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	<title>mary flanagan &#187; Search Results  &#187;  work</title>
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		<title>[ghost city]</title>
		<link>http://www.maryflanagan.com/ghost-city</link>
		<comments>http://www.maryflanagan.com/ghost-city#comments</comments>
		<pubDate>Mon, 13 Jul 2009 16:44:30 +0000</pubDate>
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		<description><![CDATA[software / computer / performance [ghost city] uses a game-like interface where the participant maneuvers around an aerial map of the district around Bellevue Hospital in New York City. As the participant moves around the map, roving snippets of text, selections from poems written in the neighborhood around Bellevue, slip down streets or pop up [...]]]></description>
			<content:encoded><![CDATA[<p>software /  computer / performance</p>
<p><strong>[ghost city]</strong> uses a game-like interface where the participant maneuvers around an aerial map of the district around Bellevue Hospital in New York City. As the participant moves around the map, roving snippets of text, selections from poems written in the neighborhood around Bellevue, slip down streets or pop up at unexpected locations. The participant can creates dynamic collisions from the individual poems, making an entirely new and separate work that continually shifts and changes.</p>
<p>Bellevue, the oldest public hospital in the US, is open to patients of all backgrounds, irrespective of ability to pay, More than 80 percent of Bellevue’s patients come from the city’s medically underserved populations. Long known for its extensive psychiatric facility which are frequently referenced in fiction, movies and television, Bellevue has become synonomous for such facilities.</p>
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		<title>media</title>
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		<pubDate>Fri, 03 Jul 2009 06:44:53 +0000</pubDate>
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		<description><![CDATA[UPCOMING 2011 &#8211;Talk at the Hood Museum, Hanover NH at the new Fluxus exhibition (likely May/June), “Fluxus and the Essential Questions of Life.” &#8211;Talk at the AIGA Chicago, Design Thinking 2011 series 23-25 May  2011  / Gaming as Gateway to Computing for Girls and Women, NCWIT Summit on Women and IT: practices and ideas to [...]]]></description>
			<content:encoded><![CDATA[<div id="showsevents" class="showsevents">
<h5>UPCOMING</h5>
<h5>2011</h5>
<p>&#8211;Talk at the Hood Museum, Hanover NH at the new Fluxus exhibition (likely May/June), “Fluxus and the Essential Questions of Life.”</p>
<p>&#8211;Talk at the AIGA Chicago, Design Thinking 2011 series</p>
<p><strong>23-25 May  2011  / </strong>Gaming as Gateway to Computing for Girls and Women, NCWIT Summit on Women and IT: practices and ideas to revolutionize computing, NYC</p>
<p><strong>6th May 2011  /</strong><em> Metadata Games</em> for Archives and Libraries,” American Council of Learned Societies, Washington DC May</p>
<p><em>info{at}maryflanagan{dot}com</em></p>
<h5>PAST</h5>
<p><strong>2011</strong></p>
<p><strong>2nd April 2011  /</strong>“Developing and Open Source <em>Metadata Games</em> System for Archives and Libraries,” New England Archivists, Brown U, Providence April</p>
<p><strong>23 March 2011 / </strong>NHIP Conference Manchester, 7:30-4:30<br />
Tiltfactor launches its New website, and new Immunization game!</p>
<p><strong>7th – 8th March 2011 / </strong>University of Maryland<br />
Digital Cultures and Creativity (http://dcc.umd.edu), Visit and Talks</p>
<p><strong>4th – 5th March 2011 /<a href="http://krieger.jhu.edu/cams/tech-meaning/"> </a></strong><a href="http://krieger.jhu.edu/cams/tech-meaning/">Technologies of Meaning Conference</a><br />
Johns Hopkins University and Maryland Institute College of Art<br />
Exhibition of works in the <a href="http://bit.ly/fXIx1B">[borders] series</a> , Maryland Institute College of Art</p>
<p><strong>3rd March 2011 (11:30am Thurs March 3) / </strong><a href="http://dmlcentral.net/conference2011">Digital Media and Learning</a><br />
Designing Learning Futures Conference, LA<br />
Workshop: Real World Games (for Civic Action Platforms) with Susanna Ruiz, Benjamin Stokes</p>
<p>http://dmlcentral.net/conference2011</p>
<p><strong>28th Feb – 2nd March 2011 /</strong> Game Developer’s Conference<br />
Education Summit Panel, San Francisco<br />
Building and Growing a Game Lab</p>
<p><strong>16th February 2011  /</strong> Mary Flanagan Artists Talk<br />
Bloomfield College, New Jersey.</p>
<p><strong>14th February 2011  /</strong>“Relational Aesthetics + Mediation: Rule systems” Parsons MA in Media Studies program talk</p>
<p><strong>12th February 2011  /</strong> Participant, Art/Technology Global Sample, a centennial panel at the  College Art Association, curated by Mark Tribe and Chris  Csikszentmihályi</p>
<p><strong>30th January 2011 /</strong> Mary Flanagan Artists Talk<br />
Writing Machine Collective Exhibition, Youth Square, Chai Wan Hong Kong</p>
<p><strong>15th – 30th January 2011 /</strong> Exhibition of three works in the <a href="http://bit.ly/fXIx1B">[borders] series</a><br />
Computational Thinking in Existing Art Forms WMC_e4<br />
<a href="http://www.youthsquare.hk/detail.php?s=calendar&amp;t=433&amp;n=7fe12215f8265b3a3feafc07516504a8&amp;l=en">(Writing Machine Collective) Youth Square</a>, Chai Wan Hong Kong</p>
<p><strong>15th – 23rd  January 2011 / </strong>Thinktank<br />
<a href="http://www.metalculture.com/ ">METAL culture</a>, Southend on Sea UK<br />
with Artist, Author, and Organizer Ruth Catlow, Furtherfield.org and Rachel Lichtenstein, Artist and Author</p>
<p><strong> October 8,9,10 /</strong> Speaking at Indiecade</p>
<p><strong>September 6-7 /</strong> Trinity College Dublin</p>
<p><strong> August 13-14/</strong> Games for Girls WorkshopChicago</p>
<h5>2010</h5>
<p><strong> May 24/</strong> Games for Change Games 101 Workshop NYC, at Parsons/The New School</p>
<p><strong> May 14 /</strong> <a href="http://www.dartmouth.edu/~dighum/">Digital Humanities Symposium</a> at Dartmouth College  Hanover NH</p>
<p><strong> June 7-9 /</strong> Trinity College Dublin</p>
<p><strong> May 6-7 /</strong> <a href="http://sites.google.com/site/vid2k10workshop/program">Values in Design Workshop </a>NYC, at NYU</p>
<p><strong>April 12-16 /</strong> Keynote Speaker DIGITEL 2010 Taiwan, The IEEE 3rd International Conference on Digital Game and Intelligent Toy Enhanced Learning</p>
<p><strong> March 14th /</strong> Keynote Speaker, Playing the City/Giocando la città, Modena Italia</p>
<h5>2009</h5>
<p><strong>November 16 / </strong>Montreal International Games Summit panel</p>
<p><strong>November 2 /</strong>MIT Gambit Lab and in the Purple Blurb lecture series</p>
<p><strong>November 3 / </strong>Hood Museum Gallery Talk, Hanover NH</p>
<p><strong>August 2009 /</strong> Show of perfect.city<br />
South Korea</p>
<p><strong>May 27-29 / </strong>Games for Change</p>
<p><strong>March 27-April 1 / </strong>I will be in Hong Kong giving a series of consultations and talks</p>
<p><strong>March 23-27 / </strong>Game Developers Conference 2009</p>
<p><strong>March / </strong>L.A. Alumni group talk</p>
<p><strong>February 2009 / </strong>Talk at the Transart Institute</p>
<h5>2008</h5>
<p><strong>November / </strong>Talk at RISD</p>
<p><strong>November / </strong>Talk at DIGRA NYC</p>
<p><strong>October 30 &#8211; Nov 3 / </strong>Talk at Computer Space, Sophia Bulgaria</p>
<p><strong>October 17 &#8211; 19 / </strong>Keynote at Future and Reality of Gaming</p>
<p><strong>Sept 13 2008 / </strong>Massively Multiplayer Game Launch @ Conflux Festival</p>
<p><strong>August / </strong>UC-Santa Clara Values in Design Workshop</p>
<p><strong>July / </strong>Games, Learning and Society workshop</p>
<p><strong>June / </strong>Games for Change NYC Panel</p>
<p><strong>May / </strong>V2 Lab Talk, Rotterdam</p>
<p><strong>April / </strong>Cornell Talk</p>
<p><strong>March / </strong>Brooklyn Poly Panel</p>
<p><strong>March / </strong>AERA Panel</p>
<p><strong>February / </strong>GameLab Talk NYU</p>
<p><strong>February / </strong>GDC Panel</p>
<p><strong>January / </strong>Savannah Talk</p>
<p><strong>January / </strong>Georgia Tech Talk</p>
<h5>2007</h5>
<p><strong>October / </strong>Cinekids talk, Amsterdam</p>
<p><strong>October 4 / </strong>Beall Center exhibition with GrandTextAuto folks</p>
<p><strong>September 24-28 / </strong>Presentation of &#8220;A Method For Discovering Issues Around Values in Digital Games&#8221; at Digital Games Research Association (DIGRA), Tokyo</p>
<p><strong>September / </strong>Presentation of &#8220;Locating Play and Politics: Real World Games and Political Action&#8221; at The Digital Arts and Culture Conference, Perth Australia</p>
<p><strong>July / </strong>Maine College of Art visiting artist</p>
<p><strong>June / </strong>MacDowell Colony Residency, New Hampshire</p>
<p><strong>April / </strong>Game Design Heuristics for Activist Games, Full Paper, CHI (Computer Human Interaction Conf.)</p>
<p><strong>April / </strong>Women in Games Conference, UK</p>
<p><strong>April / </strong>Artists Talk, Rutgers University</p>
<p><strong>April / </strong>Heading in Different Directions, Emerging Terrain in Games and Simulation Symposium, RPI</p>
<p><strong>April / </strong>Artists Talk, University of Wisconsin Milwaukee Film Program</p>
<p><strong>March / </strong>Artists Talk, School of Visual Arts March</p>
<p><strong>March / </strong>eVALUating Games, NYU Workshop, NYC</p>
<p><strong>March / </strong>[giantJoystick] in Feedbach, [domestic] in Gameworld, Laboral Art Center Inaugeral Show, Asturias Spain</p>
<p><strong>February / </strong>Feminist Visualities conference, Cornell University</p>
<p><strong>January / </strong>Graduate Colloquium and Exhibition Talk, Georgia Institute of Technology January</p>
