{"id":19362,"date":"2011-08-11T11:40:17","date_gmt":"2011-08-11T15:40:17","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=19362"},"modified":"2014-01-26T20:09:33","modified_gmt":"2014-01-27T01:09:33","slug":"playing-the-field","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2011\/08\/11\/playing-the-field\/","title":{"rendered":"Playing the Field"},"content":{"rendered":"
\"\"<\/a>

Kacie Kinzer, Tweenbot, 2009, cardboard, paper, ink, batteries, motor, and wheels, 36 x 8 1\/2 x 14 in. Photo \u00a9 Scott Rudd<\/p><\/div>\n

On a recent balmy night, in the courtyard of the Museum of Modern Art, I watch a dozen adults hop excitedly between platters of white, gray, and black arrayed in a circle. They move at a waltzlike pace, stepping, stopping, pointing. This strange spectacle isn\u2019t an art project, exactly, but a game: part of a one-night arcade organized by the magazine Kill Screen<\/a><\/em> for MoMA\u2019s exhibition of interactive objects, \u201cTalk to Me<\/a>.\u201d<\/p>\n

The game is called Starry Heaven, after Kant\u2019s epigram that the two things that fill him with wonder and awe are \u201cthe starry heavens above me and the moral law within me.\u201d The rules of Starry Heaven, however, are decidedly unfriendly to anyone following the moral law within him. As players move from disc to disc toward the center of the circle, they must conspire with each other to point at another player on an adjacent disk, banishing him. \u201cIt requires them to collaborate with their fellow players\u2014and to stab them in the back,\u201d says Eric Zimmerman, who designed the game with Nathalie Pozzi, an architect. \u201cIt tells a perverse moral fable.\u201d<\/p>\n

Another game, in the museum\u2019s lobby, takes a more laissez-faire approach to pitting players against each other. It has only one rule\u2014to follow the instructions that appear on a screen\u2014but the game\u2019s title, BUTTON, for Brutally Unfair Tactics Totally OK Now, encourages players to break it. As I walk toward the five-foot-wide screen, it tells the four men standing in front of it that the first one to hit his button ten times will lose. They run, dive, grabbing their bucket-size rubber buttons from the floor\u2014and then they stop, seemingly at a loss. Cautiously they press their own buttons, watching each other: a suicide pact. Then, one of them grabs his neighbor\u2019s button and starts bashing it furiously. People in line cheer as the screen shows his competitor\u2019s animal avatars blasted by lightening bolts. He walks away with his arms raised in triumph.\u00a0<\/p>\n

\u201cYou need to cheat,\u201d says Albert Hwang, an information artist overseeing the action. \u201cOne of the directions is to close your eyes. How can you play with your eyes closed? But I\u2019ve seen people fall for it. They buy into the game and close their eyes, and they lose.\u201d<\/p>\n

The next group takes up position. They are promptly told to go to another room. One woman runs into the coat check and peeks around the corner. Her competitor leaps behind the glass barrier of a handicap ramp and shifts from foot to foot as he watches the screen, waiting to see whether the game recognizes this as technically a separate room.<\/p>\n

\u201cThe game can\u2019t see them, can it?\u201d I ask Albert.<\/p>\n

He laughs. \u201cNo, it just tells them what to do. It tells people to dance like a monkey and they do it.\u201d At that moment, the game tells the players to act like bees, and they go buzzing back to the screen, circuitously, the man flapping his arms.<\/p>\n

\u201cIt\u2019s only fun because people choose to follow the rules or to cheat in a collective way,\u201d says Matt Parker, a researcher at New York University\u2019s interactive telecommunications program. He points to a woman who, when told to take ten steps back from the screen, takes ten very small steps. The players, he says, \u201ccould heckle her about that, but they aren\u2019t. Part of it is that they\u2019re playing the game for the first time. They\u2019re following the rules. Once you go two or three times, that\u2019s when you start getting shoved.\u201d<\/p>\n

Games like Starry Heaven create intensely rule-bound worlds that force players into conflict with each other. It\u2019s part of what makes a lot of games fun. The controlled, artificial environment lets people compete more wholeheartedly, and gloat more victoriously, than polite society normally allows. BUTTON, by constantly asking players to break its only rule, pushes players outside the comforting structure of a game world and leaves them to decide, via shoving and wrestling and heckling, where the rules lie. It makes players interact in a less formal and structured way than most games do.<\/p>\n

\u201cWhat a riot!\u201d hoots one participant, trotting away from the screen as the next group finishes doing push-ups and starts singing \u201cHappy Birthday.\u201d \u201cIt brings strangers together.\u201d<\/p>\n

When Jamin Warren, the cofounder of Kill Screen<\/em>, describes the trends he wants to highlight in tonight\u2019s event, the first one he mentions is the revival of this social side of games. After a long period in which games were played alone in basements, he says, they are now closer to the way they were when first played in arcades in the eighties. Friends might gather around a Rock Band setup in the same way they rendezvoused at a Street Fighter terminal thirty years ago.<\/p>\n

Many of the games on display tonight look like they could have come from that decade. They have pixelated graphics and neon colors. \u201cI think a lot of these independent designers are interested in revisiting the games of their childhoods and putting some new permutation or twist on them,\u201d says Warren.\u00a0They might, for example, use motion-sensing technology to make players focus on their physical bodies, or they might make players interact more with each other than with the game itself. The game Pxl Pushr does both. One player, her motion captured by a Kinect, tries to match her avatar to neon cubes that another player, using an iPad, draws on the screen. A bystander described it as \u201cdigital Twister.\u201d It looks like someone making a human marionette do Tai Chi. \u201cThe literacy around games is too much like that of film, too focused on visuals,\u201d says Warren. \u201cReally, it\u2019s what they make people do that\u2019s important.\u201d<\/p>\n

Many of the objects in the exhibition are also bent on eliciting action. A charming cardboard robot by Kacie Kinzer trundles along with a sign asking passersby to steer it toward its goal. In an accompanying video, New Yorkers on their way to somewhere else pause to assist the lost robot and discuss its predicament with strangers. There is a backpack that, by measuring stress levels through skin sensors, emits colored smoke when the wearer is unhappy. Jonas Loh, its designer, proposes the pack as a way to make suicidal people involuntarily call for help. There is a video displaying confessions, often heartbreaking ones, written by strangers on homemade postcards. It\u2019s part of Frank Warren\u2019s PostSecret<\/a> project, which began in 2004 when he distributed three thousand postcards in public places with a request to mail him a secret. He has now received half a million secrets.<\/p>\n

These objects are more like games than tools. You don\u2019t use them to do something; like games, they tell you<\/em> what to do. They stage a\u00a0social intervention, setting new rules for the way people interact.<\/p>\n

Back downstairs, I line up for BUTTON. I\u2019m standing next to an art critic and her husband, a game designer. He complains that people haven\u2019t been cheating enough, but he\u2019s cheered when the group in front of us collapses in a scuffle. It\u2019s our turn. I vow to cheat.<\/p>\n

We\u2019re told to stare one another in the eyes. I turn. We lock eyes. We aren\u2019t wrestling, but it\u2019s a shockingly uncomfortable thing to do with people you\u2019ve known for two minutes.<\/p>\n

Josh Dzieza writes for The Newsweek Daily Beast.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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