Toward a Minor Tech:Teodora-500 - Revision history

Teodora sinziana at 16:23, 20 January 2023

2023-01-20T16:23:19Z

← Older revision		Revision as of 16:23, 20 January 2023
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	The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.		The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.

	When the majority language of the game engine is deployed into the minor territories of experiment and social critique, the audience's connection ~~topolitical~~ immediacy is facilitated through the experimental readings that are enabled. Pushing beyond the transformation of given content into the appropriate forms expected of major literature ~~and moving~~ into the territory of minority expressions, where experimental and non-linear formats ~~that~~ operate in networked and multifaceted ~~ways “speak~~ first and only ~~conceive~~ afterwards”, as McLean infers. This study, therefore, aims to trace the ways in which new openings into alternative imaginaries are made possible on the shores of virtual worlds: how do virtual ecologies allow for new ways of being and knowing? And through these new modes, how can worlding promote a state of community and becoming, foregrounding active solidarities?		When the majority language of the game engine is deployed into the minor territories of experiment and social critique, the audience's connection to political immediacy is facilitated through the experimental readings that are enabled. Pushing beyond the transformation of given content into the appropriate forms expected of major literature, worlding moves into the territory of minority expressions, where experimental and non-linear formats operate in networked and multifaceted ways, “speaking first and only conceiving afterwards”, as McLean infers. This study, therefore, aims to trace the ways in which new openings into alternative imaginaries are made possible on the shores of virtual worlds: how do virtual ecologies allow for new ways of being and knowing? And through these new modes of existence, how can worlding promote a state of community and becoming, foregrounding active solidarities?
	[[Category:Toward a Minor Tech]]		[[Category:Toward a Minor Tech]]
	[[Category:500 words]]		[[Category:500 words]]

Teodora sinziana at 16:22, 20 January 2023

2023-01-20T16:22:08Z

← Older revision		Revision as of 16:22, 20 January 2023
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	The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.		The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.

	When the majority language of the game engine is deployed into the minor territories of experiment and social critique, the connection ~~of the audience with political~~ immediacy is facilitated through the experimental readings that are enabled. Pushing beyond the transformation of given content into the appropriate forms expected of major literature and into the territory of ~~minor literature~~, where experimental and non-linear formats that operate in networked and multifaceted ways “speak first and only conceive afterwards”, as McLean infers. This study, therefore, aims to trace the ways in which new openings into alternative imaginaries are made possible on the shores of virtual worlds, ~~and further attempts to explore~~ how ~~they~~ promote a state of community and becoming ~~- how can the revolutionary potential of~~ active solidarities ~~be transmitted within virtual architectures~~?		When the majority language of the game engine is deployed into the minor territories of experiment and social critique, the audience's connection topolitical immediacy is facilitated through the experimental readings that are enabled. Pushing beyond the transformation of given content into the appropriate forms expected of major literature and moving into the territory of minority expressions, where experimental and non-linear formats that operate in networked and multifaceted ways “speak first and only conceive afterwards”, as McLean infers. This study, therefore, aims to trace the ways in which new openings into alternative imaginaries are made possible on the shores of virtual worlds: how do virtual ecologies allow for new ways of being and knowing? And through these new modes, how can worlding promote a state of community and becoming, foregrounding active solidarities?
	[[Category:Toward a Minor Tech]]		[[Category:Toward a Minor Tech]]
	[[Category:500 words]]		[[Category:500 words]]

Teodora sinziana at 16:19, 20 January 2023

2023-01-20T16:19:51Z

← Older revision		Revision as of 16:19, 20 January 2023
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	The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.		The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.

	When the majority language of the game engine is deployed into the minor territories of experiment and social critique, the connection of the audience with political immediacy is facilitated through the experimental readings that are enabled. Pushing beyond the transformation of given content into the appropriate forms expected of major literature and into the territory of minor literature, where experimental and non-linear formats that operate in networked and multifaceted ways “speak first and only conceive afterwards”, as McLean infers. This study, therefore, aims to trace the ways in which new openings into alternative imaginaries are made possible on the shores of virtual worlds, and further attempts to explore how they promote a state of community and becoming.		When the majority language of the game engine is deployed into the minor territories of experiment and social critique, the connection of the audience with political immediacy is facilitated through the experimental readings that are enabled. Pushing beyond the transformation of given content into the appropriate forms expected of major literature and into the territory of minor literature, where experimental and non-linear formats that operate in networked and multifaceted ways “speak first and only conceive afterwards”, as McLean infers. This study, therefore, aims to trace the ways in which new openings into alternative imaginaries are made possible on the shores of virtual worlds, and further attempts to explore how they promote a state of community and becoming - how can the revolutionary potential of active solidarities be transmitted within virtual architectures?
	[[Category:Toward a Minor Tech]]		[[Category:Toward a Minor Tech]]
	[[Category:500 words]]		[[Category:500 words]]