<h5>2006</h5>
<p><strong>December / </strong>Women Making Science: Problem, Progress, Power with The Feminist Press</p>
<p><strong>June / </strong>panel organizer, &#8220;Trailblazers&#8221; at Games for Change conference, NYC</p>
<p><strong>April-May</strong>distinguished visiting scholar at BTH Blekinge Institute of Technology, Sweden</p>
<p><strong>April / </strong>Keynote Speaker, Code Conference Miami Ohio University</p>
<p><strong>April / </strong>Artist&#8217;s presentation at the Neuberger Museum of Art</p>
<p><strong>March / </strong>Serious Play presentation and Panel organizer, Serious Games Summit, GDC</p>
<p><strong>March / </strong>Presentation at Living Game Worlds: Design Processes and the Future of Expressive Computing, Georgia Tech</p>
<p><strong>January / </strong>American Folk Art Museum Panel, &#8220;I Taught Myself Everything I Know: Autodidacticism in New Media Art&#8221; organized by Mark Tribe, Brown U.,</p>
<p><strong>December 2005 &#8211; 2006 / </strong>Residency, creative material group Portland Oregon</p>
<p>Speaker at College Art Association, Boston</p>
<p>Guest speaker at Columbia University, Women in Computing, NYC</p>
<p>The Virtual 2006: designing digital experience, Södertörn University, Stockholm</p>
<p>Nordic Games Conference, Malmo Sweden</p>
<p>exhibition of [giantJoystick] at HTTP gallery, London</p>
<p>Premier of collaborative work on Turbulence</p>
<p>Reading of e-texts in October</p>
<p>Artist&#8217;s Talk, Bowling Green State Univ. Ohio in conjunction with gallery installation</p>
<h5>2005</h5>
<p><strong>October / </strong>Microwave International Media Festival Exhibition, Hong Kong</p>
<p><strong>September / </strong>AIGA Design conference</p>
<p><strong>June 1-10 / </strong>Guest and Keynoter at ICT summer school, Stockholm</p>
<p><strong>April / </strong>Juror for Southshore Arts Center TechArt II show, part of Cyberarts Boston</p>
<p><strong>March / </strong>keynote speaker at U FL games conference</p>
<p><strong>February / </strong>juror on the New York State Foundation for the Arts grant program</p>
<p><strong>February / </strong>speaking at St. Louis Museum</p>
<p><strong>February / </strong>showing [domestic] at ARCO in Milan</p>
<p>Residency in December at iPark, CT</p>
<p>UW-Milwaukee Film Program Colloquia inaugeral speaker for critical studies program</p>
<p>two papers given at DIGRA</p>
<p>conference in Vancouver</p>
<p>speaking about game design for girls at  the Btween International Festival in the uk, http://www.btween.co.uk/</p>
<p>Co-curating an art and games show to coincide with digra spring 2005</p>
<p>visiting speaker/visiting critic this spring at Pace University, Parsons, Georgia Tech, MassArt, nd Stockton College in New Jersey</p>
<h5>2004</h5>
<p><strong>November / </strong>I&#8217;ve just been to UNIVERSITÉ PARIS IV-SORBONNE to give a paper called &#8220;Playculture: Work, Leisure, and the Digital Vernacular&#8221; at the Leisure and Liberty in North America conference</p>
<p><strong>2003-2004 / </strong>I was an invited speaker at the Inter Society of Electronic Arts conference in Helsinki, University of Auckland (multiple engagements), Emerson college, Columbia University, The Art Institute of Chicago, MIT Media Lab, the Plaything Conference Keynote speaker in Sydney Australia, and the NY Law School. Upcoming engagements include University of Maine, St. Louis Center for Contemporary Art, the Steirischer Herbst festival in Austria, the British HCI conference, + the Sorbonne in Paris, among others.</p>
<p><strong>October 2004 / </strong>showed work and speaking at the steirischer herbst festival in Graz Austria.</p>
<p><strong>Sept 2004 / </strong>spoke at the University of Maine, &#8220;Code &amp; Creativity IV Games: Making &amp; Unmaking the World.&#8221;</p>
<p><strong>August / </strong>Talk with collaborator ken perlin at InterSociety of Electronic Arts (ISEA) conference, Helsinki, &#8220;Cultural Softwares: Artistic Tools &amp; DIY Networks;&#8221;</p>
<p><strong>August / </strong>[ineffable] at siggraph</p>
<p><strong>August / </strong>invited to BANFF canada new media summit/thinktank on mobile technologies</p>
<p><strong>July / </strong>speaking at Teacher Institute for Contemporary Art at the Chicago Art Institute</p>
<p><strong>June-July / </strong>[domestic] @GiganticArtSpace, NYC</p>
<p><strong>June / </strong>National Womens Studies Assn conf panel</p>
<p><strong>April / </strong>University of Auckland International Strategic Opportunities and Research Collaborations visit</p>
<p>Also article on subversive use of computer games going online at the New York Law School Review (peer reviewed journal) www.nyls.edu/lawreview</p>
<p><strong>March 18 &#8211; May 16 / </strong>[phage] at the Guggenheim, Seeing Double show, panel discussion May 8th</p>
<p><strong>March 24 / </strong>Presidential Roundtable, Gender and Computer Games</p>
<p><strong>March 17 / </strong>Talk at Emerson College</p>
<p>Talk at Columbia&#8217;s Digital Media center</p>
<h5>2003</h5>
<p>Visit to Mitch Resnick&#8217;s Lifelong Kindergargen program, MIT Media Lab</p>
<p>Plaything, Sydney Australia October &#8211; premiere of [domestic] game project</p>
<p><strong>December / </strong>Artist&#8217;s talk, UC-Colorado Springs</p>
<p><strong>November 4-6</strong>DiGRA Conference in Utrecht</p>
<p><strong>May 19 &#8211; 23 / </strong>Showing work at the Digital Arts and Culture Conference, Melbourne</p>
<p><strong>May 19 / </strong>[search] opening</p>
<p><strong>May / </strong>Visiting Artist and Artist Presentation, State Library of Victoria, Melbourne, Australia</p>
<p><strong>April 16-19 / </strong>&#8220;SIMple and Personal: Domestic Spaces and The Sims&#8221; Joint meeting of the Popular Culture and American Culture Associations, New Orleans</p>
<p><strong>Feb 27 &#8211; Mar 1 / </strong>&#8220;[search]-ing&#8221; 9th Biennial Symposium for Arts and TechnologyAmmerman Center for Arts and Technology at Connecticut College</p>
<p><strong>February 7 &#8211; 9 / </strong>INTERACTIVE FUTURES: New Stories, New Visions Victoria Independent Film and Video Festival &#8211; http://www.vifvf.com/ University of Victoria, British Columbia, Canada</p>
<p>The State of Play: Panel at NY Law School</p>
<p>Harvestworks Residency</p>
<p>NY Law School-Information Society Project at Yale Law School State of Play conf</p>
<p>Carbon Versus Silicon: Thinking Small/Thinking Fast Banff New Media Summit</p>
<h5>2002</h5>
<p><strong>December / </strong>Co-host at Melinda Rackham&#8217;s subtle.net</p>
<p><strong>November 23 / </strong>2002 [contamination] installation at MotelHaus, Eugene OR</p>
<p><strong>November / </strong>Artist talk at U Washington</p>
<p><strong>October 10 &#8211; 16 / </strong>[phage] at the Moving Image Center, Auckland</p>
<p><strong>July &#8211; Aug / </strong>The Physics Room, New Zealand- Installation</p>
<p><strong>May / </strong>Showed work + gave talk at Experimenting Arts and Sciences Conference, Aarhus Denmark</p>
<p><strong>April / </strong>Showed work in &#8220;Northwest Documenta&#8221; in Salem OR showcasing Pacific NW contemporary art</p>
<p><strong>February 7 &#8211; 9 / </strong>Gave a paper &#8220;The &#8216;Nature&#8217; of Networks: Space and Place in the &#8216;Silicon Forest&#8217;&#8221; at the Nature and Progress: Interactions, Exclusions, Mutations Conference, University of Paris-Sorbonne</p>
<p>[remotion] Internet Artwork at CODEDOC, Whitney Artport</p>
<p>[search] Internet Artwork premiers &#8220;Mapping Transitions&#8221; exhibit, University of Colorado, Boulder</p>
<p>FutureScreen 2002 Sydney Australia &#8211; in the &#8220;all star data mappers&#8221; show</p>
<p>[collection] in the Whitney Biennial</p>
<h5>2001</h5>
<p>Santa Cruz Art League showcases work in arts and technology show</p>
<p>Talk at the UAAC in Montreal in October about transgenic art and feminism</p>
<p><strong>September / </strong>[rootings] premiering at turbulence.org website</p>
<p><strong>August / </strong>Showed [collection] at The Banff Centre New Media Institute</p>
<p><strong>April &#8211; July / </strong> Visiting Professor, Interactive Artist Computer Science + Information Engineering, National Taiwan University, No. 1 Sec. 4 Roosevelt Rd, TaipeiWork on multidisciplinary human-computer interface projects</p>
<p><strong>March / </strong>&#8220;Artist&#8217;s Talk&#8221; Reina Sophia Museo Nacional Centro de Arte, Madrid</p>
<p><strong>January 21 / </strong>[The Perpetual Bed] Stuttgart Filmwinter Special 3D exhibition, Stuttgart Germany</p>
<p><strong>February 28-March 3 / </strong>College Art Association, &#8220;The Surreal, the Hyperreal, and the Virtually Real&#8221; Panel Participant</p>
<h5>2000</h5>
<p><strong>June &#8211; December / </strong>DIGITAL2000: International Competition and Exhibition New York and Philadelphia. The exhibition of the winning works will travel to the following venues: Central Fine Arts Gallery in SoHo, NYC, the Technology Gallery at The New York Hall of Science (NYHOS) (Sept.18-Nov.26), and Silicon Gallery in Philadelphia (Dec.1-31). Showing [phage]. Juror: John Ippolito, Guggenheim.</p>
<p><strong>July 23-28 / </strong>Siggraph 2000 New Orleans</p>
<p><strong>July 22-27 / </strong>work going to be at VRML show at Art Gallery at Siggraph 2000, New Orleans</p>
<p><strong>August 2- 4 / </strong>Digital Arts &amp; Culture Conference, Bergen Norway showing installation</p>
<p><strong>21-24 February / </strong>ACM SIGGRAPH sponsored Web3D/VRML Symposium Monterey, CA, USA</p>
<p>VRML Art 2000 &#8211; VRML-ART 2000 shows important advances in the content and structure possible in the Web 3D medium. The works amplify a new wave of creative output by artists and designers, who have specialized on internet</p>
<p><strong>February 21-24 / </strong>Web3D-VRML 2000 Monterey, CA, USA</p>
