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Auriea Harvey & Michaël Samyn 实时艺术宣言 (2006)

叶梓涛 落日间 2022-03-22

译者按

这是一个很长、也很久远的故事,这篇宣言可算是这个故事的开头。
在阅读和翻译时我感到了一种巨大的错位。
两位艺术家 Auriea Harvey 与 Michaël Samyn 近二十年前,在欧洲创建了 Tale of Tales 这个艺术游戏工作室,进行着探索游戏边界的实验与有着明确原则与方向的创作。
这篇宣言中对于实时艺术与电子游戏的理解与深刻思索直至今天依旧超前,从创作、故事、设计到出版发行均有涉及。
他们批判保守的商业游戏,并一针见血地指出「很多商业游戏中的个别要素通过技艺或精心制作,产生了艺术效果,但这整个产品却并非艺术。」。
他们对于当代艺术有一种强烈的不满,「别做现代艺术!」他们这样警告道,「做艺术-游戏,别做游戏-艺术」,当代艺术在他们眼中刻薄,自以为是,害怕美好,害怕意义,恐惧技术,为了被写入馆藏而做而非为人们而做,并且最重要的,当代艺术缺乏技艺(artistry),大部分当代艺术做的艺术游戏糟蹋了这种早已催生了远超现代艺术交流能力边界艺术形式的技术。
而看着这些依旧超前与准确的思考而不时激动和感慨的我,却是在近二十年后的今天才因翻译而阅读到,并依然觉得这之于国内业界与艺术界都是从未有过的成熟思考。
更加讽刺的是, Tale of Tales 早在2015年他们两人的商业独立游戏作品《SUNSET 日落》失败后愤然关闭不再制作商业游戏作品(新的工作室名叫Song of Songs),这个作为落日间名字来源的游戏作品成了 Tale of Tales 的落日(And the sun sets…[1])。


我们在已结束故事的开端处感慨与追望。

Tale of Tales(Auriea Harvey & Michael Samyn)

http://tale-of-tales.com/about.php
Tale of Tales 是 Auriea Harvey 和 Michael Samyn 的电子游戏开发工作室,成立于2003年。我们的目标是为计算机互动娱乐创造优雅和情感丰富的艺术。
作为艺术家,我们专注于美和喜悦。我们希望为人们创造艺术。这就是为什么我们在网上、便宜地发布我们的作品。
作为设计师,我们希望电子游戏能像其他媒介一样多样且富有意义。我们希望创造出对玩家和非玩家都有吸引力的游玩体验。
我们尝试设计表达式的界面,通过简单的操控来达及引人入胜的诗意叙事。
作品有《SUNSET》《The Graveyard》《THE PATH》《FATALE》《BIENTÔT L'ÉTÉ》《LUXURIA SUPERBIA》等。
Auriea和 Michaël 都接受过艺术训练。Auriea (出生于1971) 在纽约的帕森斯学院学习雕塑,Michaël 在比利时根特的 Sint Lucas 学习平面设计。我们从 Windows 3.1 和 Mac System 7 开始使用电脑。
我们1999年在网上相遇,作为围绕着hell.com域名的在线艺术家集体的成员。从我们相遇的那天起,我们就一直在合作。起初,作为Entropy8Zuper!为客户设计网站和网络艺术作品。然后扩展到其他类型的互动项目。自2002年以来,我们一直专注于电子游戏。
2015年,我们放弃了商业生产,转而将我们的生活全然奉献给缪斯。我们继续探索技术的奥妙,以追求艺术和美丽的 Song-of-Songs,2019年,我们从美丽的中世纪城市比利时根特搬到了永恒辉煌的罗马。
严格来说,Tale of Tales 只有两人。但这也是一段合作的历史。事实上,可以说我们把每个电子游戏作为机会来接触我们所欣赏的有才华的人。有时候这些人是行业老兵,但他们往往是才华横溢的艺术家,我们认为他们能为这个媒介贡献独特的专业性。
目前的主要重点是重制我们的首版的《The Endless Forest》。进展情况可以在开发日志中看到。我们仍然非常欢迎大家在筹款页面上支持此免费游戏的开发和扩展。除此以外,我们还在继续进行「云中教堂项目」(Cathedral-in-the-Clouds)的工作