Teodora sinziana at 16:18, 20 January 2023

2023-01-20T16:18:37Z

← Older revision		Revision as of 16:18, 20 January 2023
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	The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.		The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.

	When the majority language of the game engine is deployed into the minor territories of experiment and social critique, the connection of the audience with political immediacy is facilitated through the experimental readings that are enabled. Pushing beyond the transformation of given content into the appropriate forms expected of major literature and into the territory of minor literature, where experimental and non-linear formats that operate in networked and multifaceted ways “speak first and only conceive afterwards”, as McLean infers.		When the majority language of the game engine is deployed into the minor territories of experiment and social critique, the connection of the audience with political immediacy is facilitated through the experimental readings that are enabled. Pushing beyond the transformation of given content into the appropriate forms expected of major literature and into the territory of minor literature, where experimental and non-linear formats that operate in networked and multifaceted ways “speak first and only conceive afterwards”, as McLean infers. This study, therefore, aims to trace the ways in which new openings into alternative imaginaries are made possible on the shores of virtual worlds, and further attempts to explore how they promote a state of community and becoming.
	[[Category:Toward a Minor Tech]]		[[Category:Toward a Minor Tech]]
	[[Category:500 words]]		[[Category:500 words]]

Teodora sinziana at 16:13, 20 January 2023

2023-01-20T16:13:10Z

← Older revision		Revision as of 16:13, 20 January 2023
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	The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.		The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.

			When the majority language of the game engine is deployed into the minor territories of experiment and social critique, the connection of the audience with political immediacy is facilitated through the experimental readings that are enabled. Pushing beyond the transformation of given content into the appropriate forms expected of major literature and into the territory of minor literature, where experimental and non-linear formats that operate in networked and multifaceted ways “speak first and only conceive afterwards”, as McLean infers.
	[[Category:Toward a Minor Tech]]		[[Category:Toward a Minor Tech]]
	[[Category:500 words]]		[[Category:500 words]]

Teodora sinziana at 16:05, 20 January 2023

2023-01-20T16:05:16Z

← Older revision		Revision as of 16:05, 20 January 2023
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	'''Teodora Sinziana Fartan'''		'''Teodora Sinziana Fartan'''

	Critical renderings of speculative virtual imaginaries are increasingly emerging today as a form of collective utterance, a minority language that responds to the current states of emergency that we find ourselves in socially, politically, ecologically and technologically. The recent crystallization of immersive worlding as an experiential storytelling practice situates itself within the political context of resistance through its search for modes of being-otherwise. Kafka writes of literature that it should “affect us like a disaster, that grieves us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone”, foregrounding the affective and transformative power of storytelling - stretching forwards from his time to the present day, we see this practice of critical storytelling extended into the realm of virtual ecologies with artists like Ian Cheng, Lawrence Lek, David Blandy and Larry Achiampong, Sahej Rahal~~, Juan Covelli~~ and Keiken formulating critiques of our contemporary context by producing minor worlds that speculatively explore alternative narratives. As Stengers urges us, these practices attempt to imagine “connections with new powers of acting, feeling, imagining, and thinking”.		Critical renderings of speculative virtual imaginaries are increasingly emerging today as a form of collective utterance, a minority language that responds to the current states of emergency that we find ourselves in socially, politically, ecologically and technologically. The recent crystallization of immersive worlding as an experiential storytelling practice situates itself within the political context of resistance through its search for modes of being-otherwise. Kafka writes of literature that it should “affect us like a disaster, that grieves us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone”, foregrounding the affective and transformative power of storytelling - stretching forwards from his time to the present day, we see this practice of critical storytelling extended into the realm of virtual ecologies with artists like Ian Cheng, Lawrence Lek, David Blandy and Larry Achiampong, Sahej Rahal and Keiken formulating critiques of our contemporary context by producing minor worlds that speculatively explore alternative narratives. As Stengers urges us, these practices attempt to imagine “connections with new powers of acting, feeling, imagining, and thinking” and then prototype, hack, develop and render these into being.