<p><strong>April 14 &#8211; 15 / </strong>Urban Girls Conference, Buffalo NY</p>
<p><strong>May 21-27 / </strong>6th annual Computer Arts Festival, Maribor, Slovenia</p>
</div>
<div id="interviews" class="interviews">
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<p><BR><BR></p>
<div id="media_entry" class="media_entry">
<h5>SOME HIGHLIGHTS</h5>
<p></p>
<p><a href="http://www.maryflanagan.com/wp-content/uploads/ArtNews_April2011_Flanagan.pdf">ARTnews 2011 </a>piece on game-related art, featuring Flangan&#8217;s work and others</p>
<p>A <a href="http://now.dartmouth.edu/2011/04/game-developed-at-dartmouth-helps-players-understand-infectious-disease-control/">2011 video interview</a> about the POX game</p>
<p>Rick Ganley’s 2011 NHPR Morning Edition interview with <a href="http://www.nhpr.org/pox-board-game,">Flanagan on POX</a><br />
<a href="http://www.nytimes.com/2011/02/16/business/16monopoly.html?src=twrhp"></a></p>
<p><a href="http://www.nytimes.com/2011/02/16/business/16monopoly.html?src=twrhp">Stephanie Clifford’s piece on the new Monopoly game</a> from Hasbro in the <em>New York Times</em>.</p>
<p>A 2010 interview with Vermont television <a href="http://www.youtube.com/watch?v=gH244xvTv3A">about Metadata games;</a> also <a href="http://www.youtube.com/watch?v=gH244xvTv3A">here</a></p>
<p>With E. Navas for a gallery <a href="http://gallery.calit2.net/portal/index.php?option=com_content&amp;view=article&amp;id=64&amp;Itemid=59">show at CalIT2</a></p>
<p>In a <a href="http://mitpress.typepad.com/mitpresslog/2009/10/in-our-newest-podcast-critical-play-author-mary-flanagan-talks-with-chris-gondek-about-the-history-and-the-future-of-radic.html">Podcast with MIT</a> for <em>Critical Play</em></p>
<p>Speaking in <a href="http://www.brainygamer.com/the_brainy_gamer/2009/05/brainy-gamer-podcast-episode-23.html">podcast</a> with the Brainy Gamer</p>
<p>Caught the <a href="http://www.youtube.com/watch?v=JUctWSxrFzA">2008 SXSWi conference in Austin TX<br />
</a><br />
In an <a href="http://www.youtube.com/watch?v=OmkTdKKRYA4">artist&#8217;s talk at Columbia University</a></p>
<p>Glimpsed <a href="http://www.vimeo.com/2829543">in a video</a> about a nifty robot show she co-curated in 2004.
</div>
<p><br clear=all></p>
<div id="articlesreviews" class="articlesreviews">
<div id="media_date" class="media_date">
<h5>2011</h5>
</div>
<div id="media_entry" class="media_entry">
Miranda, Carolina A. <a href="http://c-monster.net/blog1/wp-content/uploads/ARTnews-April-2011-How-video-games-became-art.pdf">Let the Games Begin: Artists are designing or adapting to video games to comment on politics, art, and games themselves.</a> ARTnews, April 2011, pp. 79-85.</p>
<p>Plenda, Melanie. “<a href="http://www.unionleader.com/article.aspx?articleId=cbb762fb-109f-49f7-8932-8cd2138d6a15&amp;headline=Pox%3A+Play+the+game%2C+save+the+people">POX: Play the game, save the people.</a>” New Hampshire Union Leader, 8 April 2011, B1</p>
<p>HealthNewsDigest.com spreading the <a href="http://www.healthnewsdigest.com/news/Disease_420/%20Game_Developed_at_Dartmouth_Helps_Players_Understand_Infectious_Disease_Control_printer.shtml,%204%20April%202011">word on POX</a>, &#8220;Game Developed at Dartmouth Helps Players Understand Infectious Disease Control.&#8221;</p>
<p>Ganley, Rick. <a href="http://www.nhpr.org/pox-board-game">&#8220;POX: The Board Game.&#8221;</a> New Hampshire Public Radio Morning Edition, 4 April 2011.</p>
<p>Clifford, Stephanie. <a href="http://www.nytimes.com/2011/02/16/business/16monopoly.html">“No Dice, No Money, No Cheating. Are You Sure This Is Monopoly?”</a> The New York Times, Business Section 15th Feb 2011.
</div>
<div id="media_date" class="media_date">
<h5>2010</h5>
</div>
<div id="media_entry" class="media_entry">
<p style="text-align: left;">Interview on <a href="http://www.furtherfield.org/programmes/radio">Resonance FM</a>, London  Oct 27.</p>
<p>Barber, Bonnie. <a href="http://now.dartmouth.edu/2010/06/a-humanist-approach-to-game-design/">“A Humanist Approach to Game Design.”</a> Dartmouth Now, June 5, 2010</p>
<p>In 18 minutes, <a href="http://thedartmouth.com/2010/04/19/news/TEDx">TEDx tackles issues</a>, By Linday Brewer Published on Monday, April 19, 2010</p>
<p>Profs. discuss ‘<a href="http://thedartmouth.com/2010/05/17/news/symposium">digital humanities</a>’, The Dartmouth, by Annie Jones, Monday, May 17 2010</p>
<p>Sullivan, Adam. <a href="http://www.wcax.com/Global/story.asp?S=11226683">“Can Videogames Help Kids?”</a> (Metadata games) WCAX.com (Print and Video) 29 September 2009</p>
</div>
<div id="media_date" class="media_date">
<h5>2009</h5>
</div>
<div id="media_entry" class="media_entry">
<p><strong><a href="http://www.maryflanagan.com/wp-content/uploads/flanaganid.pdf">Book Review: Critical Play, in I.D. The International Design Magazine</a> / </strong><br />
October 2009<br />
<strong><a href="http://www.multimedia.slam-zine.de/php/bookreview_critical_play_mit_press,17281,22108.html"><br />
Slam Multimedia</a> (in German)  / </strong><br />
October 2009</p>
<p><strong><a href="http://chronicle.com/blogPost/Dartmouth-Professor-Creates/4583/">Dartmouth Professor Creates Recession-Inspired Video Game. Wired Campus: <em>Chronicle of Higher Education</em>. </a> / </strong><br />
March 2009</p>
<p><strong><a href="http://www.tiltfactor.org/wp-content/uploads2/critplay.jpg">Games Magazine</a> / </strong><br />
October 2009<br />
<strong><a href="http://chronicle.com/blogPost/Labeling-Library-Archives-I/7793/">Labeling Library Archives Is a Game at Dartmouth College by Marc Beja</a> / </strong><br />
August 2009</p>
</div>
<div id="media_date" class="media_date">
<h5>2008</h5>
</div>
<div id="media_entry" class="media_entry">
<p><strong>FLYP  /  <em><a href="http://www.flypmedia.com/content/virtual-verse-meet-new-poetry">Move over Whitman, there’s a new poetry in town</a></em></strong><br />
by Chris Bravo &amp; Lindsey Schneider</p>
<p><strong>Nashua telegraph  /  <em><a href="http://www.nashuatelegraph.com/apps/pbcs.dll/article?AID=/20080910/COLUMNISTS03/309101001/0/News01">New endowed humanities professor at Dartmouth has got game</a></em></strong><br />
by Dave Brooks</p>
<p><strong>NotesOnGameDev  /  <em><a href="http://www.notesongamedev.net/people/design-interviews/mary-flanagan-designer-tiltfactor/">Mary Flanagan: Designer, Tiltfactor</a></em></strong><br />
by Beth A. Dillon</p>
<p><strong>How Video Games Can Help in the Classroom, and in the World, <em>Chronicle of Higher Education</em>/  <em><a href="http://chronicle.com/article/How-Video-Games-Can-Help-in/5598/">Mary Flanagan: Designer, Tiltfactor</a></em></strong><br />
by David Debolt</p>
<p><strong>Concord Monitor  /  <em><a href="http://www.concordmonitor.com/apps/pbcs.dll/article?AID=/20080911/NEWS01/809110323/1012/NEWS">&#8216;Social activist&#8217; with a joystick</a></em></strong><br />
by Martin Downs</p>
</div>
<div id="media_date" class="media_date">
<h5>2007</h5>
</div>
<div id="media_entry" class="media_entry">
<p><strong>El Comercio, Spain  /  <em>Por fin, un museo del siglo XXI <a href="http://maryflanagan.com/reviews/ElComercioAll.pdf">Part 1</a>, <a href="http://maryflanagan.com/reviews/ElComercio2.pdf">Part 2</a></em></strong><br />
by Miguel Moran Gijon</p>
<p><strong>Nueva Espana, Spain  /  <em><a href="http://maryflanagan.com/reviews/LaNuevaEspanaAll.pdf">El motor del la Ciudad de la Cultura se pone en marcha</a></em></strong></p>
<p><strong>El Mundo, Spain  /  <em><a href="http://maryflanagan.com/reviews/ElMundo.pdf">La Laboral pone a Gijon en vanguardia</a></em></strong><br />
by Patricia Del Gallo</p>
<p><strong>ABC, Spain  /  <em><a href="http://maryflanagan.com/reviews/ABC.pdf">Gijon apuesta por el arte y la tecnologia con un pionero laboratorio de ideas</a></em></strong><br />
by Natividad Puldo</p>
<p><strong>La Razon, Spain  /  <em><a href="http://maryflanagan.com/reviews/laRazon.pdf">Los videojuegos ganan la partida al arte</a></em></strong><br />
by J. Ors</p>
<p><strong>La Voz de Asturias  /  <em><a href="http://maryflanagan.com/reviews/LaVozDeAsturias.pdf">Laboratorio para el arte</a></em></strong><br />
by Blanca A. Gutierrez</p>
<p><strong>[giantJoystick] featured at Indycade 2007</strong></p>
</div>
<div id="media_date" class="media_date">
<h5>2006</h5>
</div>
<div id="media_entry" class="media_entry">
<p><strong><a href="http://www.8bitmovie.com/about/about.html">Mary Flanagan featured in &#8220;8 Bit&#8221;, a documentary film about art and video games</a></strong></p>
<p><strong>ABC News  /  <em><a href="http://abcnews.go.com/Video/playerIndex?id=2564464">Turning 8-bit Video Games Into Art (video)</a></em></strong></p>
<p><strong>We Make Money Not Art  /  <em><a href="http://www.we-make-money-not-art.com/archives/2006/07/for-the-past-fe.php">[giantJoystick] review</a></em></strong><br />
by Regine</p>
<p><strong>Make Magazine  /  <em><a href="http://blog.makezine.com/archive/2006/07/giant_atari_2600_joystick.html">[giantJoystick] Review</a></em></strong></p>
<p><strong>The Guardian UK  /  <em><a href="http://www.guardian.co.uk/technology/gamesblog/2006/jul/26/giantjoystick">Giant Joystick on Exhibition in UK</a></em></strong></p>
<p><strong>GAMASUTRA  /  <em><a href="http://www.gamasutra.com/features/20060518/dillon_01.shtml">Event Wrap Up: Girls &#8216;N&#8217; Games</a></em></strong><br />
by Beth A. Dillon</p>
<p><strong>ineffable in <em><a href="http://www.amazon.com/gp/product/3822830410/sr=8-1/qid=1144029424/ref=pd_bbs_1/102-5225518-9502547?_encoding=UTF8">New Media Art</a></em></strong><br />
by Mark Tribe (Editor), Reena Jana (Editor), Uta Grosenick (Editor)</p>
<p><strong>Rhizome  /  <em><a href="http://rhizome.org/editorial/1563">A new Play-List</a></em></strong><br />
by Irene Wu</p>
<p><strong>BBC Online  /  <em>The Taking Part that counts!</em></strong><br />
by Ryan O’Riordan</p>
