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				eeee 88     eeee  eeee  88   eeee  
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				eee8 88ee88 eee8  eee8   8   eee8  
				8        88    88    88 8888    88 
				8eee     88 eee88 eee88 8888 eee88                                                                  

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"POLYGONAL CANYON 243313" 
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A WILD ENTRY BY ENTTER AND GOTO80, OCTOBER 2007.
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SELECTED USED SOFTWARE:

ATTACK ANIMAL GAKUEN (NES ROM) RECODED WITH TILE MOLESTER (ROM EDITOR)
JCH EDITOR (C64 TRACKER) AND SAM (C64 VOICE EMULATOR)

FINAL FORMAT DETAILS: QUICKTIME FILE 256x224
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88eee 88  8   88    88  88eee 88   8         
                                             
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88   8 8    8   88  8    8 88   88 8    8 
88eee8 8eeee8   88  8eeee8 88eee88 8eeee8 


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BLABLABLA:
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Polygonal Canyon is inspired by the first Videogames (Spacewar! 1962, 
Star Raiders 1979, Vectrex Games System 1982 …)  and the Ciberpunk 
(Neuromancer 1984) as well as from urban legends and the world 
developed from those virtual systems seen throughout the 80's. 

The recodified ROM is‘Attack animal gakuen’ Nintendo, 1989.  
All of the formal elements are stirred up reducing the game to a battle 
in which the user has to try to fight against the attack of a series of 
hostile poligonal shapes, which might suggest a flux of indecifrable 
data at mercy to cybernetic laws. The layout of the game is an abstract 
cyberspace which conforms to a maya in 3 dimensions which extends 
itself unmercifully to infinity.

The search for these abstract experiences go along with the direction 
of the latest pieces developed by Entter (Raul Berrueco) and Goto80 
(Anders Carlsson) in which they have suppressed practically all of 
the links with the real world in the search for a language proper 
to electronic art which references itself  through different elements 
coming from software culture and virtual reality. 

'Polygonal Canyon'  is a a Videogame Artwork Piece presented in 
quicktime format, that consists of a fully playable recoded game, which 
is mixed with perversions of the same videogame. This is made up of 
other versions that are not playable full of glitches and errors along 
with music and strobe flashing lights. After a certain point, the 
non-lineal narration play on the distortion of the entire experience 
of the game, making it impractical as it jumps beyond the logical norms 
which it has composed. Almost as if a trojan virus of sorts has 
infiltrated the game software.

This project explores the expressive possibilites of videogames within 
the realms of elemental matter (prima materia) in media art. Not only 
from the perspective of the experience of an immersive virtual video-
game but also by, at the same time by looking for the "non-diversion", 
or the fear of making a mistake. That is, the aesthetic against games, 
negation and deprivation.

In the words of Alex R. Galloway:

“I love to put the things I love in extreme peril,” wrote the artist 
Jean Dubuffet. “It is only at the point of failure that the thing 
reveals itself.” In a game, what else but fun itself can be subjected 
to failure? Can we blame the artist who wishes to destroy fun entirely?

Software's essential paradox: source code as a medium is unable to 
mediate as such and thus negates and resolves itself into other forms 
(the interface, the executable, the game, the website). This is what 
one might call, following a suggestion from Eugene Thacker, the occult 
logic of software. Code hides itself in the very act of consummating 
its own expression. A game expends itself in the very act of its being 
played.

So in negation and deprivation, the counter-gaming aesthetic reveals 
software culture as it actually is. Unfun is a revealing. It reveals 
the essence of the game as something withheld. Microsoft Word is not 
“software” in this strict sense, only some strange perversion of it. 
Unfun videogame recoding artworks is software because it realizes the 
essential gap that exists within any technological system. And the gap 
is not denied in his work; it is accentuated and extended, becoming 
coterminous with the medium itself. 

Negation or deprivation. But there is a third way, always a third way. 
It is pure joy.” *

  * Digest from ‘UNFUN’ by Alex R. Galloway published in the catalogue 
of ‘GameWorld’ exhibition 2007 at Laboral Art Center (Spain).

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CONTACT : HTTP://ENTTER.COM/CONTACT
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