A Perspective on a New Digital Art Game: The Approach of Research

and Knowledge Transfer

Ieva Gintere

Institute of Social, Economic and Humanities Research,

Vidzeme University of Applied Sciences, Cēsu Street 4, Valmiera LV4201, Latvia

Keywords: Contemporary Aesthetics, Digital Art Game, Kitsch/Camp Style, Methodology of Art Games.

Abstract: This study proposes a new methodological approach for digital art game creation focused on research and

knowledge transfer. The author is carrying out research into the aesthetics of contemporary games in order to

transfer the results of the research to the game’s players. The trend of kitsch/camp is presented as an example

of the contemporary aesthetics of art games. The author reveals the absence of knowledge transfer and

educational focus in the area of art games. There are many examples of a research-based game creation, but

the capacity for knowledge transfer in the art game area is underestimated at present. This article explores the

project related to the new game Art Space which is based on the respective methodological approach. The

new game is a research-based educational game of contemporary audio-visual aesthetics that serves as a

knowledge bearer. It will teach the player to recognize the current trends in digital art, as well as the

antecedents of aesthetics in art games. Art Space will be a new creative and educational platform for the

general public which hopes to increase acceptance of art games as educational games.

1 INTRODUCTION

The paper discusses the current situation in game

discourse regarding research and knowledge transfer.

Art game has not been well exploited as a method of

knowledge transfer so far. It could be a suitable media

for informing the players about the latest findings in

the modern theory of art, but the knowledge transfer

aspect is not topical in art games at the moment. The

author intends to encourage art game creation that

would incorporate the research results in

contemporary arts and thus transfer those results to

the general public of players. This study supports

knowledge transfer, research and educational focus in

the area of contemporary art games by creating a

prototype of a game.

There have been some attempts to popularize

contemporary art in gaming, but the new tendencies,

intertextual links and other aspects of the current

situation in the art world have not been well

presented. Art games undoubtedly have the potential

to raise the intellectual capital of gaming by reflecting

the research results in art, yet the knowledge aspect is

not presently topical in art games. Some of the games

of the first decades of the 21

century tend to be

intellectually charged as they represent cultural

activism and critical thought. For instance, Undertale

(2015) reflects upon the mainstream games and reacts

against their violence. The player is invited to choose

whether to destroy or to talk to an enemy. The authors

of Undertale have created a very mother-like

character that is missing in the mainstream games:

Toriel, the mother, genuinely cares about the players’

actions. Braid (2008) is a critique of the common

game mechanism: the player is capable of reversing

time and returning the game to situations repeatedly

to solve puzzles he/she has missed.

Undertale and Braid exemplify active, evaluative

choices by players and a will to change the existing

principles in gaming. Velvet-Strike (2002), Every

Day The Same Dream (2009), and Passage (2007)

also belong to this type of games. They refer to Mary

Flanagan’s humanist approach stating that games

have to emerge out of intellectual traditions.

Flanagan’s concept of “critical play” challenges the

traditional but limited rules of the game, defying the

dominant game modes and environments, interfering

with alternative ideas, and working on new, flexible

game models with a culturally saturated mission

(Flanagan, 2009: 256). Her concept is close to the

idea presented in this paper that intellectual capital

should be transferred to the player.

Gintere, I.

A Perspective on a New Digital Art Game: The Approach of Research and Knowledge Transfer.

DOI: 10.5220/0008920603110318

In Proceedings of the 12th International Conference on Computer Supported Education (CSEDU 2020) - Volume 1, pages 311-318

ISBN: 978-989-758-417-6

311

The paper is built on a basis of literature analysis

(discourse of the game theory) and art game analysis.

The article references the game theorists Mary

Flanagan, Igor Mayer, and others. Mayer points out

the knowledge gap in the discourse of contemporary

gaming, and Flanagan states that games have to

emerge out of intellectual traditions.

Around 200 art games were analyzed in the course

of this research so far, and the research project is still

in progress (the new art game is intended to be ready

in 2021). These games are being treated as

educational artefacts for learning the history of new

media art.