<p><strong>Make Magazine Online  /  <em><a href="http://blog.makezine.com/archive/2006/07/giant_atari_2600_joystick.html">Giant Atari 2600 Joystick</a></em></strong><br />
Entry posted in Blog by Phillip Torrone</p>
<p><strong>Creative Europe  /  <em>Game/Play</em></strong><br />
Entry posted by Gillian White</p>
<p><strong>Aeropause  /  <em><a href="http://www.aeropause.com/2006/07/giant-atari-joystick/">Giant Atari Joystick</a></em></strong></p>
<p><strong>Bernie DeKovan, Of Art and Fun  /  <em><a href="http://www.deepfun.com/2006/08/of-art-and-fun-gameplay-blog.html">The Game/Play Blog</a></em></strong><br />
Posted by Pat Kane</p>
<p><strong>Weird Gizmos  /  <em><a href="http://www.weirdgizmos.com/entry/top-5-strangest-atari-gadgets/">Top 5 Strangest Atari Gadgets</a></em></strong><br />
Posted by Tina</p>
<p><strong>Gay Gamer  /  <em><a href="http://gaygamer.net/2006/07/joystick_envy.html">Joystick Envy</a></em></strong></p>
<p><strong>Resonance  /  <em>Micro Clear Spot (radio)</em></strong><br />
15 min slot on Tuesday 15 September at 13.45</p>
<p><strong>Haringey Gazette  /  <em>week 31</em></strong><br />
National Newspaper Supplement</p>
<p><strong>Guardian Guide North and London  /  <em>Preview</em></strong><br />
by Robert Clark</p>
<p><strong>National Art and Architecture Magazine</strong><br />
Saturday 29 July 2006</p>
<p><strong>Blueprint Review</strong><br />
October 2006 issue</p>
</div>
<div id="media_date" class="media_date">
<h5>2005</h5>
</div>
<div id="media_entry" class="media_entry">
<p><strong>neural.it  /  <em><a href="http://www.neural.it/nnews/ineffable.htm">ineffable review</a></em></strong><br />
by Eleonora Calvelli</p>
</div>
<div id="media_date" class="media_date">
<h5>2003</h5>
</div>
<div id="media_entry" class="media_entry">
<p><strong>Fine Art Forum  /  <em><a href="http://maryflanagan.com/reviews/fineArtForum.htm">reload Review</a></em></strong><br />
by Linda Carolli</p>
<p><strong>Syndey Morning Herald, Australia  /  <em><a href="http://maryflanagan.com/reviews/Mary_article.jpg">Quite Contrary</a></em></strong><br />
by Jacqui Taffel</p>
</div>
<div id="media_date" class="media_date">
<h5>2002</h5>
</div>
<div id="media_entry" class="media_entry">
<p><strong>Newsweek  /  <em><a href="http://maryflanagan.com/articles/newsweek2002.html">Are Museums Obsolete?</a></em></strong><br />
by Michael Rodgers</p>
<p><strong>Eugene Weekly  /  <em><a href="http://maryflanagan.com/articles/EugWkly11-02/Motelhaus02.html">The Space Between Edges</a></em></strong><br />
by Lois Wadsworth</p>
<p><strong>k Reviews Archive  /  <em><a href="http://maryflanagan.com/reviews/ReloadLeonardo.htm">Reload: Rethinking Women + Cyberculture</a></em></strong><br />
Reviewed by Michael R. Mosher</p>
<p><strong>Afterimage  /  <em><a href="http://maryflanagan.com/reviews/Reloading%20Cyberfeminism.htm">Reloading Cyberfeminism. &#8211; Reload: Rethinking Women and Cyberculture &#8211; book review</a></em></strong><br />
by Katie Mondloch</p>
<p><strong>The New York Times  /  <em><a href="http://maryflanagan.com/reviews/ArtPolice%20Flanagan.htm">Never Mind the Art Police, These Six Matter</a></em></strong><br />
by Holland Cotter</p>
<p><strong>I Love You Virus Show  /  <em><a href="http://maryflanagan.com/reviews/VirusCharms.html">Virus Charms and Self-Creating Code</a></em></strong><br />
by Alessandro Ludovico</p>
<p><strong><em><a href="http://maryflanagan.com/reviews/IppolitoBlaisArticle.htm">Looking for Art in All the Wrong Places</a></em></strong><br />
by Jon Ippolito &amp; Joline Blais</p>
</div>
<div id="media_date" class="media_date">
<h5>2000</h5>
</div>
<div id="media_entry" class="media_entry">
<p><strong>The Montreal Gazette  /<em><br />
<a href="http://www.maryflanagan.com/wp-content/uploads/montrealgazette2000.jpg"> True Role Model in Cyberspace: University Professor invents Free Internet Game to Empower Young Girls. </a></em><br />
By Kate Swoger<br />
2nd November 2000</strong></p>
<p><strong><strong>The Chronicle of Higher Education  /  <em><a href="http://chronicle.com/article/Professor-Creates-a-Web-Bas/33314/">Professor Creates a Web-Based Game for Girls</a></em></strong><br />
By Nina Willdorf</strong></p>
</div>
<div id="media_date" class="media_date">
<h5><strong>1999</strong></h5>
</div>
<div id="media_entry" class="media_entry">
<p><strong><strong>UB Today  /  <em>Daring Digital Artist, <a href="http://maryflanagan.com/reviews/UBToday1.gif">Part 1</a> / <a href="http://maryflanagan.com/reviews/UBToday2.gif">Part 2</a></em></strong><br />
by Patrick Klinck</strong></p>
</div>
</div>
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		<title>bio</title>
		<link>http://www.maryflanagan.com/bio</link>
		<comments>http://www.maryflanagan.com/bio#comments</comments>
		<pubDate>Fri, 03 Jul 2009 06:44:20 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://www.maryflanagan.com/dev/?page_id=144</guid>
		<description><![CDATA[En Brief: Mary Flanagan is an innovator focused on how people create and use technology. Her groundbreaking explorations across the arts, humanities, and sciences represent a novel use of methods and tools that bind research with introspective cultural production. As an artist, the collection of over 20 major works range from game-inspired systems to computer [...]]]></description>
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<p><em><strong>En Brief: </strong></em>Mary Flanagan is an innovator focused on how people create and use technology. Her groundbreaking explorations across the arts, humanities, and sciences represent a novel use of methods and tools that bind research with introspective cultural production. As an artist, the collection of over 20 major works range from game-inspired systems to computer viruses, embodied interfaces to interactive texts; these works are exhibited internationally. As a scholar interested in how human values are in play across technologies and systems, Flanagan has written more than 20 critical essays and chapters on games, empathy, gender and digital representation, art and technology, and responsible design. Her three books in English include <em>Critical Play</em> (2009) with MIT Press. Flanagan founded the Tiltfactor game research laboratory in 2003, where researchers study and make social games, urban games, and software in a rigorous theory/practice environment. She is the Sherman Fairchild Distinguished Professor in Digital Humanities at Dartmouth College.</p>
<p>http://www.maryflanagan.com; http://www.tiltfactor.org</p>
<p>+ + +</p>
<p><img title="mary flanagan" src="http://www.maryflanagan.com/wp-content/uploads/flanagan-2012-316x153.jpg" alt="" width="316" height="153" /></p>
<p><em><strong>More Information: </strong></em></p>
<p><!--  /* Font Definitions */ @font-face 	{font-family:Times; 	panose-1:2 0 5 0 0 0 0 0 0 0; 	mso-font-charset:0; 	mso-generic-font-family:auto; 	mso-font-pitch:variable; 	mso-font-signature:3 0 0 0 1 0;} @font-face 	{font-family:Cambria; 	panose-1:2 4 5 3 5 4 6 3 2 4; 	mso-font-charset:0; 	mso-generic-font-family:auto; 	mso-font-pitch:variable; 	mso-font-signature:3 0 0 0 1 0;}  /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal 	{mso-style-parent:""; 	margin:0in; 	margin-bottom:.0001pt; 	mso-pagination:widow-orphan; 	font-size:12.0pt; 	font-family:"Times New Roman"; 	mso-ascii-font-family:Cambria; 	mso-fareast-font-family:Cambria; 	mso-hansi-font-family:Cambria; 	mso-bidi-font-family:"Times New Roman";} a:link, span.MsoHyperlink 	{color:blue; 	text-decoration:underline; 	text-underline:single;} a:visited, span.MsoHyperlinkFollowed 	{mso-style-noshow:yes; 	color:purple; 	text-decoration:underline; 	text-underline:single;} p 	{margin:0in; 	margin-bottom:.0001pt; 	mso-pagination:widow-orphan; 	font-size:10.0pt; 	font-family:"Times New Roman"; 	mso-ascii-font-family:Times; 	mso-fareast-font-family:Cambria; 	mso-hansi-font-family:Times; 	mso-bidi-font-family:"Times New Roman";} @page Section1 	{size:8.5in 11.0in; 	margin:1.0in 1.25in 1.0in 1.25in; 	mso-header-margin:.5in; 	mso-footer-margin:.5in; 	mso-paper-source:0;} div.Section1 	{page:Section1;} -->Known for her theories on playculture, activist design, and critical play, Mary Flanagan has achieved international acclaim for her novel interdisciplinary work, her commitment to both theory and practice, and her ongoing pioneering contributions to the field of digital art. Her research examines the boundaries between the personal and the public, perception, power, and what technology can teach people about themselves. Using the formal language of the computer program or game to create systems which interrogate seemingly mundane experiences such as writing email, using search engines, playing video games, or saving data to the hard drive, Flanagan reworks these activities to blur the line between the social uses of technology, and what these activities tell us about the technology user themselves. Her artwork ranges from game based systems to computer viruses, embodied interfaces to interactive texts; these works are exhibited internationally at venues including the Laboral Art Center, The Whitney Museum of American Art, SIGGRAPH, Beall Center, The Banff Centre, The Moving Image Center, Steirischer Herbst, Ars Electronica, Artist’s Space, The Guggenheim Museum New York, Incheon Digital Arts Festival South Korea, Writing Machine Collective Hong Kong, Maryland Institute College of Art, and venues in Brazil, France, UK, Canada, Taiwan, New Zealand, and Australia.</p>