译注
The Endless Forest :在联网的如田园般的森林中,奇异的鹿与线上的许多朋友在完美的和谐中快乐地玩耍。这里没有暴力,没有聊天,没有任务,没有竞争。发现远古的造物,有机会见到森林之神,并感受他们的无限神力。
「云中教堂」项目:一个数字艺术项目。一个不断扩大的虚拟三维景观集合的虚拟现实教堂,供人们沉思。许多这些景观的灵感来自于宗教图像,但这种体验无需要信仰。并通过各种媒体单独免费分发。2021年发布的新作品《Compassie》是其中一部分,来自佛兰芒语中的怜悯一词,是 VR 中的一幅哀悼基督像(pietà) 

*合作的历史部分原文处感谢了许多和他们合作的艺术家,可在原链接查看
*为这篇文章与这两位创作者写的原按已经足以单独成文,计划未来在新栏目 游戏作者AUTEURS 中另外发布,此处不多赘述,有兴趣提前阅读的朋友可以在爱发电上读到草稿。
*因为Manifesto宣言的独特性质,此处翻译保留原文对照,并保持原有排版,空行使用「-」进行代替。
*翻译得到原作者 Auriea Harvey 授权

*封面来自其作品《BIENTÔT L'ÉTÉ》,gif 图来自其实验创作 CNCNTRC,此外他们的作品介绍有我见过写得最美的。


REALTIME ART MANIFESTO 实时艺术宣言

Auriea Harvey & Michaël SamynDirectors, Tale of Tales, ram@tale-of-tales.com[2]
Gaming realities: the challenge of digital culture 游戏现实: 数字文化的挑战
mediaterra festival of Art and Technology[3] 地中海艺术科技节
Athens, 2006 雅典 2006
原文链接:http://tale-of-tales.com/tales/RAM.html
翻译:叶梓涛

Abstract 摘要

Auriea Harvey and Michaël Samyn are new media artists who have embraced realtime 3D game technology as their artistic medium of choice. Realtime 3D is the most remarkable new creative technology since oil on canvas. It is much too important to be wasted on computer games alone. This manifesto is a call-to-arms for creative people (including, but not limited to, video game designers and fine artists) to embrace this new medium and start realizing its enormous potential. As well as a set of guidelines that express our own ideas and ideals about using the technology.
Auriea Harvey 和 Michaël Samyn 是新媒体艺术家,他们选择将实时3D游戏技术(realtime 3D game technology)作为其艺术媒介。实时3D是自布面油画以来最值得注意的新创意技术。它太重要而不能被仅在电脑游戏上浪费。本宣言是对创意人士的呼吁(包括但不限于游戏设计师和纯艺术家),期望能一起拥抱这种新的媒介,并开始实现其非凡的潜力。同样这宣言也是表达我们自己对使用该技术想法和理想的准则。

1.Realtime 3D is a medium for artistic expression. 实时3D是一种艺术表达的媒介。2.Be an author. 成为一名作者。3.Create a total experience. 创造一个完整的体验4.Embed the user in the environment. 将用户嵌入环境中5.Reject dehumanisation: tell stories. 拒绝非人性化:讲故事6.Interactivity wants to be free. 交互性希望是自由的7.Don’t make modern art. 别做现代艺术8.Reject conceptualism. 拒绝观念主义9.Embrace technology. 拥抱技术10.Develop a punk economy. 发展一种朋克经济

Keywords 关键词

realtime 3d 实时3D
computer games 电脑游戏
interactive storytelling 交互叙事
game design 游戏设计
artistry 技艺
non-linearity 非线性

REALTIME ART MANIFESTO 实时艺术宣言

1. Realtime 3D is a medium for artistic expression. 实时3D是一种艺术表达的媒介。

Games are not the only things you can make with realtime 3D technology.
用实时3D技术并非只能做游戏。
And modification of commercial games is not the only option accessible to artists.
对商业游戏进行修改(mod)并非艺术家唯一选项。
-
Realtime 3D is the most remarkable new creative technology since oil on canvas.
实时3D是布面油画后最值得注意的新创意技术。
It is much too important to remain in the hands of toy makers and propaganda machines.
它太重要了,不能只留在玩具制造商或者宣传机器手中。
We need to rip the technology out of their greedy claws and put them to shame by producing the most stunning art to grace this planet so far.
我们需要将此技术从他们贪婪的手中解救,并且创造出令这些人感到羞愧、且迄今为止最令人惊叹的艺术
(And claim the name “game” for what we do even if it is inappropriate.)
(并将我们所做的事物称作「游戏」,即便其并不恰当)
-
Real-time 3d interactives can be an art form unto themselves.
实时3D交互本身就可成为一种艺术形式。

