrumental effects in achieving those targets. Games get the kids interested. They make money. They create ‘participation and engagement’. That means never being asked to create a game for its own sake. Never being part of a conversation where the value of the game itself is something under consideration. Always hedging one’s own creativity and ideas in the service of another artform’s values.

Google really wants to make self-driving cars a thing.

Avi Bisram: “Design thinking is killing creativity:”

As design thinking moved closer across the chasm to the business, it further evolved and started to inherit the problems that businesses so hoped that design thinking would solve and move beyond. For one, design thinking’s consumer focused methodology was used to validate rather than predict. We explored a similar discussion in the post “user centered design is dead”. We were now asking consumers “What Next”, instead of leading with compelling and meaningful solutions. As a result, we just kept on optimizing rather than innovating.

Today’s candy: here’s what happens when you run 2000 volts through a plasma TV. The fireworks begin around 3:30: