//////////fur//// (D)

Ascii Art Ensemble (NL/ SLO)

Ato & Erational (F)

Blinkenlights Projekt (D)

Jaygo Bloom (UK)

Loren & Rachel Carpenter (US)

James Clar (USA)

Dekalko Studio/Djeff Regottaz (F)

Dirk Eijsbouts (NL)

VALIE EXPORT (AT)

S. Hanig/ G. Savicic (AT)

D.Hindman/S.Kiser/T.Morowati (USA)

Kiia Kallio (FI)

Stephan 'ST' Kambor (D)

Ludic Society (CH/AT)

Andrew Milmoe (USA)

Josh Nimoy (USA)

Josh Nimoy (USA)

Noel Nissen (CAN)

Guillaume Reymond (CH)

Niklas Roy (D)

Leif Rumbke (D)

Antoine Schmitt (F)

Jan-Peter E.R. Sonntag (D)

Time's Up (AT)

Olaf Val (D)

Phillip Worthington (UK)


Power Pong (2001)

  
In this work, “power“ carries a double meaning. The player must use muscle power to produce energy. Without his pedalling the console is not supplied with electrical power. The player participation in Power Pong begins at an earlier point than usual, as electrical power availability is normally taken for granted in digital entertainment media. Most definitions of interactive media only start at the moment the player picks up the joystick. But what if there was no electrical current? µP offers an astonishingly simple answer.
In Power Pong, in addition to the actual tasks of the game, the player also assumes the role of energy producer. Does he thus become a slave of his own play instinct, or does he gain independence? In any case, he can take advantage of this apparent burden: when he reaches a certain pedalling speed, he can raise the ball's speed.
(A. Lange)

 
 
(ST)

  


http://www.pong-mythos.net


22.5.2013