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Artist and academic

🔵 𝗦𝗖𝗥𝗘𝗘𝗡𝗜𝗡𝗚: 𝑩𝒆𝒄𝒐𝒎𝒊𝒏𝒈 𝑰𝒎𝒂𝒈𝒆
Slovenian Cinematheque | 12 May, 5 PM
🪼Part of V-F-X Festival

𝑀𝑦 𝑆𝑜𝑢𝑙 𝐺𝑒𝑚 𝑖𝑠 𝐷𝑢𝑙𝑙 𝐶𝑜𝑙𝑜𝑟 by 𝗘𝗿𝗶𝗸𝗼 𝗠𝗶𝘆𝗮𝘁𝗮 Explores how Japanese pop culture intersects with military imagery, influenced by works like Kancolle. It highlights the feminization of weapons and recurring “rescue” narratives shaped by the male gaze. The work visualizes how these dynamics affect perceptions of women and violence.
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𝑃𝑟𝑒𝑐𝑢𝑟𝑠𝑖𝑛𝑔 by 𝗡𝗶𝗻𝗮 𝗗𝗮𝘃𝗶𝗲𝘀 Examines the growing use of predictive technologies across everyday systems like finance, law, and social media. While some rely on solid data, others operate more speculatively. It questions the reliability of systems designed to predict the future.
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𝑉𝑖𝑑𝑒𝑜 𝐺𝑎𝑚𝑒𝑠 𝑇ℎ𝑎𝑡 𝐷𝑜𝑛’𝑡 𝐸𝑥𝑖𝑠𝑡 by 𝗞𝗶𝗲𝗿𝗮𝗻 𝗡𝗼𝗹𝗮𝗻 Uses generative AI to create game-like scenes without a traditional engine. Built from short clips, it reveals both the influence of training data and the limitations of AI through glitches and unexpected details. The work sits between simulation, fiction, and technical constraint.

֎ Full programme > link in bio

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$March 21 2025 2—5 pm Microcinema MUBI @Vidiots (Los Angeles, California) Game Engine Cinema showcases a global selection of artists repurposing video game engines as cinematic tools. From modded The Sims 4 and Need for Speed: Carbon to machinima built within Grand Theft Auto III and Sleeping Dogs, these works push the boundaries of storytelling, embracing procedural aesthetics, glitch logic, and emergent narratives. The program explores the themes of digital memory, nostalgia, disorientation, environmental critique, and digital embodiment. Some machinima transform virtual spaces into archives of loss and longing, reviving forgotten digital landscapes and avatars as vessels for memory. Others disorient the viewer through shifting perspectives, glitches, and unstable virtual geographies, reflecting the fractured nature of contemporary digital life. Several works engage with climate collapse and urban decay, using game engines to critique resource extraction, accelerationism, and digital capitalism. Meanwhile, works centered on avatars and identity challenge the limits of selfhood in virtual space, questioning how bodies exist in worlds made of code. Formally, these machinima dismantle conventional cinematic structures. Unscripted AI behaviors, modded physics, and unpredictable in-game systems generate new narrative forms, where storylines unfold through algorithmic chance and player intervention. These artists subvert gaming’s mechanics to expose its hidden social, political, and ideological codes, turning familiar digital worlds into spaces of critical reflection. More than a celebration of machinima, Game Engine Cinema positions these works within contemporary digital art discourse. In an era when reality is increasingly shaped by simulation, disinformation, social polarization and ecological collapse, this program asserts machinima as a vital site for interrogating technology, identity, and the nature of the audiovisual experience itself. https://milanmachinimafestival.org/game-engine-cinema #milanmachinimafestival #matteobittanti#vral#vral2025#mmf25#videogames #videogames #machinima#matteobittanti#mmf25#videogames$

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Thank you to @milanmachinimafestival for giving Crowd Control Critic’s Choice ❤
️You can watch Crowd Control RIGHT NOW thru the link in bio
Check out this picture of all the wonderful artists, curators and scholars we got to meet at the festival

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Tek33 famous to the world early 2000s in SAN ANDREAS (iOS version) Tag made at Old St London Jan 2000 after Foundary drinks with Cept.Video clip provided by @kierannolan Thank you. #tek33 #undisputed #computergame#sanandreas

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kierannolan

@kierannolan