Boullee Architecture Essay On Art

Over the years, I’ve increasingly come to see videogames as fantasies of environment.Perhaps more generally and accurately, videogames are conveyors of potential and kinetic energy, and this is best realized through space; and so they are spatial fantasies. For example, text-based games are more resistant to such a classification, because the description of space is, as in the case of unillustrated literature, purely a responsibility of the player's imagination.

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None of this is to say that these kinds of games cannot be entertaining -- there is some appeal to a technically well crafted game with pop-imagery; Konami's early 90s tie-in beat-'em-ups, for example, are admired by many players -- but it is to say that videogames' interpretive contributions mainly are profit-driven emboldenings of contemporary, moving-picture media.

Putting the claim of videogames as spatial fantasies and that of the low amount and diversity of games that respond to pre-existing material together, I would like to present two artists whom I believe developers should know about.

In another, they are preservational recordings (Piranesi may have used a camera for some of his pursuits, had the technology existed, but would it have entirely supplanted his drawing practice? In yet another, they are imaginative reactions to a pre-existing legacy themselves, either in the way that Piranesi added onto what he could not see, or constructed vistas made up of the disparate structures and ornaments he was looking at.

For me, Piranesi's art holds the same fundamental appeal that it did back when I came across it a decade ago -- as sublime built landscapes that seem, in their enormousness and fertile detail, to be worlds unto themselves; as landscapes of Earth but, somehow, not Earth.

Panini himself had come to Rome in 1711, and established himself as a painter of real and imaginary ruins.

He went on to teach perspective drawing at an academy, and helped architects, including Jean-Laurent Le Geay, Nicolas-Henri Jardin, and Gabriel Pierre Martin Dumont, to present their projects in a picturesque, atmospheric manner.Projects with a purely political motivation do not have the time for flights of fancy, such as the series, that Piranesi devoted much of his creative energies to.It is obvious that he had an obsession, separate from nationalism, with architecture's emotional invocations.Merely translating Piranesi's art into an interactive world offering nothing more than itself would be interesting to some degree, but there is also such a variety of intended and unintended intellectual content embedded in his oeuvre that could be explored.I have already described Piranesi's environments as "sublime"; as we increasingly find ourselves living in a metaphysically conscious world and one that designates places as tourist attractions, on top of offering the conveniences of navigational services like Google Maps, two questions that might be asked are: These questions, and more, could be developed into narratives and supported by an interpretation of Piranesi's type of sublimity.It seems to me that there is a popular pattern to the design of videogames where the core inspirational stimuli are pre-existing videogames, rather than that in addition to works in other artistic fields.One may be led to believe that I am asking for nothing more than citation of "great works" in a quest for the legitimization of videogames. Videogames are already legitimized simply by their pervasiveness, and there is much more that can be done with our shared artistic legacy than reinforcing that it exists (yet reinforcement have value, especially when it deals in art that has been institutionally maligned or ignored).I'm most concerned in this article about promoting the idea of videogames which react to external material in a way that informs them on a fundamental and pervasive level, but perhaps the question should be asked: Have any videogames, in any small way, been influenced by Piranesi?With videogames' history of secretive development cycles and the increasing size of their teams (and thus of points of authorial intent), it's hard to say.For several years at one point, Piranesi excavated and measured ruins, and used his imagination for what he could not inspect himself.In 1756 he began to issue the (plates strangely and inventively depicting fireplaces with Egyptian and Tuscan ornamentation).

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