<p>As a researcher, she focuses on popular culture, digital studies, and computer games to look at issues of representation, behavior, equity, and process. In the field of creative writing, Flanagan is known as a writer of electronic literature, and she is also a poet, with work in <em>The Iowa Review, Barrow Street, Saranac Review</em>, <em>Mudfish</em>, and other books &amp; periodicals. She has written more than 20 critical essays on digital art, cyberculture, and gaming in periodicals such as Art Journal, Wide Angle, Intelligent Agent, Convergence, and Culture Machine, as well as several books. Her books in English include <em>reload: rethinking women + cyberculture</em> (2002), <em>re:SKIN</em> (2007), and <em>Critical Play</em> (2009), all with MIT Press. She writes about popular culture and digital media such as computer games, virtual agents, and online spaces in order to understand how they affect and reflect culture. She is also co-author with Matteo Bittanti of <em>Similitudini. Simboli. Simulacri</em>, on the game The Sims (in Italian, Unicopli 2003).</p>
<p>Flanagan is the founding director of he theory/practice laboratory she founded in 2003, <a href="http://www.tiltfactor.org">Tiltfactor</a>, focused on the design of and research on computer games, board games, urban games, and other software that fosters a joyful commitment to human values. She is also the creator of “The Adventures of Josie True,” the first web-based adventure game for girls.</p>
<p>Mary Flanagan holds MFA and MA degrees from the University of Iowa, a BA in Film from the University of Wisconsin-Milwaukee, and a Ph.D. in Computational Media from Central Saint Martins College of Art and Design, University of the Arts London UK. Flanagan’s work has been supported by commissions, the National Endowment for the Humanities, the American Council of Learned Societies, Microsoft Research, and she has been PI or co-PI on six National Science Foundation research grants. Flanagan is the founder of <a href="http://www.squeaky.org/techarts">techARTS</a>, a not-for-profit program in Buffalo to encourage girls’ use of technology by exploring the arts with computers. She is the Sherman Fairchild Distinguished Professor in Digital Humanities at Dartmouth College,. <a href="http://www.maryflanagan.com">http://www.maryflanagan.com</a>; <a href="http://www.tiltfactor.org.">http://www.tiltfactor.org.</a></p>
<p>Flanagan on wikipedia <a href="http://en.wikipedia.org/wiki/Mary_Flanagan">here. </a></p>
<p>Blog: the lovely <a href="http://www.grandtextauto.org">GrandTextAuto.org</a></p>
<p>See more at <a href="http://blog.missiontolearn.com/2008/09/new-serious-games/">Mission to Learn</a>+ <a href="http://www.gamesforchange.org/main/newentry/tiltfactor_lab_on_teasing_out_the_connection_between_games_and_change/">Games4Change</a></p>
</div>
<div id="statement" class="statement">
<p>My creative practice investigates human relationships with systems &#8212; technological, representational, linguistic, and experiential &#8212; from my position in a technologically-infused society. In my work I explore the relationship between such systems and their intersections with everyday life. Therefore, games, computer viruses, search engines, cell phones, email — seemingly boring or ordinary computationally-driven systems — become for me extraordinary and revealing artifacts representing themes of human desire, intimacy, secrecy, language, and the conceptual spaces of machines themselves.</p>
<p>I use technologies such as computer game engines and networked databases as materials by which to explore the cultural impact of digital technology as it permeates everyday life, while it in turn is continually reshaped. The process of creating the work feeds from ‘internet culture’ and ‘computational customs’, investigating how flippant trends become ongoing conceptual and physical ‘truths.’ Making these works is a way of creating alternate systems which reach a peace with the both the impermanence of the medium and its forms: the simultaneous fleeting nature of bits and bytes and conversely, the way these forms forge more lasting conceptual systems. The work manifests in a variety of forms: web-based media, computer applications, games, software, and social convention &#8212; forms governed by rule sets which render possible worlds, yet each system involves serendipity and accident as aleatoric, experiential interventions. These eruptions of chance operations work entirely within the way systems offer flexibility in their construction of rules. within the very code that paradoxically is to create can be programmed to create situations of extreme variability. To me, works based on algorithms need such accidents to ‘humanize’ the planned, calculated precision of the program in the development process, even if this results in a very precise final outcome. Each of the works represents a blend of research, process, procedure, and performance/execution. In this way these conceptually driven works form a hybrid of research, process, and performance.</p>
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		<title>writing</title>
		<link>http://www.maryflanagan.com/writing</link>
		<comments>http://www.maryflanagan.com/writing#comments</comments>
		<pubDate>Fri, 03 Jul 2009 06:43:54 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://www.maryflanagan.com/dev/?page_id=142</guid>
		<description><![CDATA[“In Critical Play, Flanagan uncovers a secret history of games buried deep inside folk culture, experimental media, and the world of art. Critical Play should be required reading for anyone who cares about the cultural importance and future potential of games.” —Eric Zimmerman, game designer and co-author of Rules of Play “Mary Flanagan has written [...]]]></description>
			<content:encoded><![CDATA[<p><!-- BOOKS --></p>
<div id="books">
<div class="book_inset"><img src="http://www.maryflanagan.com/dev/wp-content/uploads/book_criticalplay.jpg" alt="book_criticalplay" title="book_criticalplay" width="180" height="229" class="alignleft size-full wp-image-724" /></p>
<div id="tinytext" class="tinytext">
		“In Critical Play, Flanagan uncovers a secret history of games buried deep inside folk culture, experimental media, and the world of art. Critical Play should be required reading for anyone who cares about the cultural importance and future potential of games.”<br />
		<em>—Eric Zimmerman, game designer and co-author of Rules of Play</em></p>
<p>		“Mary Flanagan has written a marvelous book in Critical Play. As an artist and scholar, Flanagan examines play through sources that range from the Mexican Revolution of 1910 and Johan Huizinga to Marcel Duchamp and the often-overlooked Roger Caillois. Flanagan examines games and play from dollhouses to board games, from Alberto Giacometti to Fluxus, enabling us to see what it is that makes play critical. The core issue of the book is creating forms of play that ask important questions about human life. After a grand romp through the territory and history of play, Flanagan provides a crisp practical theory in her game design model. What a book! I’m ready to shake the dice and start again.”<br />
		<em>—Ken Friedman, Professor, Dean, Faculty of Design Swinburne University of Technology, Australia</em>
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<h1>CRITICAL PLAY: RADICAL GAME DESIGN</h1>
<p></p>
<p><strong>2009</strong></p>
<p>For many players, games are entertainment, diversion, relaxation, fantasy. But what if certain games were something more than this, providing not only outlets for entertainment but a means for creative expression, instruments for conceptual thinking, or tools for social change? In Critical Play, artist and game designer Mary Flanagan examines alternative games—games that challenge the accepted norms embedded within the gaming industry—and argues that games designed by artists and activists are reshaping everyday game culture.<br />
Flanagan provides a lively historical context for critical play through twentieth-century art movements, connecting subversive game design to subversive art: her examples of “playing house” include Dadaist puppet shows and The Sims; her discussion of language play includes puns, palindromes, Yoko Ono’s Instruction Paintings, and Jenny Holzer’s messages in LED. Flanagan also looks at artists’ alternative computer-based games, examining projects from Persuasive Games and Gonazalo Frasca and other games created through the use of interventionist strategies in the design process. And she explores games for change, considering the way activist concerns—among them Darfur, worldwide poverty, and AIDS—can be incorporated into game design.<br />
Arguing that this kind of conscious practice—which now constitutes the avant-garde of the computer game medium—can inspire new working methods for designers, Flanagan offers a model for designing that will encourage the subversion of popular gaming tropes through new styles of game making, and proposes a theory of alternate game design that focuses on the reworking of contemporary popular game practices.<br />
Read the first chapter and see more at the  <a href="http://mitpress.mit.edu/9780262062688/"><strong><em>MIT Press website.</em></strong></a></p>
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<div  class="book_text">
<h1>re:skin</h1>
<p>
<strong>2006</strong></p>
<p>re:skin is a collection of fiction and theory engaging with issues that surround the technological manipulation of the body. From plastic surgery to fur implants, from illegal tattooing to skin grafts, the use of technology to alter the physical body is, for women writers, less a tool for empowerment than a means to construct alternative, multiple selves. Bodily boundaries are malleable, and bodily markers which distinguish bodies are reprogrammable. The pieces gathered reskin claim that the technologically mutable body is neither simply liberating nor limiting, but offers instead narratives of ways of living in, and adapting to, a technological culture.<br />
Preview the table of contents, and see more at the <a href="http://mitpress.mit.edu/9780262512497/"><strong><em>MIT Press website.</em></strong></a></p>
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<h1>reload: rethinking women + cyberculture.</h1>
<p>
<strong>2006</strong><br />