2. Be an author. 成为一个作者。

Do not hide behind the freedom of the user in an interactive environment to ignore your responsibility as a creator.
不要躲避在「交互性环境中用户是自由的」借口背后,而忽略了你作为创造者的责任。
This only ends in confirming cliches.
这样做的结果只会重复陈词滥调。
Do not design in board room meetings or give marketeers creative power.
不要在董事会议上做设计,也不要给市场人员以创造性的权力。
Your work needs to come from a singular vision and be driven by a personal passion.
你的作品需要来自于一个独异的构想,并由个人的激情驱动。
Do not delegate direction jobs.
不要把指挥权授于他人。
Be a dictator.
做一个独裁者。
But collaborate with artisans more skilled than you.
但与其他技能比你更好的手艺者合作。
-
Ignore the critics and the fanboys.
忽视批评与拥趸。
Make work for your audience instead.
而为你的受众做作品。
Embrace the ambiguity that the realtime medium excels in.
拥抱实时媒体所擅长的多义性。
Leave interpretation open where appropriate but keep the user focused and immersed the worlds that you create.
在适当的地方留下阐释的余地,但让用户关注并沉浸在你所创造的世界中。
-
Commercial games are conservative, both in design as in mentality.
商业游戏是保守的,无论是设计还是思维方式上。
They eschew authorship, pretending to offer the player a neutral vessel to take him or her through the virtual world.
他们回避作者性,假装给玩家提供一个中立性的容器来带他(她)穿过虚拟世界。
But the refusal to author results in a mimicking of generally accepted notions, of television and other mass media.
但对作者身份的拒斥带来的是对电视或其他大众传媒那些普遍接受观念的模仿。
Banality.
平庸。
Reject pure commercialism.
拒绝纯粹的商业主义。
Individual elements of many commercial games made with craft and care produce artistic effects but the overall product is not art.
很多商业游戏中的个别要素通过技艺或精心制作,产生了艺术效果,但这整个产品却并非艺术。
Some commercial games have artistic moments, but we need to go further.
一些商业游戏有艺术性的时刻,但我们需更进一步。
-
Step one: drop the requirement of making a game.
第一步:放弃对「制作一个游戏」的要求。
-
The game structure of rules and competition stands in the way of expressiveness.
规则和竞争的游戏结构阻碍了表达。
-
Interactivity wants to be free.
交互性希望是自由的。
-
Gaming stands in the way of playing.
「游戏」阻碍了「玩」的过程
There are so many other ways of interacting in virtual environments.We have only just begun to discover the possibilities.
在虚拟环境中有很多其他的交互方式。而我们才刚刚开始探索这些可能。
Games are games.
游戏就是游戏
They are ancient forms of play that have their place in our societies.But they are by far not the only things one can do with realtime technologies.
游戏是「玩」的古老形式,在我们的社会中占有一席之地。但并非实时技术唯一能做的事。
-
Stop making games.
别做「游戏」了,
Be an author.
做个作者吧。
-

3. Create a total experience. 创造一个完整的体验。

Do not render!
不要渲染!
-
All elements serve the realisation of the piece as a whole.
所有要素都是作为整体的部分实现。
Models, textures, sound, interaction, environment, atmosphere,drama, story, programming
模型,材质,声音,交互,环境,氛围,戏剧,故事,编程
are all equally important.
都同等重要。
Do not rely on static renderings.
不要依赖静态渲染。
Everything happens in real time. The visuals as well as the logic.
一切都实时发生。包括视觉和逻辑。
Create multi-sensorial experiences.
创造多感官的体验。
Simulate sensorial sensations for which output hardware does not exist (yet).
「模拟」输出硬件还(尚未)存在的感官感受。
Make the experience feel real
让体验感觉真实
(it does not need to look real).
(而并不需要看起来真实)
Do not imitate other media but develop an aesthetic style that is unique.
不要模仿其他媒体,而是发展一种独特的美学风格。
-
Make the activity that the user spends most time doing the most interesting one in the game.
让用户花费时间最多的活动成为游戏中最有趣的那个。
-
It’s not about the individual elements but about the total effect of the environment.
其各部分的总和。
The sum of its parts.
这并不是关于个别要素,而是环境的总体效果。
In the end the work is judged by the quality of authorship
最终,作品的评判应以整体作者性的质量
and not by its individual elements.
而非个别要素。
-
Models, textures, sound, interaction design, environment design, atmosphere, drama, story, programming.
模型,材质,声音,交互设计,环境,氛围,戏剧,故事,程序。
Together without hierarchy.
无层次地汇聚。
No element can be singled out. All are equally important.
没有一个要素能被分离出来。所有都同等重要。
Create a simulated multi-sensorial experience.
创造一个模拟的多感官体验。
Not only a picture.
而不只是一张照片。
Or only a game.
或只是一个游戏。
Or only a soundtrack.
或只是一段音轨。
-