The art game discourse is a quite narrow field that

rests upon the general gaming theory, but art game is

a specific field and its analysis requires a particular

approach. This article seeks to develop the existing

digital art game methodology. There are a lot of art

games that express the ideas of artists and the spirit of

our century. The games were created by Pippin Barr,

Jason Rohrer, and many other digital artists, however,

the field of art game lacks the aspect of knowledge

transfer. Art game mainly embodies aesthetical

features, although it could show the full picture of

modern art, and the results of the contemporary art

research. Art game should inform the player about

how the art of today is related to art history, and what

are the links of contemporary art to the previous art

paradigms. There should be a category of art games

that connect modern art trends to the context of their

past. Next to the artistic and entertaining aspect art

game should bear an educational dimension. Art

game could be an effective tool for disseminating the

results of contemporary art research.

2 DISCUSSION

2.1 The Situation in Art Games

Regarding Research Results in

Modern Art

In order to enrich the theoretical framework of the

digital art game as serious gaming, this study

proposes to emphasize the aspect of research in this

area. Thus, it would help to solve the problem some

colleagues have underlined: that the existing models

of game-based learning give “few research designs”

(Mayer et al., 2014: 509) and “very few

methodological proposals for educational video game

development have been published in scientific

literature” (Lope, et al., 2015: 90). There are a few

studies that touch upon the aspect of aesthetics, but

modern art seems to be a marginal territory in game

studies so far. Robin Hunicke and his colleagues

propose to examine aesthetics as one of the important

aspects of the game analysis, but art games have not

been mentioned (Hunicke, LeBlanc, Zubek, 2004: 2).

Espen Aarseth has outlined a games research

perspective called game-world that includes art,

aesthetics, history, and cultural/media studies

(Aarseth, 2003: 3), however, again the art games have

not been named. An article by Lars Konzack clarifies

the socio-cultural perspective in digital game

analysis. He proposes to analyze “culture around

computer games”, and notes that in the existing game

discourse, there are quite a few studies of games as

cultural artifacts including their aesthetic qualities

(Konzack, 2002: 98).

It is true, as the game theorists Jo Bryce and Jason

Rutter have pointed out, that “the growth in papers

about digital games across the sciences, social

sciences, and the arts and humanities serves to

highlight the rich diversity of interest in digital

games” (Bryce and Rutter, 2006: 3), yet one must

agree that the research of modern art games in

particular has been neglected. In the game discourse,

the aspect of contemporary art is less well represented

than, for instance, anthropology (Burgos, 2015) or

feminism (Flanagan, 2005).

Furthermore, there are few games that

demonstrate attempts to represent modern art theory

and works of artists. One should mention Patrick

LeMieux’ Art Games (2008-2009). LeMieux’ project

is a series of art games designed to be projected and

played on top of original paintings by Yves Klein and

four other prominent monochromatic artists. The five

games “explore aesthetic traditions” of games and

show that moments of contemplation are more

“useful” than the fictions of the mainstream gaming

(LeMieux, 2016).

Re-enacting artistic performances in a game

environment is a standard practice in game art (a field

of art that is made of or related to digital games). In

2007, Mark Beasley created a trilogy of artistic video

games Vito Acconci, in which the player can re-enact

the famous performance of “Following Piece” (1969)

by Acconci. In the original “Following Piece”, the

artist followed a randomly chosen stranger through

the streets of New York. In Beasley’s game, the goal

is “to stalk a person on the street but when the

distance between the stalker and the followed

becomes too large, the game is over” (Jansson, 2012).

Thus, art games are aimed at illustrating the art

situation of today. Nevertheless, as far as the author

of the current study has found, there are no art games

that would convincingly exemplify the research

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results in contemporary aesthetics, even if research

has been a common practice between game designers

while creating a game. Digital game designers are

simultaneously researchers today, as the game is

often bound to research. Andrew J. Stapleton has

defined this circular process of game creation:

research and theory are contextualized into game

design, and afterwards the results of game design are

again transformed into research and theory

(Stapleton, 2005).