Cambridge MIT Press, 2002</p>
<p>The co-edited collection reload is a volume which mixes<br />
women’s cyberpunk fiction with theoretical investigations into<br />
cybercultural aspects such as web communities, fan culture, subjectivity in computer games, cinematic representations of cyborgs, and artists’ technological projects. <a href="http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&#038;tid=8721"><strong><em>MIT Press website</em></strong></a>
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<div  class="book_text">
<h1>Similitudini. Simboli. Simulacri:(SIMilarities, Symbols, Simulacra)</h1>
<p>
<strong>Bittanti, Matteo + Flanagan, Mary</strong><br />
Milan: Edizioni Unicopli, 2003</p>
<p>This co-authored book, in Italian, explores domestic space, player experience, and the fan culture of The Sims.
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<p><!-- UPCOMING WRITINGS --> </p>
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	<img src="http://www.maryflanagan.com/wp-content/uploads/ValuesAtPlayBookCover_thumb.jpg" alt="Values At Play" title="Values At Play" width="100" height="133" class="" /></p>
<h2>Values At Play</h2>
<p>2011</p>
<p>The book Values at Play with Helen Nissenbaum is in production with MIT Press.</p>
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	<img src="http://www.maryflanagan.com/wp-content/uploads/withholdingAgentBook1_thumb.jpg" alt="Book of Jing: Withholding Agent" title="Book of Jing: Withholding Agent" width="100" height="133" class="" /></p>
<h2>Book of Jing: Withholding Agent</h2>
<p>2011</p>
<p>The Book of Jing: Withholding Agent is Book One of The Book of Jing graphic novel series, with Jonathan Jay Lee.</p>
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<p><!-- SELECTED ARTICLES --></p>
<div id="selectedarticles">
<p><em><strong><a href="http://www.eludamos.org/index.php/eludamos/article/viewArticle/83/156">Exploring the Creative Potential of Values Conscious Design: Students’ Experiences with the VAP Curriculum.</a>  </strong></em><em>Eludamos: Journal for Computer Game Culture</em><br />
<small>with Jonathan Belman, 2010. </small></p>
<p><em><strong><a href="http://www.maryflanagan.com/wp-content/uploads/cog-tech-si-g4g-article-1-belman-and-flanagan-designing-games-to-foster-empathy.pdf"><br />
Designing Games to Foster Empathy.<br /> </strong></em></a><em>Cognitive Technology, 14(2). </em><br />
<small>with Jonathan Belman (in press).</small></p>
<p><em><a href="http://journals.sfu.ca/loading/index.php/loading/article/view/60">Instructional Methods and Curricula for Values Conscious Design. </a></em><em>Loading: The Official Journal of the Canadian Games Studies Association, 3(4). </em><br />
<small>with Jonathan Belman and Helen Nissenbaum (2009).</small></p>
<p><strong><em>Play, Participation, and Art: Blurring the Edges.</em></strong><br />
<em>Context Providers.</em><br />
<small>Margot Lovejoy, Christiane Paul, Victoria Vesna, eds. Bristol, UK: Intellect Press, 2010</small></p>
<p><strong><em><a href="http://www.maryflanagan.com/wp-content/uploads/SoniaEssay-release.pdf">An Appreciation on the Impact of the work of Sonia Landy Sheridan.</a></em></strong><br />
<em>The Art of Sonia Landy Sheridan.</em><br />
<small>Hanover, NH: Hood Museum of Art, 2009, 37-42.</small></p>
<p><a href="http://www.digra.org/dl/display_html?chid=http://www.digra.org/dl/db/09291.36526.pdf"><strong><em>Anxiety, Openness, and Activist Games: A Case Study for Critical Play.</em></strong></a><br />
<em>Proceedings of the Digital Games Research Association</em><br />
<small>with Anna Lotko, Uxbridge UK, 2009</small></p>
<p><em><strong><a href="http://www.maryflanagan.com/wp-content/uploads/CriticalPlay-ArtistsRethinkingGames-WithImages.rtf.pdf">Creating Critical Play</a></em></strong></a><br />
Artists Rethinking Games.<br />
<small>Eds Ruth Catlow, Marc Garrett, and Corrado Morgana. Liverpool: Liverpool University Press, 2010, 49-53.</small></p>
<p><em><a href="http://www.etc.cmu.edu/etcpress/content/tempest-mary-d-flanagan"><strong>A private correspondence to David Theurer: Written by H. P. Lovecraft, 12th January 1919, released by Mary D. Flanagan.</em></strong></a><br />
<em>Well Played.</em><br />
<small>Ed. Drew Davidson. Pittsburgh: Carnegie Mellon/ ETC Press, 2009</small></p>
<p><strong><em><a href="http://www.springerlink.com/content/l1u74888ung023u7/">The Sims: Suburban Utopias.</a></em></strong><br />
Space Time Play. Synergies Between Computer Games, Architecture and Urbanism<br />
<small>Eds. Friedrich von Borries, Walz, Steffen P. Walz, Mattias Böttger. Birkhauser Publishing, Basel Boston Berlin, 2007, 150-152.</small></p>
<p><em><strong><a href="http://create.alt.ed.nyu.edu/courses/2176/reading/AERA_07_Rapunsel_Plass_etal.pdf">RAPUNSEL: How a computer game designed based on educational theory can improve girls&#8217; self-efficacy and self-esteem.</a></a></strong></em><br />Proceedings of the American Educational Research Association<br />
<em>Plass, J. L, Goldman, R., Flanagan, M., Diamond, J., Dong, C., Looui, S., Hyuksoon Song, H., Rosalia, C. &amp; Perlin, K.</em><br />
<small>Chicago, April 2007</small></p>
<p><strong><em><a href="http://www.maryflanagan.com/articles/RealWorldGames.pdf">Locating Play and Politics: Real World Games and Political Action</a></em></strong><br />
Proceedings of the Digital Arts and Culture Conference<br />
<small>Perth Australia Dec 2007</small></p>
<p><em><strong><a href="http://www.valuesatplay.org/wp-content/uploads/2007/09/vap-chifinal06sub.pdf">A Game Design Methodology to Incorporate Social Activist Themes.</a></strong></em><br />
Proceedings of CHI 2007<br />
<em>Flanagan, Mary, and Nissenbaum, Helen.</em><br />
<small>New York, NY: ACM Press, 181 &#8211; 190</small></p>
<p></p>
<p><strong><em><a href="http://www.accessmylibrary.com/article-1G1-161981503/rethinking-f-word-review.html">Rethinking the F Word: A Review of Activist Art on the Internet</a></em></strong><br />
National Women&#8217;s Studies Association Journal  (Special Issue: Feminist Activist Art) Volume 19, Number 1<br />
<em>Flanagan, Mary and Looui, Suyin</em><br />
<small>Spring 2007, 181-200</small</p>
<p></p>
<p><strong><em><a href="http://muse.jhu.edu/login?uri=/journals/nwsa_journal/v019/19.1flanagan01.html">Feminist Art Activist Roundtable</a></em></strong><br />
National Women&#8217;s Studies Association Journal (Special Issue: Feminist Activist Art)<br />
<small>Volume 19, Number 1, Spring 2007.</small></p>
<p><strong><em>My Profile, Myself in Playculture</em></strong><br />
Exploring Digital Artefacts<br />
<small>Johan Bornebusch and Patrik Hernwall, Editors. M3 Publication, 2006, 20-29</small></p>
<p><strong><em><a href="http://www.springerlink.com/content/t37p3n8267282827/">Making Games for Social Change</a></em></strong><br />
AI &amp; Society: The Journal of Human-Centered Systems<br />
<small>Springer London: Springer, 20(1), January 2006</small></p>
<p><strong><em>The &#8216;Nature&#8217; of Networks: Space and Place in the Silicon Forest</em></strong><br />
Nature et progr&egrave;s : interactions, exclusions, mutations<br />
<small>Ed. Pierre Lagayette. Paris : Presses de l&#8217;Universit&eacute;. Paris-Sorbonne, 2006</small></p>
<p><strong><em><a href="http://www.digra.org/dl/db/06278.19337.pdf">New Design Methods for Activist Gaming</a></em></strong><br />
Proceedings from DiGRA 2005<br />
<em>Mary Flanagan, D.C. Howe, Helen Nissenbaum</em><br />
<small>16-20 June, Vancouver, BC, Canada</small></p>
<p><strong><em><a href="http://www.digra.org/dl/db/06278.14520.pdf ">Troubling &#8216;Games for Girls&#8217;: Notes from the Edge of Game Design</a></em></strong><br />
Proceedings from DiGRA 2005</br><br />
<small>16-20 June, Vancouver, BC, Canada</small></p>
<p><strong><em><a href="http://portal.acm.org/citation.cfm?id=1055076&#038;dl=GUIDE&#038;coll=GUIDE&#038;CFID=94269221&#038;CFTOKEN=50514318">Values at Play: Design Tradeoffs in Socially-Oriented Game Design</a></em></strong><br />
Proceedings of the CHI 2005 conference on Human factors in computing systems<br />
<em>Mary Flanagan, D.C. Howe, Helen Nissenbaum</em><br />
<small>CHI 2005, 2-7 April, Portland, Oregon</small></p>
<p><strong><em><a href="http://www.maryflanagan.com/articles/umemaison.pdf">Une Maison de Poupee Virtuelle Capitaliste? The Sims: Domesticite, Consommation, et Feminite</a></em></strong><br />
Consommations &amp; Soci&eacute;t&eacute;s: Cahiers pluridisciplinaire sur la consommation et l&#8217;interculturel<br />
<small>Ed. M&eacute;lanie Roustan et Dominique Desjeux</small></p>
<p><strong><em><a href="http://www.maryflanagan.com/articles/DataMadeFlesh.pdf">the bride stripped bare to her Data: information flow and digibodies</a></em></strong><br />
Data Made Flesh<br />
<small>Thurtle et al. 2003</small></p>
<p><strong><em><a href="http://www.maryflanagan.com/articles/DigitalMediaRevisted.pdf">Next Level: Women&#8217;s Digital Activism through Gaming</a></em></strong><br />
Digital Media Revisited<br />
<small>Edited by Andrew Morrison, Gunnar Liest&oslash;l &amp; Terje Rasmussen, Cambridge: MIT Press, 2003, 359 &#8211; 388</small></p>
<p><strong><em>Developing Virtual Performance Spaces</em></strong><br />
American Puppetry<br />
<small>Ed. Phyllis T. Dircks. New York: Theatre Library Association, 2004</small></p>
<p><strong><em><a href="http://www.maryflanagan.com/articles/ReloadHyperbodies.pdf">Hyperbodies, Hyperknowledge: Women in Games, Women in Cyberpunk, and Strategies of Resistance</a></em></strong><br />
reload: rethinking women + cyberculture<br />
<small>Cambridge: MIT Press, 2002, 425-454</small></p>
<p><strong><em><a href="http://www.maryflanagan.com/articles/navigatingnarrative.pdf">navigable narratives: gender +narrative spatiality in virtual worlds</a></em></strong><br />
Art Journal<br />
<small>Vol 59 no. 3, Fall 2000, 74 &#8211; 85</small></p>
