Are Buddhist sutras the best experienced as video games?  These daring artists are alternative realistic toys

Are Buddhist sutras the best experienced as video games? These daring artists are alternative realistic toys

When the Diamond Sutra was published in 868 CE, bringing Mahāyāna Buddhism to Chinese readers, the printer anticipated open source software by explicitly specifying that the book would be available for “mass free distribution”. What the publisher could not have imagined was the license LuYang would obtain with the Sutra 1151 years later, recast as a video game titled The great adventure of the physical world.

The game is designed as a multi-level mission of a superhero dressed in a cartoon space suit that is self-evident to any teenager, yet the gameplay systematically undermines the permanence and subjectivity in line with Buddha’s teachings. At its peak, after discovering that the game is an illusion, the hero faces an opponent who is stronger than any ordinary opponent. The competitor turns out to be the protagonist.

The great adventure of the physical world It exemplifies the ability of video games to immerse people in thought systems that are distinctly different from the prevailing Western view. This wonderful ability is a theme building the worldnew exhibition in the Julia Stoczyk Collection in Düsseldorf.

As curator Hans Ulrich Obrist explains in the show’s brochure, world building entails “the agency to create new worlds, not just inherit and live within existing worlds….rules can be set up, surroundings, systems, and dynamics can be built and changed, and new worlds can emerge.” Although novels and plays often also involve world-building – the terms have been in use since the early 1900s.The tenth Century – Games offer a degree of interaction that can be the difference between viewing and experiencing an alternate reality.

Many of the works in the exhibition are less concerned with creating new worlds than with exploring new ways of living in the worlds created by the game industry. For example, the artist avatar LaTurbo Avedon watches the sunset in games like counter strike And the Star CitizenDocumenting views for others to test. Working in the tradition of Machinima — the technical term for movies shot within games rather than sound theatre — Avedon has created work that questions the ways in which games are typically perceived by developers and understood by gamers. like Andy Warhol’s films about inaction (like an eight-hour shot of the Empire State Building), permanent sunset Inaction reveals itself to be already very active. Avedon awakens people to the fact that the worlds do not need to engage as the builders wanted, and that they were constructed largely by those who inhabit them.

Theo Triantafyllidis is also concerned with inaction, in which stagnation is the basis for a game of his own making. presented in virtual reality, pastoral It places the player in acres of countryside. This serene landscape can be explored by controlling a formidable Orc, a creature powerful enough to defeat practically any competitor but lacking in opponents and threats. (The only other character is a lute-plating goat.) It is the theater of the absurd in a surreal setting: a dream world built to question the super-competition in the field of technology widely accepted as a reality.

Of course some artists take a more explicit approach to world building. in HelloFor example, Lual Mayen puts the player in the position of a refugee fleeing a war zone. But even so-called “serious games” don’t have to be serious. with party to CAPSIn this book, Maryam Bennani has animated a very popular refugee scenario with fictional attributes based on a futuristic hypothesis of teleportation travel. The consequences of this change are only trivial. The migrants are trapped on an island in their immaterial state, literally deprived of their humanity. However, CAPS is always live. The vitality stems from the improvised refugee community.

As a video installation created in the game environment, party to CAPS It can be seen as a contemporary approach to traditional world construction found in novels and plays. The strength lies in the narrative, which highlights the outstanding qualities of the purpose-built framework. With this novel, anyone can visit the island, but the artist is the only real concern. It is not a world so much as a context.

Building a world in the full sense of the word requires a commitment almost like Buddha’s commitment to self-denial and indeterminacy. The final act of building a world is to abandon it – as Luoyang did in creating her instance of the Diamond Sutra.

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