	A question, therefore emerges: how can we position and conceptualize these novel modes of expression that operate within the scales of virtual game spaces and their underlying networks of exchange? How can practices of worlding enable us to abandon “habitual temporalities and modes of being”, as Helen Palmer puts it, and think beyond ourselves, speculatively, towards possible futures and fictions?		A question, therefore emerges: how can we position and conceptualize these novel modes of expression that operate within the scales of virtual game spaces and their underlying networks of exchange? How can practices of worlding enable us to abandon “habitual temporalities and modes of being”, as Helen Palmer puts it, and think beyond ourselves, speculatively, towards possible futures and fictions?

Teodora sinziana at 16:02, 20 January 2023

2023-01-20T16:02:07Z

← Older revision		Revision as of 16:02, 20 January 2023
Line 1:		Line 1:
	'''Rendering Minor Worlds'''		= '''Rendering Minor Worlds''' =

	'''Teodora Sinziana Fartan'''		'''Teodora Sinziana Fartan'''

	Critical renderings of speculative virtual imaginaries are increasingly emerging today as a form of collective utterance, a minority language that responds to the current states of emergency that we find ourselves in socially, politically, ecologically and technologically. The recent crystallization of immersive worlding as an experiential storytelling practice situates itself within the political context of resistance through its search for modes of being-otherwise. Kafka writes of literature that it should “affect us like a disaster, that grieves us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone” ~~(1904)~~, foregrounding the affective and transformative power of storytelling - stretching forwards from his time to the present day, we see this practice of critical storytelling extended into the realm of virtual ecologies with artists like Ian Cheng, Lawrence Lek, David Blandy and Larry Achiampong, Sahej Rahal, Juan Covelli and Keiken formulating critiques of our contemporary context by producing minor worlds that speculatively explore alternative narratives. As Stengers urges us, these practices attempt to imagine “connections with new powers of acting, feeling, imagining, and thinking”~~(2015)~~.		Critical renderings of speculative virtual imaginaries are increasingly emerging today as a form of collective utterance, a minority language that responds to the current states of emergency that we find ourselves in socially, politically, ecologically and technologically. The recent crystallization of immersive worlding as an experiential storytelling practice situates itself within the political context of resistance through its search for modes of being-otherwise. Kafka writes of literature that it should “affect us like a disaster, that grieves us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone”, foregrounding the affective and transformative power of storytelling - stretching forwards from his time to the present day, we see this practice of critical storytelling extended into the realm of virtual ecologies with artists like Ian Cheng, Lawrence Lek, David Blandy and Larry Achiampong, Sahej Rahal, Juan Covelli and Keiken formulating critiques of our contemporary context by producing minor worlds that speculatively explore alternative narratives. As Stengers urges us, these practices attempt to imagine “connections with new powers of acting, feeling, imagining, and thinking”.

	A question, therefore emerges: how can we position and conceptualize these novel modes of expression that operate within the scales of virtual game spaces and their underlying networks of exchange? How can practices of worlding enable us to abandon “habitual temporalities and modes of being” ~~(2018)~~, as Helen Palmer puts it, and think beyond ourselves, speculatively, towards possible futures and fictions?		A question, therefore emerges: how can we position and conceptualize these novel modes of expression that operate within the scales of virtual game spaces and their underlying networks of exchange? How can practices of worlding enable us to abandon “habitual temporalities and modes of being”, as Helen Palmer puts it, and think beyond ourselves, speculatively, towards possible futures and fictions?