4. Embed the user in the environment. 将用户嵌入环境中

The user is not disembodied in virtual space
用户在虚拟空间中不是 非具身的
but takes the body into the experience.
而是把身体带入了体验。
The avatar is not a neutral vessel but allows the user to navigate
化身并非中立的容器,而是使用户得以探索
not only through the virtual space
不仅探索虚拟空间
but also through the narrative content.
也包括叙事内容
Interaction is the link between the user and the piece.
交互是用户和作品之间的联系。
Provide for references
提供参照
(both conceptual and sensorial)
包括概念上和感知上
to connect the user to the environment.
将用户与环境连接
Reject abstraction.
拒绝抽象。
Make the user feel at home.
让用户有家的感觉
(and then play with his
(按照他
or her
或她
expectations
的期望来玩
-just don’t start with alienation,
只要不从异化/疏离开始。
the real world is alienationg enough as it is)
现实世界已经足够异化/疏离了)
-
Reject the body-mind duality.
拒绝身心的二元对立
The user is the center of the experience.
用户是体验的中心
Think “architecture”, not “film”.
想想「建筑」,而非「电影」
-
Interaction is pivotal
交互是关键
to “put the user in the environment”.
对于「将用户放在环境中」
The user is not disembodied but is provided with a device
用户并不是「非具身」的,而是被提供了一个设备
(similar to a diving suit or astronaut’s outfit)
(类似于潜水服或宇航员的装备)
which allows him
它允许他
or her
或她
to visit a place that would otherwise not be accessible.
来到一个除此之外无法进入的地方
You bring your body with you to this place,
你带着你的身体来到这里,
or at least your memories of it.
或至少是你对身体的记忆。
-
Strictly speaking, our output media only allow for the reproduction of visuals and sound .
严格说来,我们的输出媒体只允许视觉和声音的再造。
But real-time interaction and processing can help us to achieve simulation of touch, smell and taste as well, through visuals and sound.
但实时交互和处理可以帮助我们通过视觉和声音也实现对触觉、嗅觉和味觉的模拟。
In fact, force feedback already provides for a way to communicate with touch.
事实上,力反馈已提供了一种以触摸交流的方式。
And the activity of fingers on the mouse or hands holding a joystick allows for physical communication.
而手指在鼠标上或摇杆上的活动可以实现身体的交流。
Don’t underestimate this connection.
不要低估这种连接。
From the USB port to the joystick. Through the hand to the nervous system.
从 USB 端口到摇杆。通过手到神经系统。
One network.
是一个网络。
-
Soon as smell and taste can be reproduced, those media can quickly be incorporated into our technology.
很快,嗅觉和味觉可以被再造,这些媒介可以很快被纳入我们的技术。
-
The virtual place is not necessarily alien.
虚拟之地并非一定是陌异的。
On the contrary:
恰恰相反
It can deal with any subject.
它能够处理任何主题
References to the real world
对现实世界的参照
(of nature as well as culture)
(包括自然与文化)
(both conceptual and sensorial)
(包括概念性与感官性的)
create links between the environment and the user.
在环境与用户之间创造连接
Since interaction is pivotal, these links are crucial.
由于交互是关键,这些连接也至关重要的。
-
Make it feel real, not necessarily look real.
让它感觉真实,而不一定是看起来真实。
-
Develop a unique language for the realtime 3D medium and do not fall in MacLuhan’s trap
为实时3D媒介发展一种独特的语言,不要落入麦克卢汉的陷阱
(don’t allow any old medium to become the content of the new)
(不要让任何旧媒介成为新媒介的内容)
Imitate life and not photography, or drawings, or comic strips or even old-school games.
模仿生活,而非摄影,或绘画,或漫画,甚至老式的游戏。
Realism does not equal photo -realism!
现实主义不等于照片-写实主义!
In a multisensory medium, realism is a multisensory experience:
在一个多感官的媒介中,现实主义也是一种多感官的体验:
It has to feel real.
它必须让人感觉真实
-

