The Video Game Art Reader is now accepting submissions from practitioners,
researchers, and educators for its third issue. VGAR is an annual,
peer-reviewed, art history journal published through the Video Game Art
Gallery. The goal of the VGAR is to facilitate conversation and exploration
of video game art through an inclusive discourse about the far-reaching
influence of video games on history, society, and culture. Please see below
for more details on the theme for our next issue and submission
Questions should be submitted to myself at mreed (at) vgagallery (dot) org
and Editor-in-Chief Tiffany Funk at tfunk (at) vgagallery (dot) org.
Video Game Art Reader
*Video Game Art Reader Issue 3*
*Call for Papers*
This issue proposes overclocking as a foundational metaphor for how games
are produced and experienced today, and the temporal compressions and
extensions of the many historical lineages that have shaped game art and
culture. In the same way that a computer user might overclock the processor
of their machine to achieve results beyond its intended use, how can video
game art studies overclock its received historical boundaries and intervene
on current video game practices that are accelerating past their limits?
Might overclocking practices also produce strain and wear on video games
and their stakeholders in a variety of ways that need to be identified and
The Video Game Art Reader (VGAR) is currently accepting submissions that
critically analyze video game art at the limits of temporality: through
long historical vectors, across significant investments of lived human
experience, and in terms of other considerations of time.
Though digital gaming emerged in the last half of the 20th century, papers
in this issue can draw connections between games and a wide variety of
transhistorical and transmedia influences. Papers may ask: Do the deep
histories in which video games can be framed serve as resources for the
equally deep contributions of video game laborers and video game audiences
to our current epoch? How do video games spread themselves--through the
labor of production or the experience of gameplay--over excessive amounts
of time? If we interrogate the materials, conventions, and aesthetics of
video games of the past and present, what kind of deep history might
emerge? If we look at the aggregate amount of time spent producing video
games, what kind of systemic practices emerge? If we look at the amount of
time a player base applies to a single game title, what can we learn about
the game as well as the lives of those who play it?
Possible topics and questions include but are not limited to:
- Expansions of, or interventions into, theories of media archaeology. How
might we expand a media archaeology of video game aesthetics, genres, or
modes of play, and what do these histories help us understand about the
- As cultural critics, how do we respond to the overclocked demands of
video game labor across all levels of production, from art games to indie
- How do we reconcile the extensive amount of play time demanded by certain
games, and the overwhelming volume of games available, with the limited
attention (or life) spans of audiences?
- What kinds of historical grounding can be identified in the visual
culture that precedes and informs the current video game epoch, and what
are the conceptual underpinnings of these choices?
- How are the conventions of contemporary video game art distributed across
digital and non-digital media?
Deadline for Submissions is March 29th, 2019
All submissions should be sent to: tfunk (at) vgagallery (dot) org.
For more information and formatting guidelines, visit:
Video Game Reader Website <https://www.videogameartgallery.com/vga-reader>
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