The new game project Art Space is based on

research into modern aesthetics: it will be an art game

that is focused on the historical heritage of

contemporary digital art. Thus, it follows the

contemporary tendency to build games on the basis of

investigation. It also follows the common practice in

contemporary art to constantly widen the horizon of

possibilities by means of research. The tradition

emerged in Europe around the 1960s as an artistic

practice that unites researchers and artists. Centers of

art and science, groups of artists and scientists,

complex events i. e. festivals, exhibitions and

conferences have been based in this tradition: OuLiPo

(Ouvroir de Littérature Potentielle), SIGGRAPH

(Special Interest Group on Computer GRAPHics and

Interactive Techniques), ZKM (Zentrum für Kunst

und Medientechnologie), to mention just a few of

them.

2.2 The Situation of the Game Theory

Regarding Knowledge Transfer

In this research project, the concept of knowledge

transfer means that knowledge gathered during the

research phase is being transferred to society by the

media of game as defined by Tobias Mettler and

Roberto Pinto. They use the existing framework of

knowledge transfer (Lavis et al., 2003: 221) and

demonstrate it graphically (Mettler and Pinto, 2015:

259).

However, within the context of digital games this

concept has been granted little attention. In search of

an advanced game methodology, Igor Mayer and his

colleagues suggest a methodological approach that

would include “a critical and reflective discourse on

a dynamic body of knowledge” identifying

“knowledge gaps” (Mayer et al., 2014: 504). They

state that serious game-based learning needs to be

transferred “to the real world” (Mayer et al., 2014:

502). However, Mayer does not explain the concept

of transfer in detail. Katrin Becker and Jim Parker

present a gaming methodology model that involves

research, but no knowledge transfer (Becker and

Parker, 2014: 181, 189). Marcos S. O. Almeida and

Flávio S. C. da Silva show an overview model of

game design (Almeida and da Silva, 2013: 20), but,

do not discover a tendency of knowledge transfer.

In a strong relation to the knowledge transfer

framework updated by Mettler and Pinto in 2015, the

aim of the new digital game Art Space is to connect

the research results with the player so that the

knowledge acquired in the research process would be

transferred to the general public. As a result of

learning the player would be eventually able to

orientate better in the aesthetics of contemporary art

and the gained knowledge would spark his/her

interest in modern art. This is necessary because the

existing theoretical principles offered by the game

researchers are not shaped for art games in particular

and there is no focus on knowledge transfer.

To effectively realize this transfer, the author is

using strategies defined in the discourse of gaming.

For instance, key components that determine the

effectiveness of an educational game are; the

selection of texts, audio materials and pictures to be

learned, and their organization into appropriate audio-

visual and verbal representations (Mayer,

1997). According to Wong (1996), a good

educational game should create an environment for

continuous improvement, and present an unlimited

ceiling on the player’s performance levels.

2.3 Concept of Art Space and Its

Contribution to the Art Game

Studies

The new game’s content is creative and educative.

The player of this game will be able to create his/her

own visual and acoustic artifacts using the current

trends of digital art inherited mostly from modernism,

such as, glitch, pixel aesthetics, hacking, vaporwave,

generative art elements, noise, vaporwave. They have

been analyzed by the author elsewhere, but lie outside

the scope of this article (Gintere, 2019a; 2019b). Art

Space will familiarize the player with its historical

context and encourage him/her to create individual

objects. Art Space mechanics allow the user to act

creatively with the provided tools. The player will see

the world from a first-person perspective using the

standard first person shooter controls with additional

editing options.

Art Space is intended to be a

building/constructing game like The Sims (2000),

Minecraft (2011) and Fortnite (2017). Work on the

new game is being carried out in collaboration

between the researcher, Dr.art. Ieva Gintere

(Vidzeme University of Applied Sciences, Latvia)

and the game artist, Mag.art. Kristaps Biters (Latvia).

The game is being created in the framework of a post-

doctoral project led by Ieva Gintere during 2018-2021

A Perspective on a New Digital Art Game: The Approach of Research and Knowledge Transfer

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with the financial support of the European Regional

Development Fund (see Acknowledgments).