<p><strong><em>Response to Celia Pearce: About Computer Gaming</em></strong><br />
First Person<br />
<small>Ed. Noah Wardrip-Fruin and Pat Harrigan. Cambridge: MIT Press</small></p>
<p><strong><em><a href="http://www.maryflanagan.com/articles/mobileidentities.pdf">Mobile Identities, Digital Stars, &amp; Post-Cinematic Selves</a></em></strong><br />
Wide Angle: Issue on Digitality &amp; the Memory of Cinema<br />
<small>21:3, 1999</small></p>
<p><strong><em><a href="http://www.maryflanagan.com/articles/convergence.pdf">Digital Stars Are Here to Stay</a></em></strong><br />
convergence: the journal of research into new media technologies<br />
<small>Eds. Julia Knight + Alexis Weedon, University of Luton, Summer 1999. Print and Internet</small></p>
<p><strong><em><a href="http://www.culturemachine.net/index.php/cm/article/viewArticle/287/272">Spatialized MagnoMemories</a></em></strong><br />
Culture Machine 3 &#8211; Virologies: Culture and Contamination<br />
<small>Eds. David Boothroyd and Gary Hall. 2001<small>
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		<title>[xyz]</title>
		<link>http://www.maryflanagan.com/xyz</link>
		<comments>http://www.maryflanagan.com/xyz#comments</comments>
		<pubDate>Wed, 01 Jul 2009 11:42:17 +0000</pubDate>
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		<description><![CDATA[Three interactive game stations/video projection/sound/game software There is an ancient desire to expand poetry&#8217;s expressive potential by integrating visual elements and break free from a purely linear text. Shaped poems in Greek, Latin, Arabic, Hebrew, Chinese and Sanskrit suggest a common human urge to more closely model written language into a form related to its [...]]]></description>
			<content:encoded><![CDATA[<p><strong>Three interactive game stations/video projection/sound/game software</strong></p>
<p>There is an ancient desire to expand poetry&#8217;s expressive potential by integrating visual elements and break free from a purely linear text. Shaped poems in Greek, Latin, Arabic, Hebrew, Chinese and Sanskrit suggest a common human urge to more closely model written language into a form related to its meaning. Even early 20th century modernists like artist/poet Apollinaire manipulated text to fashion a literary syntheses of space. If Apollinaire and his predecessors endeavored to mould pictorial strategies onto the demands of poetry, then Flanagan’s contemporary project [xyz] intends an analogous mapping—that of applying the rituals and structures of computer games onto – and into— a poetic system.</p>
<p>In [xyz] three independent player-readers reconstruct a three-part poem written by the artist. Player-readers interact by following the visual logic used by players of platform computer games. The rules of game play and the rules of language reside in the same location. Rather than collecting treasure or avoiding enemies, the player-reader instead collects, avoids and reshapes the text. Intermixing behaviors from both a writer&#8217;s editing process and the rituals of conventional game interaction, the text is continually in flux. Player-readers create dynamic combinations of new texts using the fundamental spacial system governing all computerized spaces, the Cartesian coordinate system of three independent axis lines: x, y and z.  Participants interact with the words on the screen using a common game controller to collect sets of words. These sets are then sent to a larger projected image where the three player-readers’ choices are combined.</p>
<p>This 21st century variation functions as a concrete poem, a game, and as an exploration of spatial deixis, where the context surrounding a word or phrase is critical to understanding its meaning. Deixis is a phenomenon common to both literature and games and in [xyz] the player/reader’s experience of the &#8216;line&#8217; as both text and space becomes a key point of reference, a center of the spatial understanding of each text.</p>
<p>Game programming and network design by Jack Bowman<br />
Additional audio by Michelle Earhart</p>
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		<title>perfect.city</title>
		<link>http://www.maryflanagan.com/perfectcity</link>
		<comments>http://www.maryflanagan.com/perfectcity#comments</comments>
		<pubDate>Wed, 01 Jul 2009 11:42:05 +0000</pubDate>
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		<description><![CDATA[The South Korean city of Songdo, a planned international metropolis developed by corporations (Gale International, with a technological infrastructure by Microsoft), is slated for completion in 2015. The city is designed to be perfect: plans call for the elimination of social ills, care-free living, and induced happiness for all citizens, atop a giant landfill south of [...]]]></description>
			<content:encoded><![CDATA[<p>The South Korean city of Songdo, a planned international metropolis developed by corporations (Gale International, with a technological infrastructure by Microsoft), is slated for completion in 2015. The city is designed to be perfect: plans call for the elimination of social ills, care-free living, and induced happiness for all citizens, atop a giant landfill south of Seoul. Ubiquitous technology is a central tenet of the planned infrastructure, but concerns over an all-knowing, Big Brother style society have been raised. As a corporate venture, public space will be privatized. What effect will this have on people&#8217;s private lives? &#8220;We will build in all this functionality,&#8221; answers Catherine Maras, Microsoft&#8217;s Director of Worldwide E-Government who is involved in the Songdo project. &#8220;Really it&#8217;s opt-in or opt-out. Whatever the citizens want to make their lives easier.&#8221; </p>
<p>Songdo is not the first Utopian city—Brasilia is one of many another examples, which at its completion in 1960 promised a utopian experience of a redesigned city specifically for the modern lifestyle. Inevitably, utopian visions are met with the mundane realities of living inside these ‘golden dreams&#8217;. Today, Brasiliense families manifest their rejections of utopian design by reasserting familiar values, concepts and conventions of urban life. Songdo may function in a similar pattern.</p>
<p>PERFECT.CITY is a 2-channel video installation consisting of a large double-sided projection screen.</p>
<p>One side of the screen alternates between live-action footage of the artist recreating the design process of the city, scrubbing backwards and forwards through time, mixed with a time-lapse recording of the planning and construction of the virtual city. This video component mimics a documentary style look at &#8220;the making of&#8221; New Songdo.</p>
<p>On the opposite screen is a slow motion animation, using the popular SIM City software, of a population wandering aimlessly amongst cold, bland and featureless urban street-scapes. This future city is unattached to history and the somnambulist pedestrians point to the weary, stale, and unprofitable experience of techno-utopianism.The featureless city streets depicted call into question the all too brief period and limited input from non-corporate entities devoted to planning the city.</p>
<p>In PERFECT.CITY I explore the use of technology in everyday settings and how it both reflects and creates phenomenological experiences. These experiences are interdependent, symbiotic and create meaning in a mutual fashion. In depicting the role of &#8216;planner and developer&#8217; in PERFECT.CITY, I embody and perform the process of creating utopic visions, where dreams pass into action and back again. Though these cycles are complex, the work minimizes the aesthetics to feature the beauty of the mundane: both on the programming side, and within the everyday life that a future utopia would present.</p>
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		<title>[domestic]</title>
		<link>http://www.maryflanagan.com/domestic</link>
		<comments>http://www.maryflanagan.com/domestic#comments</comments>
		<pubDate>Wed, 01 Jul 2009 11:41:15 +0000</pubDate>
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		<description><![CDATA[software / controller / computer [domestic] uses a software engine normally used to generate violent first-shooter video games in order to reconstruct a remembered childhood space where a dramatic event has taken place: a house fire. The participant navigates an oddly constructed domestic space. Spaces alternate between claustrophobic hallways and rooms with seemingly endless ceilings, [...]]]></description>
			<content:encoded><![CDATA[<p><strong>software / controller / computer</strong></p>
<p>[domestic] uses a software engine normally used to generate violent first-shooter video games in order to reconstruct a remembered childhood space where a dramatic event has taken place: a house fire.</p>
<p>The participant navigates an oddly constructed domestic space. Spaces alternate between claustrophobic hallways and rooms with seemingly endless ceilings, breaking with the visual conventions of 3D gaming in its more predictable interpretation of physical space. In [domestic], participants encounter an ambiguous rendering of scale. Family snapshots and shifting, morphing unstable texts line the surfaces of the space. The snapshots, soft-focus images of typical domestic scenes, are projected overwhelmingly large, bringing the perceived scale of doorways and rooms into question. The perfectly crisp and squared walls typical of computer game geometries further abstract the sense of space.</p>
<p>Players encounter fire in the space and are able to shoot “coping mechanisms” at the walls and at the growing fire in order to contain these as they threaten to consume the world and the player. These mechanisms are manifested as book covers from romance novels, popular as an escape from the mundane aspects of domestic life.</p>