5. Reject dehumanisation: tell stories. 拒绝非人性化:讲故事

Stories ground people in culture,
故事为人们在文化中提供基底,
(and remove the alienation that causes aggression)
(并消除导致攻击性的疏离)
stimulate their imagination,
激发他们的想象力
(and therefore improve the capability to change)
(并因此提高改变的能力)
teach them about themselves
让他们了解自己
and connect them with each other.
并使他们相连。
Stories are a vital element of society.
故事是社会至关重要的元素。
-
Embrace non-linearity.
拥抱非线性
Let go of the idea of plot.
放弃情节的想法。
Realtime is non-linear.
实时性是非线性的。
Tell the story through interaction.
通过交互来讲述故事。
Do not use in-game movies or other non-realtime devices to tell the story.
不要使用游戏中的电影或其他非实时的手法来讲述故事。
Do not create a “drama manager”: let go of plot!
不要创建一个「戏剧管理器」:放开对情节的控制!
Plot is not compatible with realtime.
情节与实时性不相容。
-
Think “poetry”, not “prose”.
想想「诗」,而非「散文」
-
The ancient Greek philosopher Aristotle recognized six elements in Drama.
古希腊哲学家亚里士多德认识到戏剧的六要素
PLOT
情节
what happens in a play, the order of events,
戏剧中发生的事情,以及事件的顺序。
is only one of them.
只是其中之一。
Next to plot we have
在情节之外,我们还有
THEME
主题
or the main idea in the work
或者说作品主要的想法
CHARACTER
角色
or the personality or role played by an actor
或者说由演员所表演的人物或角色
DICTION
言辞
the choice and delivery of words
词语的选择和传达
MUSIC/RHYTHM
音乐/节奏
the sound, rhythm and melody of what is being said
被说出内容的声音、节奏与旋律。
SPECTACLE
景观
the visual elements of the work.
作品的视觉要素
All of these can be useful in non-linear realtime experiences. Except plot.
所有的这些都可以在非线性的实时体验中发挥作用,除了情节。
-
But the realtime medium offers additional elements that easily augment or replace plot.
但实时媒体提供了额外的要素可以很容易地补充或替代情节
INTERACTIVITY
交互性
the direct influence of the viewer on the work
观者对于作品的直接影响
IMMERSION
沉浸
the presence of the viewer in the work
观者在作品中的在场
AN AUDIENCE OF ONE
一个人的观众
every staging of the work is done for an audience of a single person in the privacy of his
作品每次都是为了这单人的观众而上演,私密地在他 or her
或者她 home.
的家中。
-
These new elements add the viewer as an active participant to the experience.
这些新的元素将观者作为体验的一个积极参与者。
This is not a reduction of the idea of story but an enrichment.
这不是对故事想法的削弱,而是一种丰富。
Realtime media allow us to tell stories that could not be told before.
实时媒体使我们能够讲述过去无法讲述的故事。
-
Many of the mythical fantasies about art can now be made real.
许多关于艺术如神话般的幻想现在能成为现实。
Now we can step into paintings and become part of them.
现在我们能走进画中,成为它们的一部分。
Now sculptures can come alive and talk to us.
现在,雕塑能活过来,与我们对话。
Now we walk onto the stage and take part in the action.
现在我们走到了舞台上,参与到演出中。
We can live the lives of romance characters.
我们能体验浪漫人物的生活。
Be the poet
成为诗人
or the muse.
或缪斯。
-
Do not reject storytelling in realtime because it is not straightforward.
不要因为它不直接就拒绝在实时中讲故事。
Realtime media allow us to make ambiguity and imagination active parts of the experience.
实时媒体使我们能够将多义性与想象力成为体验的积极部分。
Embrace the ambiguity:
拥抱多义性:
it is enriching.
它是充实的。
The realtime medium allows for telling stories that cannot be told in any other language.
实时媒体允许讲述那些用任何其他语言都无法讲述的故事。
-
But realtime is not suitable for linear stories:
但实时性不适合线性故事。
-
Embrace non-linearity!
拥抱非线性!
Reject plot!
拒绝情节!
-
Realtime is a poetic technology.
实时是一种诗意的技术。
Populate the virtual world with narrative elements that allow the player to make up his or her own story.
在虚拟世界中填充叙事元素,使玩家能够组织他/她自己的故事。
Imagination moves the story into the user’s mind.
想象使得故事进入用户脑海。
It allows the story to penetrate the surface and take its place amongst the user’s thoughts & memories.
它使得故事穿透表面并在用户的思想和记忆中占有一席之地。
-
The bulk of your story should be told in realtime, through interaction.
你的故事主体应通过交互,在实时中被讲述。
Do not use in-game movies or other devices.
不要使用游戏中的电影或其他手法。
Do not fall back on a machine to create plot on the fly:
不要求助于机器来随意创造情节。
let go of plot,
放开情节。
plot is not compatible with realtime.
情节与实时性不相容。
-
Do not squeeze the realtime medium into a linear frame.
不要把实时媒介挤压到一个线性框架中。
Stories in games are not impossible or irrelevant, even if “all that matters is gameplay”.
游戏中的故事并非不可能或不相干,即使 「最重要的是玩法」。
Humans need stories and will find stories in everything.
人类需要故事,并会在一切中发现故事
Use this to your advantage.
让其成为你的优势
Yes, “all that matters is gameplay”,
是的,「玩法十分重要」
if you extend gameplay to mean all interaction in the game.
如果你把玩法的涵义扩展到游戏中所有互动的话
Because it is through this interaction that the realtime medium will tell its stories.
因为正是通过这种交互,实时媒介将讲述它的故事。
-
The situation is the story.
情境就是故事。
Choose your characters and environment carefully
精心选择你的角色与环境
so that the situation immediately triggers narrative associations in the mind of the user.
以便情境能够马上激起用户脑中叙事性的联想
-

