art entertainment interfaces
The artist duo //////////fur//// art entertainment interfaces develops multi-sensory artefacts as an alternative to the massive and progressive isolation of users at digital terminal devices. Volker Morawe, 44, and Tilman Reiff, 43, became acquainted at the Cologne Academy of Media Arts, founded a flat share and so laid the foundation for many crazy installations that both invite people to play and go against the grain of the mechanisms of medial interaction. //////////fur//// stages its central artistic question about alternative user interface as an intense encounter and sensory experience.
Michael McGinnis is the originator of the Perplexus line of 3D labyrinth games. The evolving series, including Original, Rookie, Epic, and Twist, have garnered dozens of awards, including GAME of THE YEAR 2013, the toy industry's highest honor. He also creates giant sculptural labyrinths, known collectively as "Superplexus", for museums, office buildings, and private collections worldwide. With an MFA in sculpture, Michael teaches sculpture and design at Santa Rosa Junior College. He is concurrently working with his friend James Yonts on building 20+ interactive exhibits for CMOSC, a new regional children's museum. Also, in its third year of travel, is a set of interactives, called "Peanuts Naturally" designed and built by Michael and James for the Charles M. Schulz Museum, covering the subject of nature via the PEANUTS comic strip.
Niklas Roy, born 1974 in Nuremberg, lives and works in Berlin. He concerns himself with the design and construction of robots, machines, electro-mechanical sculptures, electronics and codes. Before studying at the University of Arts in Berlin, he worked as a director and visual effects supervisor for numerous international film and television productions. Despite his academic training, he sees himself as an autodidact who in his workshop learns something new every day. Roy explores the overlapping areas of art and technology. The results are experimental set-ups and entertaining video documentations, which he has exhibited internationally and publishes on his website.
Linda Breitlauch initially studied business studies before she graduated in film and television scriptwriting from the Film & Television Academy (HFF) in Babelsberg. In 2008 she completed a PhD about dramatic composition in computer games. In addition to working as a project manager in the export and publishing sectors she has been the creative producer of several film projects, has written film scripts and game concepts as well as scientific and specialist articles, among other things. In 2007 Linda Breitlauch was appointed Europe’s first female professor of game design at the Media Design University of Applied Sciences. Since July 2013 she is Professor for Game Design and faculty leader at the Games Academy Hochschule in Berlin, in January 2014 she has been appointed for President. She teaches and researches with special focus on the areas of storytelling, serious games, and dramatic composition. Furthermore, she works as an evaluator, and is a consultant in the areas of media didactics and game storytelling.
Max J. Kobbert
Until his retirement in 2009, Max J. Kobbert was Professor of Art and Perceptual Psychology at the Academies of Art in Münster und Düsseldorf and at the Münster University of Applied Sciences. He has written books such as Kunstpsychologie
(i.e., Psychology of Art)(1986), Kulturgut Spiel
(i.e., Cultural Asset: Play) (2009), Das Buch der Farben
(i.e., The Book of Colours) (2011) and Wunderwelt Bernstein
(i.e., The Marvellous World of Amber) (2013). In addition to his academic activities, Kobbert has developed several games, including Das verrückte Labyrinth
(i.e., The Crazy Maze), which has been an international classic since 1986 and is still issued in numerous updates and variations.
After initially studying art in Siegen, Harald Lieske changed to the Department of Design in Münster with a focus on game illustration and comics. While still a student he made his first contacts with various games publishers and received his first commissions for game illustrations. During this time he created his first game prototypes. Since then, Lieske has worked as an illustrator on over 60 board and card games, including bestsellers such as Siedler von Catan
(i.e., Settlers of Catan) and Dominion
. Sometimes he also invents his own games. For the project PLAY INSTINCT, Lieske developed and illustrated the non-verbal football solitaire Fussi
, which can be tried out at the PLAY INSTINCT website.
Dirk Riegert is Creative Director at Related Designs, a Ubisoft studio. He joined Related Designs in 2002. From 2004 to 2009 he was Lead Game Designer for ANNO 1701 and ANNO 1404. Both titles won numerous awards. Since 2009 Dirk worked as Creative Director for ANNO 2070 and Might and Magic Heroes: Online. Right now he is busy with a new, not yet announced project for Ubisoft.
machina eX was founded in 2010 at the Institute for media, Theatre and Popular Culture at the University of Hildesheim. Its members include Anna Sina Fries, Yves Regenass, Laura Naumann (who is also a playwright), Jan Philip Steimel, Laura Alisa Schäffer, Mathias Prinz, Robin Krause, Nele Katharina Lenz and Lasse Marburg. The group achieved its breakthrough in 2011 with the science-fiction adventure 15,000 Gray
, which won the Jury Prize at the independent scene festival 100 Grad
(i.e., 100 Degrees) at the Berlin HAU and was invited in the same year to take part in the framework programme of the theatre meeting of independent scene Impulse 2012
. Sponsored by the Doppelpass fund of the Federal Cultural Foundation, machina eX has developed together with fft Düsseldorf the research project “Game on Stage”, which will end in 2014 with a new production.
Invisible Playground develops site-specific games. The group was founded in 2009 in Berlin and today consists of Jennifer Aksu, Viktor Bedö, Daniel Boy, Josa Gerhard, Anna Hentschel, Christiane Hütter and Sebastian Quack. Four years after its founding, Invisible Playground was already organizing games in public space at art and theatre festivals around the world. The new art form of the urban game, to the exploration and formulation of which Invisible Playground has dedicated itself, measures the tensions between parody and analogy, criticism and entertainment, individual participation and social rules. It raises the question of who controls our public space and lays down the unspoken laws that prevail there. In this way Invisible Playground has developed play into an instrument of critical reason, shows alternatives to the existing control systems and directs our attention to the authoritarian potential in the ostensibly playful forms of competition in business and politics. By temporarily suspending the functional attributions of public space, the group raises the awareness of the ambivalence and social, political and economic constitution of public life, putting the concept of freedom that is held by democratic societies to the test.