<p>[domestic] functions as both a virtual, interactive installation and a flexible means of storytelling, where the navigator is free to explore and linger. There is a subtle anxiety between traditional 3D game conventions and discovery in the highly stylized nature of the [domestic] experience.The &#8216;house&#8217; depicted is less a physical space as a psychic one, a container for memory, with texts lining and extruding from walls. Recalling simple childhood memories (&#8220;it was springtime. A little muddy&#8221;), the world offers conflicting impressions and suggests a gap in memory (for example, a staircase built from the word &#8216;reconstructed&#8217;).</p>
<p>The work provokes the questions, what are the ways space and memory are cognitively tied and can such ties be re-experienced? What role, if any, does narrative and memory have in contemporary computer games? How can we &#8216;see&#8217; memory?</p>
<p>[domestic] premiered at the Playthings Exhibition in Sydney Australia in October 2003, organized by <a href="http://www.dlux.org.au/cms/">DLux media|arts</a>.</p>
<p>Read about [domestic] in the 2006 book <a href="http://www.amazon.com/gp/product/3822830410/sr=8-1/qid=1144029424/ref=pd_bbs_1/102-5225518-9502547?_encoding=UTF8">New Media Art</a></p>
<p>Additional credits:<br />
Andrew Gerngross, weapons designer</p>
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		<title>work</title>
		<link>http://www.maryflanagan.com/work</link>
		<comments>http://www.maryflanagan.com/work#comments</comments>
		<pubDate>Tue, 30 Jun 2009 15:49:31 +0000</pubDate>
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		<title>corporate ladder</title>
		<link>http://www.maryflanagan.com/corporate-ladder</link>
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		<pubDate>Thu, 30 Apr 2009 07:19:38 +0000</pubDate>
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		<guid isPermaLink="false">http://www.maryflanagan.com/dev/?p=69</guid>
		<description><![CDATA[software / sensors / computer / projection A physical computing based installation, corporate ladder is a changing commentary about alienation in corporate workforces. As participants move closer and close to examine the canned images of women using technology or performing business tasks or positions, the images blur, problematizing the notion of legibility in these roles. [...]]]></description>
			<content:encoded><![CDATA[<p>software / sensors / computer / projection</p>
<p>A physical computing based installation,<strong> corporate ladder</strong> is a changing commentary about alienation in corporate workforces. As participants move closer and close to examine the canned images of women using technology or performing business tasks or positions, the images blur, problematizing the notion of legibility in these roles.</p>
<p>How would one as an artist examine women&#8217;s roles in the workforce, and in particular, the relatively overlooked phenomenon of women in corporate jobs? How is it possible to examine or recreate phenomenon that women experience daily? Take for example the still problematic social phenomenon of the glass ceiling.</p>
<p>The numbers of women corporate officers in US was 10.6% of the workforce in 1997 (Business Week 44). For many women managers in these settings, there seems to be an invisible &#8212; and impenetrable &#8212; barrier between women and the executive suite, leaving them at the peak of their careers at a significantly lower levels than those of their male counterparts. While management may seem like a golden spot for women struggling for their career dreams, the experience of being a woman in management is under-explored in critical and creative spheres. It is a seldom-discussed experience in which the subtleties of authority, self-esteem, control, and glass ceilings manifest in their most deviant and deceptive ways.</p>
<p>Far from a rewarding career, a management position can be the site of a very fierce struggle for identity. The federal Glass Ceiling Commissions&#8217; bipartisan study in 1995 found that although some positive steps are being taken, the glass ceiling essentially was intact. Minority men and women of all races are not well-represented in the upper ranks of the companies reviewed compared with their overall numbers in the workforce. (Castro and Furchtgott-Roth, 1997). While it seems that the feminist movement has achieved a victory by opening doors to women in upper level positions, a deeper examination reveals that this goal has not yet been fully achieved.</p>
<p>Corporate Ladder is a computer-driven installation which explores women and work through images of women in corporate settings. The user moves through a physical space toward either a projection or a monitor displaying images of women working in corporate environments. As the participant approaches the image, the image incrementally becomes blurred, and by the time the user is close to the piece, the image is eradicated, switching out to another series of work images. Thus, visitor/participants directly influence the images they see or cannot see by their proximity to the images of the women.<br />
When they are close to the image, the images becomes untraceable and indefinable; the user is positioned in a kind of visual glass ceiling.</p>
<p>The project focuses on images of popular representations of women&#8217;s bodies&#8211; the interface for work&#8211; in their offices and cubicles, engaged with the technology around them. The goal of this piece is it is to put the user inside the tension women have maintaining multiple and opposed identities as corporate worker, the image of the corporate worker, and self.</p>
<p>Corporate Ladder is part of a trajectory of my technological exploration of women&#8217;s experiences. The goal of my artistic practice is to develop interactive environments which feature material and explore issues largely ignored by &#8220;technoculture.&#8221; These have included women&#8217;s stories, narratives of aging, and critical investigations of the computer as a medium itself. Corporate Ladder, an interactive installation, allows me to approach the content with novel strategies in interface to examine women&#8217;s work. &#8211; - &#8211; - &#8211; - &#8211; - -</p>
<p>- &#8211; - &#8211; - &#8211; - &#8211; - &#8211; Castro, Ida L. and Furchtgott-Roth, Diana. &#8220;Q: Should women be worries about the glass ceiling in the workplace?&#8221; Insight on the News. Feb 10, 1997 v13 n5 p24(4). Business Week. &#8220;Perforations in the glass ceiling.&#8221; Dec 22, 1997 n3558 p44(1).</p>
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		<title>[six.circles]</title>
		<link>http://www.maryflanagan.com/six-circles</link>
		<comments>http://www.maryflanagan.com/six-circles#comments</comments>
		<pubDate>Thu, 30 Apr 2009 06:58:59 +0000</pubDate>
		<dc:creator>admin</dc:creator>
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		<guid isPermaLink="false">http://www.maryflanagan.com/dev/?p=56</guid>
		<description><![CDATA[software / controller / computer  [six.circles] is a 2 player conceptual game exploring cooperation and competition through the construction of simple geometic objects. The goal is to be the first to construct a series of 6 circle forms while fending off viruses seeking to infect each piece. Players are obliged to periodically attach infected pieces [...]]]></description>
			<content:encoded><![CDATA[<p><strong>software / controller / computer</strong></p>
<p> [six.circles] is a 2 player conceptual game exploring cooperation and competition through the construction of simple geometic objects.</p>
<p>The goal is to be the first to construct a series of 6 circle forms while fending off viruses seeking to infect each piece. Players are obliged to periodically attach infected pieces to their chain of forms and have to negotiate and sacrifice to cooperatively prevent the spread of the disease, all while attempting to win the game. While one player generally wins, the structure of the game explores themes of cooperation, interdependence and conflicting goals in play.</p>
<p>If the player finds the case that all of the pieces of a given chain are infected, the infection changes with each turn to a full blown diseased piece which can no longer be assimilated into a circle. If an entire chain is diseased, it spawns new disease pieces with each turn. </p>
<p>The game is inspired by the <a href="http://mathworld.wolfram.com/SixCirclesTheorem.html">Six Circles mathematical theorem</a> which states: within any triangle, any chain of circles that touch both their circular neighbors as well as two of the sides of the triangle is limited to a maximum of six circles. This dry geometric law subtly suggests a mathematical proof supporting the need for balance in any given community. Any large circle leaves less room for the remaining circles, suggesting sustainability. This theorem provides an approach towards collaboration within a community.  </p>
<p>Originally commissioned by the Wooloo (link to the site) organization for the show ‘Thank You’, an HIV awareness project raising funds for the creation of an HIV Education Center in the township of Khayelitsha, South Africa via online interactions with the art work.</p>
<p>[six.circles] premiered at Artists’ Space, SOHO NYC in December 2004.<br />
 Special thanks to Ruth Catlow &#038; Joline Blais for their indispensable input Technical Engineering + Additional Design: Christopher Egert Game server hosting generously provided by the Rochester Institute of Technology&#8217;s Collaborative Multimedia Experience group Information Technology Department</p>
<p>Many thanks to Jon Ippolito, Joline Blais, and the University of Maine’s Code &#038; Creativity v3.0 : “Games: Making and Unmaking the World”</p>
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