INSIDE SOLARIS: THE PRESENCE OF GAME TECHNOLOGY IN ARCHITECTURAL DESIGN

Pickersgill, S; More, G

INSIDE SOLARIS: THE PRESENCE OF GAME TECHNOLOGY IN ARCHITECTURAL DESIGN

Pickersgill, S More, G

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Publication Type:: Article
Issue Date:: 2007-10-05T02:00:51Z

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Field	Value	Language
dc.contributor.author	Pickersgill, S
dc.contributor.author	More, G
dc.date.accessioned	2007-10-05T02:00:51Z
dc.date.accessioned	2012-12-15T02:35:14Z
dc.date.available	2007-10-05T02:00:51Z
dc.date.available	2012-12-15T02:35:14Z
dc.date.issued	2007-10-05T02:00:51Z
dc.identifier.uri	http://hdl.handle.net/10453/19706
dc.description.abstract	Tarkovsky’s 1971 film Solaris is an exquisitely evocative meditation on the relationship between technology, memory and loss – not only through it’s presentation of the characters, narrative and themes of Stanislav Lem’s novel, but also through the specific qualities of film as a medium of perception (Tarkovsky). Tarkovsky’s oeuvre itself, particularly Nostalgia and Stalker, are tours-de-force in this respect. Yet there is always a melancholic distance between the viewer and the medium, perhaps impossible to traverse in any medium, but especially recognized in Tarkovsky’s work. This in fact is a key issue, as Doležel has outlined in his study of literature and possible worlds, in the understanding of the force of fictional constructs within the representative arts, including literature (Doležel). The need to explain how it is possible and necessary to construct possible worlds that have both representative similarities with the real world and with hylomorphic qualities (i.e. a purposive and necessary form) in and of themselves is an opportunity that the making of digital environments cannot avoid. This paper questions whether the same material for ‘world-making’ might be possible in persistent digital environments as there is in film. In the quest for an increasingly vivid experience of the presence of architecture, digital means of representation have achieved significant successes. Interestingly, there remains the opportunity to consider modes of digital realization as being sufficiently material within their mode of delivery – digital media. If we stay within the digital there are a number of modes by which its architectural product can be experienced. The question of this paper concerns the manner in which a recent mode of digital representation and exploration has developed: the game engine.	en
dc.format.extent	329372 bytes
dc.format.mimetype	application/pdf
dc.language.iso	en	en
dc.relation.replaces	http://hdl.handle.net/2100/490
dc.subject	film	en
dc.subject	digital environment	en
dc.subject	digital media	en
dc.subject	architecture	en
dc.subject	game engine	en
dc.title	INSIDE SOLARIS: THE PRESENCE OF GAME TECHNOLOGY IN ARCHITECTURAL DESIGN	en
dc.type	Article	en
utslib.copyright.status	open_access

Abstract:

Tarkovsky’s 1971 film Solaris is an exquisitely evocative meditation on the relationship between technology, memory and loss – not only through it’s presentation of the characters, narrative and themes of Stanislav Lem’s novel, but also through the specific qualities of film as a medium of perception (Tarkovsky). Tarkovsky’s oeuvre itself, particularly Nostalgia and Stalker, are tours-de-force in this respect. Yet there is always a melancholic distance between the viewer and the medium, perhaps impossible to traverse in any medium, but especially recognized in Tarkovsky’s work. This in fact is a key issue, as Doležel has outlined in his study of literature and possible worlds, in the understanding of the force of fictional constructs within the representative arts, including literature (Doležel). The need to explain how it is possible and necessary to construct possible worlds that have both representative similarities with the real world and with hylomorphic qualities (i.e. a purposive and necessary form) in and of themselves is an opportunity that the making of digital environments cannot avoid. This paper questions whether the same material for ‘world-making’ might be possible in persistent digital environments as there is in film. In the quest for an increasingly vivid experience of the presence of architecture, digital means of representation have achieved significant successes. Interestingly, there remains the opportunity to consider modes of digital realization as being sufficiently material within their mode of delivery – digital media. If we stay within the digital there are a number of modes by which its architectural product can be experienced. The question of this paper concerns the manner in which a recent mode of digital representation and exploration has developed: the game engine.

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http://hdl.handle.net/10453/19706