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Englisch
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Beschreibung
Los Santos Plays Itself begins with a simple claim: the most obsessively filmed city in contemporary art may be a fake Los Angeles built by Rockstar Games. Taking its cue from Thom Andersen's Los Angeles Plays Itself, the book asks what happens when video art and post-photographic practices run on a commercial game engine. If Andersen traced how cinema framed a city, this study follows how simulation generates its own urban logic.
Across more than seventy works made between 2013 and 2025, the book tracks artists who treat Grand Theft Auto V as software rather than a narrative. Their work exposes Los Santos as executable code: an apparatus in which ideology is encoded into traffic models, weather systems, and police routines. Machinima becomes a post-cinematic practice that scripts resistance into this procedural logic through ambient observation, modding, and infrastructural critique.
Across more than seventy works made between 2013 and 2025, the book tracks artists who treat Grand Theft Auto V as software rather than a narrative. Their work exposes Los Santos as executable code: an apparatus in which ideology is encoded into traffic models, weather systems, and police routines. Machinima becomes a post-cinematic practice that scripts resistance into this procedural logic through ambient observation, modding, and infrastructural critique.
Los Santos Plays Itself begins with a simple claim: the most obsessively filmed city in contemporary art may be a fake Los Angeles built by Rockstar Games. Taking its cue from Thom Andersen's Los Angeles Plays Itself, the book asks what happens when video art and post-photographic practices run on a commercial game engine. If Andersen traced how cinema framed a city, this study follows how simulation generates its own urban logic.
Across more than seventy works made between 2013 and 2025, the book tracks artists who treat Grand Theft Auto V as software rather than a narrative. Their work exposes Los Santos as executable code: an apparatus in which ideology is encoded into traffic models, weather systems, and police routines. Machinima becomes a post-cinematic practice that scripts resistance into this procedural logic through ambient observation, modding, and infrastructural critique.
Across more than seventy works made between 2013 and 2025, the book tracks artists who treat Grand Theft Auto V as software rather than a narrative. Their work exposes Los Santos as executable code: an apparatus in which ideology is encoded into traffic models, weather systems, and police routines. Machinima becomes a post-cinematic practice that scripts resistance into this procedural logic through ambient observation, modding, and infrastructural critique.
Über den Autor
Matteo Bittanti is a media theorist, curator, writer, and artist whose work centres on video games and contemporary art. He directs the Milan Machinima Festival and curates the online platform VRAL. As a scholar, he has published widely on games, game-based art, and visual culture. He is associate professor of media studies at IULM University, dividing his time between Los Angeles and Milan.
Details
| Erscheinungsjahr: | 2026 |
|---|---|
| Genre: | Importe, Kunst |
| Rubrik: | Kunst & Musik |
| Medium: | Taschenbuch |
| ISBN-13: | 9788869775192 |
| ISBN-10: | 8869775194 |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Autor: |
Bittanti, Matteo
Veenstra, Jordy |
| Hersteller: | Mimesis International |
| Verantwortliche Person für die EU: | Libri GmbH, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
| Maße: | 210 x 140 x 19 mm |
| Von/Mit: | Matteo Bittanti (u. a.) |
| Erscheinungsdatum: | 16.01.2026 |
| Gewicht: | 0,443 kg |