2.3.1 Relation to Serious Games

The Art Space hopes to refine the artistic skills of

players, to stimulate their creative forces, and intends

to correct the existing deficiency in serious gaming

related to art education. Serious games are made, for

instance, to inform about and to teach first-aid skills,

like Pulse!! (2007), while Lure of the Labyrinth

(2009) teaches mathematical concepts. Stop

Disasters! (2007) tells about the areas exposed to

natural disasters – floods, fires, earthquakes – and

how to deal with them. One must mention also the

famous Minecraft (2009), Trauma Center: Under the

Knife (2005), Balance of the Planet (1990), Spore

(2008), CodinGame (2012), and many other games

that teach about various disciplines (Djaouti, Alvarez,

Jessel, 2011: 3, 11, 15). The number of serious games

is remarkably large, but, to be clear there is “a focus

on the game-based learning of children”, but

comparatively little attention to adult learning outside

formal education (Mayer et al., 2014: 509).

In the discourse concerning art games, the

educational aspect of art games has not been well

described to date. Michela Mortara and some other

researchers have documented the situation in serious

gaming around cultural heritage, but they never

mention the subfield of contemporary art. Mortara

only describes a large number of serious games

focused on cultural awareness and “intangible

cultural assets like tribal beliefs, customs, and

ceremonies”. That author has named serious games

devoted to ancient Rome, Jewish culture, Japanese

etiquette and many others (Mortara et al., 2014: 319).

However, there are no games that would exemplify

education related to contemporary art. Likewise,

Boyan Bontchev only reviews the situation of serious

games concerning cultural heritage (Bontchev, 2016);

Eike Falk Anderson et al. have sketched the area of

serious games for cultural heritage by mainly

focusing on the technological aspects (Anderson et

al., 2009). Nevertheless, not a single game from the

niche of modern art is named specifically.

2.3.2 Profile of Art Space

The new game encompasses the research results

carried out by the author of this project about existing

art games in the light of their historical heritage. It is

built on the basis of an aesthetical analysis of the art

games produced between 1999 and 2019. References

to the newest games created by artists in the first

decades of the 21

century will serve as educational

items for the player of the new game. While activating

the respective trends in the palette of effects, the

player will learn about their historical antecedents.

He/she will be invited to create an individual artistic

space using the effects and elements from the palette

of the game, and each of those means of expression

will be accompanied by their historical antecedents.

For instance, by using the effect of digital audio-

visual glitch, the player will be introduced to works

like the Untitled Game (1996) by Jodi that represents

the tendency of glitch in the modern art game area.

Or, by using the effect of noise, the player could be

introduced to an artwork such as Shrine Maidens of

the Unseelie Court (2017) by Tabitha Nikolai who

exploits the effect of noise in her game art pieces.

As well as citations from the world of digital

games, references to visual art would be incorporated

into the game. For example, by entering the pixel

room, the player could discover its precursors in the

modernism era such as cubism and constructivism

(figure 1). By entering the generative art room, he/she

will meet the Marilyn Monroe series by Andy Warhol

and other generative art antecedents (figure 2). Thus,

the new game will encompass the historical

background of art gaming aesthetics today.

The game will only show some current trends of

the contemporary game aesthetics, their historical

antecedents and examples of the games of the last

decades. Art Space cannot encompass all the art game

tendencies, therefore some of them will be left out of

the game and only presented in the published articles

in order to illustrate the historical background of the

contemporary game world. This article will briefly

demonstrate an example of the kitsch/camp style that

could be included in the art game.

Art Space follows the game theorists who argue

that in order to raise curiosity towards cultural

heritage in games, one should invite the player to

individually form artifacts or “customized

characters”. This approach might effectively attract

people to the educational games. Creation is “a

powerful key to elicit emotions” according to Antonio

Origlia and his colleague’s conclusions. A game

where the player creates his own world, evokes his

intrinsic motivation and is played to have fun.

