![]() ![]() Īt the 2010 Art History of Games conference in Atlanta, Georgia, professor Celia Pearce further noted that alongside Duchamp's art productions, the Fluxus movement of the 1960s, and most immediately the New Games Movement had paved the way for more modern "art games". In modifying the code of simplistic early games or by creating art mods for more complex games like Quake, the art game genre emerged from the intersection of commercial games and contemporary digital art. In her 2003 Digital Arts and Culture paper, "Arcade Classics Span Art? Current Trends in the Art Game Genre", professor Tiffany Holmes noted that a significant emerging trend within the digital art community was the development of playable video game pieces referencing or paying homage to earlier classic works like Breakout, Asteroids, Pac-Man, and Burgertime. The concept of the video game as a Duchamp-style readymade or as found object resonated with early developers of the art game. Further explorations of this theme were set up in the late 1990s and early 2000s with exhibitions like the Walker Art Center's "Beyond Interface" (1998), the online "Cracking the Maze - Game Plug-Ins as Hacker Art" (1999), the UCI Beall Centre's "Shift-Ctrl" (2000), and a number of shows in 2001. In exhibitions such as the Museum of the Moving Image's 1989 "Hot Circuits: A Video Arcade", video games were showcased as preformed works whose quality as art came from the intent of the curator to display them as art. The earliest institutional consideration of the video game as an art form came in the late 1980s when art museums began retrospective displays of then outdated first and second generation games. ![]() In 1983, the video game magazine Video Games Player stated that video games "are as much an art form as any" other field of entertainment. 1.1 Philosophical arguments for video games as art. ![]()
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