6.Interactivity wants to be free. 交互性希望是自由的

Don’t make games.
不要做游戏。
The rule-based structure and competitive elements in traditional game design stand in the way of expressiveness.
传统游戏设计中基于规则的结构和竞争要素阻碍了表达性。
And often, ironically, rules get in the way of playfulness
而且,具有讽刺意味的,规则往往阻碍了玩乐。
(playfulness is required for an artistic experience!).
(玩乐对于一段艺术体验来说是必要的!)
-
Express yourself through interactivity.
通过交互性来表达你自己。
Interactivity is the one unique element of the realtime medium.
交互性是实时媒介的一个独特元素。
The one thing that no other medium can do better.
是其他媒介无法做得更好的事情。
It should be at the center of your creation.
它应成为你创作的中心。
-
Interactivity design rule number one:
交互性设计规则一:
the thing you do most in the game, should be the thing that is most interesting to do.
你在游戏中做得最多的事,应该也是最有趣的那个。
i.e., If it takes a long time to walk between puzzles, the walk should be more interesting than the puzzles.
也就是说,如果在谜题间的行走需要很长时间,那行走应比谜题更有趣。
-

7.Don’t make modern art. 别做现代艺术

Modern art tends to be ironical, cynical, self referential, afraid of beauty, afraid of meaning
现代艺术往往是讽刺的、愤世嫉俗的、自我指涉的、害怕美好、害怕意义的
-other than the trendy discourse of the day-,
——除了当下的时髦话语外——
afraid of technology, anti-artistry.
害怕技术,反对技艺
Furthermore contemporary art is a marginal niche.
此外当代艺术是一个边缘化小生态
The audience is elsewhere.
观众都在其他地方
Go to them rather then expecting them to come to the museum.
去找他们,而不是盼望着他们来博物馆
Contemporary art is a style, a genre, a format.
当代艺术是一种风格,一种类型,一种格式
Think!
想想吧!
-
Do not fear beauty.
别害怕美。
Do not fear pleasure.
别害怕愉悦
-
Make art-games, not game-art.
做艺术-游戏,别做游戏-艺术
Game art is just modern art
游戏艺术只是现代艺术
-ironical, cynical, afraid of beauty, afraid of meaning.
讽刺、愤世嫉俗、害怕美好、害怕意义。
It abuses a technology that has already spawned an art form capable of communicating far beyond the reach of modern art.
它糟蹋了一种早已催生了远超现代艺术交流能力边界的艺术形式的技术,
Made by artists far superior in artistry and skills.
而这由那些在技艺与能力上远远胜出的的艺术家制作。
Game art is slave art.
游戏-艺术是奴隶的艺术
-
Realtime media are craving your input, your visions.
实时媒体正期望你的投入,你的愿景。
Real people are starving for meaningful experiences.
真实的人正渴望充满意义的体验。
And what’s more:
而且,更重要的是。
-
Society needs you.
社会需要你
-
Contemporary civilisations are declining at an unsurpassed rate.
当代文明正飞速衰落。
Fundamentalism.
原教旨主义。
Fascism.
法西斯主义。
Populism.
民粹主义。
War.
战争。
Pollution.
污染。
The world is collapsing while the Artists twiddle their thumbs in the museums.
世界在崩塌,而「艺术家」们却在博物馆里无所事事。
-
Step into the world.
踏入世界中
Into the private worlds of individuals.
进入到个体的私人世界
Share your vision.
分享你的愿景
-
Connect.
连接
Connect.
连接
Communicate.
沟通
-