	The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing ~~(1975)~~, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, ~~game spaces~~ where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.		The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing, today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.
	[[Category:Toward a Minor Tech]]		[[Category:Toward a Minor Tech]]
	[[Category:500 words]]		[[Category:500 words]]

Geoffcox at 15:55, 20 January 2023

2023-01-20T15:55:39Z

← Older revision		Revision as of 15:55, 20 January 2023
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	'''Rendering Minor Worlds'''		'''Rendering Minor Worlds'''

			'''Teodora Sinziana Fartan'''

	Critical renderings of speculative virtual imaginaries are increasingly emerging today as a form of collective utterance, a minority language that responds to the current states of emergency that we find ourselves in socially, politically, ecologically and technologically. The recent crystallization of immersive worlding as an experiential storytelling practice situates itself within the political context of resistance through its search for modes of being-otherwise. Kafka writes of literature that it should “affect us like a disaster, that grieves us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone” (1904), foregrounding the affective and transformative power of storytelling - stretching forwards from his time to the present day, we see this practice of critical storytelling extended into the realm of virtual ecologies with artists like Ian Cheng, Lawrence Lek, David Blandy and Larry Achiampong, Sahej Rahal, Juan Covelli and Keiken formulating critiques of our contemporary context by producing minor worlds that speculatively explore alternative narratives. As Stengers urges us, these practices attempt to imagine “connections with new powers of acting, feeling, imagining, and thinking”(2015).		Critical renderings of speculative virtual imaginaries are increasingly emerging today as a form of collective utterance, a minority language that responds to the current states of emergency that we find ourselves in socially, politically, ecologically and technologically. The recent crystallization of immersive worlding as an experiential storytelling practice situates itself within the political context of resistance through its search for modes of being-otherwise. Kafka writes of literature that it should “affect us like a disaster, that grieves us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone” (1904), foregrounding the affective and transformative power of storytelling - stretching forwards from his time to the present day, we see this practice of critical storytelling extended into the realm of virtual ecologies with artists like Ian Cheng, Lawrence Lek, David Blandy and Larry Achiampong, Sahej Rahal, Juan Covelli and Keiken formulating critiques of our contemporary context by producing minor worlds that speculatively explore alternative narratives. As Stengers urges us, these practices attempt to imagine “connections with new powers of acting, feeling, imagining, and thinking”(2015).

Teodora sinziana at 15:52, 20 January 2023

2023-01-20T15:52:30Z

← Older revision		Revision as of 15:52, 20 January 2023
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	'''Rendering Minor Worlds'''		'''Rendering Minor Worlds'''

	Critical renderings of speculative virtual imaginaries are increasingly emerging today as a form of collective utterance that responds to the current states of emergency that we find ourselves in socially, politically, ecologically and technologically. The recent crystallization of immersive worlding as an experiential storytelling practice situates itself within the political context of resistance through its search for modes of being-otherwise. Kafka writes of literature that it should “affect us like a disaster, that grieves us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone” (1904), foregrounding the affective and transformative power of storytelling - stretching forwards from his time to the present day, we see this practice of critical storytelling extended into the realm of virtual ecologies with artists like Ian Cheng, Lawrence Lek, David Blandy and Larry Achiampong, Sahej Rahal, Juan Covelli and Keiken ~~exploring ways~~ of ~~critiquing~~ our contemporary context by producing minor worlds that speculatively explore alternative narratives.		Critical renderings of speculative virtual imaginaries are increasingly emerging today as a form of collective utterance, a minority language that responds to the current states of emergency that we find ourselves in socially, politically, ecologically and technologically. The recent crystallization of immersive worlding as an experiential storytelling practice situates itself within the political context of resistance through its search for modes of being-otherwise. Kafka writes of literature that it should “affect us like a disaster, that grieves us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone” (1904), foregrounding the affective and transformative power of storytelling - stretching forwards from his time to the present day, we see this practice of critical storytelling extended into the realm of virtual ecologies with artists like Ian Cheng, Lawrence Lek, David Blandy and Larry Achiampong, Sahej Rahal, Juan Covelli and Keiken formulating critiques of our contemporary context by producing minor worlds that speculatively explore alternative narratives. As Stengers urges us, these practices attempt to imagine “connections with new powers of acting, feeling, imagining, and thinking”(2015).

	A question, therefore emerges: how can we position and conceptualize these novel modes of expression that operate within the scales of virtual game spaces and their underlying networks of exchange?		A question, therefore emerges: how can we position and conceptualize these novel modes of expression that operate within the scales of virtual game spaces and their underlying networks of exchange? How can practices of worlding enable us to abandon “habitual temporalities and modes of being” (2018), as Helen Palmer puts it, and think beyond ourselves, speculatively, towards possible futures and fictions?

	Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing (1975), today’s turn towards the production of ~~immersive~~ worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various ~~functionalities~~, interfaces and ~~xxx~~ of mainstream game design software are geared towards		The turn towards immersive world design is enabled by the recent deployment of game engine technologies towards critical digital experimentation, enabling artists to produce increasingly complex digital artifacts. Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing (1975), today’s turn towards the production of virtual worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various features, interfaces and functionalities of mainstream game design software are geared towards competitive ludic productions. However, with the increased accessibility of gaming technologies, we see the emergence of collective efforts to utilize game engines critically, towards the production of minority worlds, game spaces where the entertainment-focused properties of commodified games are replaced with experimental assemblages and their affect constellations.

	~~When the majority language of the game engine is deployed into~~ the ~~minor territories~~ of ~~experiment and social critique~~,

	~~Whilst Kafka conceptualizes this within~~ the ~~context~~ of ~~literature~~, ~~- a majority language needs to be learned by~~ the minority, ~~whom deploys its syntax, rules and parameters for its experimental and .~~



	~~Beyond critiquing our contemporary context and making visible possible alternatives, these worlds also create networked experiences that foreground other ways of knowing / navigating and being-in-~~the-~~world.~~

	~~Allows for experimental readings - betworked - maps - a question emerges~~

	~~they push beyond the transformation~~ of ~~given content into the appropriate form expected of major literature and into the territory of minor literature where~~ experimental and ~~non-linear formats that “speak first and only conceive afterwards” (), existing in networked, multi-faceted and emergent states~~
	[[Category:Toward a Minor Tech]]		[[Category:Toward a Minor Tech]]
	[[Category:500 words]]		[[Category:500 words]]

Teodora sinziana at 15:30, 20 January 2023

2023-01-20T15:30:22Z

← Older revision		Revision as of 15:30, 20 January 2023
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	'''Rendering Minor Worlds'''		'''Rendering Minor Worlds'''

	Critical renderings of ~~alternative~~ virtual imaginaries are increasingly emerging as a form of collective utterance~~, addressing~~ the current states of emergency that we find ourselves in socially, politically, ecologically and technologically. The recent crystallization of immersive worlding as an experiential storytelling practice situates itself within the political context of resistance ~~and~~ being-otherwise		Critical renderings of speculative virtual imaginaries are increasingly emerging today as a form of collective utterance that responds to the current states of emergency that we find ourselves in socially, politically, ecologically and technologically. The recent crystallization of immersive worlding as an experiential storytelling practice situates itself within the political context of resistance through its search for modes of being-otherwise. Kafka writes of literature that it should “affect us like a disaster, that grieves us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone” (1904), foregrounding the affective and transformative power of storytelling - stretching forwards from his time to the present day, we see this practice of critical storytelling extended into the realm of virtual ecologies with artists like Ian Cheng, Lawrence Lek, David Blandy and Larry Achiampong, Sahej Rahal, Juan Covelli and Keiken exploring ways of critiquing our contemporary context by producing minor worlds that speculatively explore alternative narratives.

	~~Kafka writes~~ of ~~literature that it should “affect us like a disaster,~~ that ~~grieves us deeply, like~~ the ~~death~~ of ~~someone we loved more than ourselves, like being banished into forests far from everyone” (1904) - he firmly believes in the transformative power~~ of		A question, therefore emerges: how can we position and conceptualize these novel modes of expression that operate within the scales of virtual game spaces and their underlying networks of exchange?

	Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing (1975), today’s turn towards the production of immersive worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various functionalities, interfaces and xxx of mainstream game design software are geared towards		Similarly to the properties of a minor language formulated by Deleuze and Guattari in their analysis of Kafka’s writing (1975), today’s turn towards the production of immersive worlds as sites of alternative possibilities is deterritorializing the existing entertainment-centric and economically-driven mode of existence of immersive game productions. Within the parameters of the game engine itself, the various functionalities, interfaces and xxx of mainstream game design software are geared towards
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	Whilst Kafka conceptualizes this within the context of literature, - a majority language needs to be learned by the minority, whom deploys its syntax, rules and parameters for its experimental and .		Whilst Kafka conceptualizes this within the context of literature, - a majority language needs to be learned by the minority, whom deploys its syntax, rules and parameters for its experimental and .