Customized characters are an important component

of pleasure and consequently of a successful game

(Origlia, Chiacchio, Di Mauro, Cutugno, 2016: 19-

22). The antecedents, in their turn, would form a story

line in Art Space assuming that “humans find story

elements profoundly meaningful and are at a loss

when they cannot see the world in terms of such

elements” as the game theorist James Paul Gee has

outlined. In a game we should try, he says, “to

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interpret everything that happens as if it were part of

some story” (Gee, 2006: 59). Thus, objects that the

player of Art Game will individually form, will be

linked to a pop-up window with their antecedents and

the game would be designed as a story that tells about

the historical background of the particular styles and

effects chosen by the player.

2.3.3 Example

Art Space invites the player into a virtual art academy

with nine rooms dedicated to glitch, noise and other

trends of art gaming where he/she can learn and create

individual artefacts. The style of kitsch/camp could

be studied by player as one of the topical trends of

digital art today. Led by a voice behind the scenes, the

player will be familiarized with the style, its

antecedents and its contemporary examples, and

invited to form objects. Next to other trends,

kitsch/camp would show the historical background of

the modern game aesthetics. In the framework of

virtual studies, Art Space would demonstrate the

antecedents of kitsch, such as Alexandre Cabanel’s

The Birth of Venus (1863), Giacomo Grosso’s Nude

(1896), William Adolphe Bouguereau’s Love on the

Look Out (1890), and others. In the art history, these

works belong to a style of the late 19

century called

l’art pompier. They would appear in the pop-up

window of the game demonstrating the historical

past. A more recent antecedent of kitsch is the period

of modernism where it was represented, for instance,

by the sophisticated irony of Otto Dix (figure 3), the

subtle decorative pictures of Henry Matisse, even

more directly by the postmodern and pop art works of

Andy Warhol, and others. In Art Space, some pieces

by those artists would be used as the examples of the

historical kitsch.



Kitsch and camp belong to popular rather than

high art. They review the concept of beauty in the

most intellectual cases. They are said to be fake art,

although they may have an ironic value and play a

critical role. Stylistically, they are close but not

identical. Kitsch is characteristic of cheap

representation, it embodies cliché and excessive

garishness. Garden gnomes are usually mentioned as

an example of kitschy, bad taste in its worst manner.

The purpose of a kitschy object or design can be

utilitarian, solely ornamental or decorative, yet it may

belong to the academic art and represent a humorous

concept that belongs to a serious art expression. Thus,

it can be enjoyed also by connoisseurs of art in the

well-known Balloon Dogs (1994-2000) by Jeff

Koons.

Camp is related to kitsch since it also represents

poor taste and irony, but it can be more vulgar,

bizarre, and showy. It is less naïve than kitsch may

be. Camp is defined by Susan Sontag as exaggerated,

flashy and frivolous. In the meantime, Sontag writes

that camp is playful, its’ goal is “to dethrone the

serious”, and it is good because it is “awful” (Sontag,

2018[1964]: 10, 13).

Kitsch/camp is one of the current trends of game

art. In works such as Pin Pon (Triantafyllidis, 2015),

Bananoculus (Triantafyllidis, 2015) or How To Get

An Education (Howlett, 2016-2019), one can see the

ensemble of the mentioned traits of kitsch/camp: the

style is gaudy and unserious. In the best cases such as

Theo Triantafyllidis’ Painting (2018), the approach is

also critical: in a satirical way, the work questions the

concept of art. The central creature of the Painting is

a mixture of male and female, as well as of demon

(figure 4). He is a poorly dressed, muscular person

who confesses in the beginning not to “get painting”.

To me, “it does not make much sense”, the person

says. But then he starts to paint and in the end, he is

“so much into it”, and “fully understands it”

(Gamescenes, 2019).

The aesthetics of this work is stylistically

deliberately cheap but meanwhile it has an artistic

value since it is conceptually loaded. Even if its’

means of expression are excessive (the huge creature

sounds and looks quite freaky), the work represents a

light, humorous mood. Besides, it has a reflective

mission, it refers to the universal problem of art’s

identity, and attempts to engage one in a creative

activity in order to understand art.