8. Reject conceptualism. 拒绝观念主义

Make art for people,
为人们制作艺术
not for documentation.
而不是为了被收录记载
Make art to experience
为了体验而制作艺术
and not to read about.
而不是为了被阅读
Use the language of your medium to communicate all there is to know.
使用你媒介的语言来沟通一切需要了解的东西。
The user should never be required to read a description or a manual.
用户不应被要求阅读说明或指南。
-
Don’t parody things that are better than you.
不要戏仿那些比你做得更好的东西。
Parodies of commercial games are ridiculous if their technology, craft and artistry do not match up with the original.
如果商业游戏的戏仿者的技术、工艺和技艺不能与原作相提并论,那十分可笑的。
Don’t settle yourself in the position of the underdog: surpass them!
不要把自己放置在弱者的位置上:超越他们!
Go over their heads!
让他们难以理解!
Dominate them!
影响他们!
Show them how it’s done!
向他们展示应如何做到!
-
Put the artistry back in Art.
让技艺回归艺术
Reject conceptualism.
拒绝观念主义
Make art for people, not for documentation.
为人们做艺术,而不是为了被收录记载
Make art to experience and not art to read about.
为了体验而不是阅读制作艺术
-
Use the language of your work to communicate its content.
用你作品的语言来传达其内容。
-
The audience should never be required to read the description.
观众不应被要求去阅读描述。
The work should communicate all that is required to understand it.
作品应传达它所需被理解的一切。
-

9. Embrace technology. 拥抱技术

Don’t be afraid of technology,
别害怕技术
and least of all, don’t make art about this fear.
尤其别做关于这种恐惧感的艺术
It’s futile.
这是徒劳的
Technology is not nature. Technology is not god.
技术不是自然。技术不是神
It’s a thing.
它就是个东西
Made for people by people.
由人制造给人
Grab it. Use it.
抓住它。使用它。
-
Software is infinitely reproducible and easy to distribute.
软件可以无限复制且容易进行分发
Reject the notion of scarcity.
拒绝稀缺性的概念。
Embrace the abundance that the digital allows for.
拥抱数字带来的丰饶
The uniqueness of realtime is in the experience.
实时的独特性就在于体验。
-
Cut out the middle man: deliver your productions directly to the users.
去掉中间人:将你的作品直接交付给用户
Do not depend on galleries, museums, festivals or publishers.
不要依赖画廊、博物馆、艺术节或发行商
-
Technology-based art should not be about technology:
基于技术的艺术不应是关于技术
it should be about life, death and the human condition.
它应该是关于生命、死亡和人的境况。
-
Embrace technology, make it yours!
拥抱技术,让它成为你的!
-
Use machines to make art for humans, not vice versa.
用机器为人类创造艺术,而不是相反。
-
Make software!
制作软件!
Software is infinitely reproducable
软件是无限可复制的
(there is no original; uniqueness is not required
(没有原件;不需要独一性
-the uniqueness is in the experience)
独一的是体验)
Distribution of software is easy through the internet or portable data containers
软件的分发很容易通过互联网或移动数据存储器进行
(no elitism; no museums, galleries, or festivals; from creator to audience without mediation -and from the audience back to the creator, through the same distribution media)
(没有精英主义;没有博物馆、画廊或节日;从创造者到受众,以及从观众到创造者没有中介,都通过同样的分发媒介。)
-

10. Develop a punk economy. 发展一种朋克经济

Don’t shy away from competition with commercial developers.
不要回避与商业开发者的竞争。
Your work offers something that theirs does not:
你的作品提供了他们所没有的东西:
originality of design,
设计的独创性,
depth of content,
内容的深度,
alternative aesthetics.
另类美学
Don’t worry about the polish too much.
别太担心打磨度的问题
Get the big picture right.
把握好大局
-
“Reduce the volume, Increase the quality and density”
「降低体量,提高质量与密度」
(Fumito Ueda)
(上田文人)
-
Make short and intense games:
制作短而强力的游戏
think haiku, not epic.
想想俳句,而非史诗
Think poetry, not prose.
想想诗歌,而非散文
-
Embrace punk aesthetics.
拥抱朋克美学
-
But don’t become too dependent on government or industry funding:
不要过于依赖于政府或行业资金
it is unreliable.
它是不可靠的
Sell your work directly to your audience.
将你的作品直接卖给你的受众
And use alternative distribution methods that do not require enormous sales figures to break even.
并使用不需要巨大的销售量就能实现收支平衡的其他经销方式。
-
Consider self-publishing and digital distribution.
考虑自出版与数字分发。
Avoid retail and traditional games publishers.
避免零售和传统游戏发行商。
Together they take so great a cut
他们共同拿走了如此大的份额
that it requires you to sell hundreds of thousands of copies to make your production investment back.
以至于你需要卖出几十万份拷贝才能赚回你的开发投入。
-
Do not allow institutional or economic control of your intellectual property, ideas, technology and inventions .
不要让制度性或利益控制你的知识产权、想法、技术与发明。
-
Don’t depend on government support or the arts world exclusively.
不要仅依赖于政府支持或艺术界。
Sell your games!
卖你的游戏!
Communicate with your audience directly:
与你的受众直接沟通:
cut out the middle man.
去掉中间人。
Let the audience support your work.
让受众支持你的工作
-
Communicate.
沟通。

References 参考

Aristotle’s Six Elements of Drama 亚里士多德的戏剧六要素 http://www.kyshakes.org/Resources/Aristotle.html
Fumito Ueda & Kenji Kaido: Game Design Methods of ICO 上田文人&海道贤仁,ICO的游戏设计法 http://tale-of-tales.com/tales/ueda/
Realtime Art Manifesto presentation slides. 实时艺术宣言的幻灯片 http://tale-of-tales.com/tales/RAM_files/ToT-RAM_presentation.zip

链接

[1] And the sun sets…: https://web.archive.org/web/20150621214545/http://tale-of-tales.com/Sunset/blog/index.php/and-the-sun-sets/
[2] ram@tale-of-tales.com: mailto:ram@tale-of-tales.com
[3] mediaterra festival of Art and Technology: http://www.mediaterra.org/


日 | 落译介计划 是媒体实验室落日间对一些有助于思考游戏/电子游戏的外文文本翻译和推荐/索引计划。(点击原文或查看网站 xpaidia.com/sunset-project/

*更新:新推荐了郭娟译文:Adam Jasper 哈伦·法罗基最后的项目 The Last Project of Harun Farocki (2017)  《游戏手册》耿游子民译文:Olli Sotamaa 作为人工制品的电子游戏 Artifact (2013) TaoistPunk 译文:Espen Aarseth 一种游戏叙事理论 A Narrative Theory of Games (2012) 与 Ella Hoeppner 规划扰乱 Plan Disruption (2017)

落日间是一个探索「何为游戏」与「游戏何为」的媒体实验室。

感谢朋友们:@小雨 @阿伟 @11 @昕仔 @某小熊猫猫 @少楠 @Bob傅丰元 @小河shan @希辰Xichen @小乐 @DC @Bynn @webber @绅士凯布雷克 @侯晨钟 @Minke @Roam @兜&敏 @KIDD @菲兹 @喵呜 @李喆 @特特 @Skellig @阿和 @某大王akak1dD @solsticestone @鱼片与花卷 @Stoney @树袋熊 @MrNewton @鸭脖拉罕 @松果 @五香丸子@纪华裕 @李朵拉@WhiteO2 的在爱发电的大力赞助及所有关注者的支持!


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