A kitschy object can be too directly emotionally

charged, melodramatic and sentimental. In that case,

it oversteps the red line of classical aesthetics that

determines good art as something reflexive. On the

other hand, Triantafyllidis’ Painting exemplifies the

idea of good artwork rooted in the Critique of

Judgment (1790) by Immanuel Kant who has

declared that there must be a certain critical distance

between the aesthetical object and its observer (Kant,

2006: 49). If the work offers emotional gratification

without intellectual effort and without the

requirement of distance, the object cannot be

considered as aesthetical according to Kant.

Triantafyllidis has managed to marry kitschy

lightness with a capacity for reflection. His work

stimulates the players’ intellect and entertains them at

the same time, thus it meets the classical idea of good

taste.

A Perspective on a New Digital Art Game: The Approach of Research and Knowledge Transfer

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4 CONCLUSIONS

The framework of the Art Space project is determined

by the post-doctoral program that requires a

potentially marketable product coupled with

theoretical study. Art Space is created as a possibly

marketable game and could function as a startup in

future just like, for instance, Musemio, a virtual

reality game that aims to bring culture knowledge

closer to children through playing (Musemio, 2019).

In general, the mission of Art Space is much like this,

with the difference that it has been created not for

children, but for youth and grownups. Art Space will

be a suitable media for education at universities and

colleges, nevertheless, its highest goal will be to reach

the enthusiasts of art outside formal education.

The post-doctoral project led by Ieva Gintere

encompasses a body of articles published during the

time period of 2019-2021 and the game Art Space. In

the papers devoted to Art Space, the author has

analyzed the aesthetical tendencies of modern digital

games in the light of their historical heritage mainly

rooted in the era of modernism in art. Since the

project is still in progress, this article only describes

the general concept and design of Art Space and the

articles describing its details will follow.

This paper shows the big picture of the project

focused on the heritage of modernism in digital

games. The mission of the project is to encourage the

manifestation of knowledge of this heritage in the

future art games and to promote the discussion of art

research in the art game discourse. The project

intends to explain the specific means of expression

governing the contemporary game language such as

kitschy expression as a continuation of modern and

postmodern styles and to show the gaming trends in

the context of their cultural backgrounds.

This paper is devoted to the aesthetical heritage,

but the suggested methodological approach is

certainly not limited to the area of aesthetics: it

encompasses all subjects of modern art research. The

author shows the situation in the game discourse,

analyzes the role of research and the aspect of

knowledge transfer in the art game theory. Since not

much has been written on the subject of knowledge

transfer so far, the study presents an innovative aspect

of art game where the research results into

contemporary art are transferred to players using the

modern media of digital game.

A part of gaming has already been culturally

sophisticated for about 20 years now and games

surely could also take on the function of knowledge

transfer in the field of modern art, however, this

emphasis is missing. The article speaks to art game

designers and theorists, and suggests creating a niche

of art games that would envisage the research results

in contemporary arts and transfer those results to the

general public of players. The new game Art Space is

presented as an example of this approach, and the

kitsch/camp style illustrates the strategy by which the

research results could be manifested in the new game.

Art Space belongs to the large number of games with

a goal of supporting knowledge of culture yet it hopes

to open a new page in the edugames field devoted to

research into contemporary art. The research results,

in the form of articles published within the framework

of this post-doctoral study, are an integral part of the

project and serve as a background for the new game’s

prototype. The project hopes to raise the interest of

the wider public in contemporary art and music, point

out the newest creative tendencies and describe the

modern audio-visual aesthetics.

ACKNOWLEDGEMENTS

This research has been supported by a grant from the

European Regional Development Fund project

“Leveraging ICT product innovations by enhancing

codes of modern art” No. 1.1.1.2/VIAA/1/16/106

within the Activity 1.1.1.2 “Post-doctoral Research

Aid”.

Many thanks to Wayne Chislett for his kind

support and proofreading.

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APPENDIX

Figure 1: Art Space. Pixel room with the antecedent,

Tatlin’s Tower, era of constructivism (screenshot, 2020).

Figure 2: Art Space. Generative art room with the

antecedent, Marilyn Monroe series by Andy Warhol

(screenshot, 2020).

Figure 3: Otto Dix, Salon 1 (1927) (Bibliokept, 2014).

Figure 4: Theo Triantafyllidis. Painting (Gamescenes,

2019).

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