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→ robert f. nideffer [nye·dih·fur]
- interests: virtual environments and behavior, interface theory and design, technology and culture, game studies. employment: prof. of arts, rensselaer polytechnic institute. ↓ short bio ↓ full bio → nideffer@gmail.com |
| moves: |   |
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| → Title: 12 Years in Azeroth, Under Development |
| Tech: HTML, WebGL, Unity, C#, Javascript, CSS, Blender |
| Blurb: 12 Years in Azeroth is a case study of one who's spent more than a decade immersed, at times casually and at times competitively, in the MORPG "World of Warcraft." Part book, part game, it's an ongoing, overly ambitious, world-building project being solo-authored for delivery via the browser. |
| → Title: 45, '17-'18 |
| Tech: Blender, DAZ Studio, Vue, Photoshop |
| Blurb: 45 is a monthly response to events unfolding since the electoral college plopped the orange troll into office. Each image is produced using a variety of 3D modeling and imaging software, and is output as a high-resolution digital "painting." On an 18 to 24 month cycle a calendar will be produced out of the imagery. Gods willing, there will be only one. The series got me banned from FaceBook, where they were initially shared. I have no plans to go back. |
| → Title: Reanimated, '15 |
| Tech: Raspberry Pi, C++, OpenFrameworks, Wood, Metal, CNC Laser Cutter, Microelectronics |
| Blurb: After relocating from CA to upstate NY and settling in to a new job and home, I carved out time to learn some new tools and technologies in summer 2015. I'd just converted my garage into a small wood/metal shop, out of a desire to link some of my screen-based work with object making. "Reanimated" was my first such attempt. I decided to use 3D models and imagery from my fantasy, fairy tale, fable, and rhyme series... and bring them back to life, so to speak, through animation, sound, and touch. What resulted was a rather hauntingly intimate little music box. |
| → Title: Walkabouts, '11-'12 |
| Tech: Digital Photography, Photoshop |
| Blurb: A collection of digitally manipulated images shot while walking the streets of NYC. I was living across from NYU, near Washington Square Park at the time, and daily traversed to Chelsea Piers to swim. I typically kept a camera on hand. |
| → Title: Fantasy, Fairy Tale, Fable, and Rhyme, '10-'12 |
| Tech: Blender, DAZ Studio, VUE, Photoshop |
| Blurb: Fantasy, Fairy Tale, Fable, and Rhyme began shortly after my partner and colleague, artist Beatriz daCosta, was diagnosed with terminal breast cancer. Done as a series of static images, inspired by popular imagery from chidren's literature, and styled in the tradition of fantasy and science fiction calendars. Early images used portrait photograpy combined with CG environments. Later versions were modeled exclusively in 3D in order to have greater flexibility and creative control (Beatriz didn't care much for posing, even though she played along nicely). Intensely personal and cathartic, it was a way to keep working while living in a small rented apartment in NYC during a seemingly endless string of treatments and hospitals. I could composit, hit render, come back 6 or 12 hours later, see a result, then rinse and repeat. |
| → Title: dnkyboi, '11 |
| Tech: Flash, XML |
| Blurb: dnkyboi is a side scrolling RPG prototype built using the WTF?! SDK. I wanted to see how flexible the SDK was in terms of being able to modify the look and feel of a game designed with it, without losing all the bells and whistles. The storyline is loosely based on the daily trials and tribulations of living with a partner's cancer. |
| → Title: WTF?! SDK, '09-'11 |
| Tech: Flash, XML, Adobe AIR |
| Blurb: "WTF?! SDK" was a FREE Software Development Kit comprised of a suite of Flash modules for creating WoW inspired side-scrolling, Flash-based, action games. It is a complete overhaul of the earlier tools written to facilitate development of the "WTF?!" project ('07-'08). The SDK provided a user-friendly graphical front-end to the game development process. More (though not much more) than a handful of people used it, and I incorporated it into my courses for a while. (Alex Szeto, programmer). |
| → Title: Spew, '09-'11 |
| Tech: Flash, XML, Adobe AIR |
| Blurb: Spew makes use of the vast repositories of static and real-time data - CIA world factbook, World Health Organization, Stock Market, health, population, traffic, weather, twitter, news feeds, etc - as core drivers for the game simulation environment. Spew draws on World Systmes Theory/Modelling to deal with questions of globalization and sustainability (Alex Szeto, programmer). |
| → Title: Data Arcade, '09-'10 |
| Tech: Flash, XML, PHP |
| Blurb: Data Arcade is a series of three classic arcade knock-offs - Stock Invaders (Space Invaders), Pipe Mania (Pipe Dream/Mania), and Oil Kong (Donkey Kong) - that use real-time data mined from the net to determine game-play mechanics. These games are also incoporated in a larger project called "Spew" which utilizes a wide range of real-time and static data feeds to drive a game/sim environment (Alex Szeto, programmer). |
| → Title: 2007 BC, '09 |
| Tech: Giclée Print on Wood Panels |
| Blurb: 2007 BC is a triptych that draws heavily from the work of Hieronymus Bosch, particularly The Garden of Earthly Delights (late 1400s-early 1500s), and The Temptation of St. Anthony (early 1500s). It depicts an epic battle between the top two World of Warcraft raiding guilds, at a particular moment in the game's history. It is loaded with symbolic references specific to the contexts, both "in-game" and "around-game," within which the battle was waged. |
| → Title: WTF?!, '07-'08 |
| Tech: Flash, XML |
| Blurb: WTF?! is a WoW inspired side-scrolling Flash-based RPG. In WTF?! lots of smart (mostly) dead people enlist you to help figure out WTF is going on in Azimuth. Think WoW meets social theory meets, well... tabloid journalism... since you discover lots of dirt about these characters along the way. WTF?! was built with "!" - a custom set of tools made freely available to facilitate others' abusive game designs. WTF?! was another collaboration with Flash code guru Alex Szeto. Collectively we've lost several years of our life to WoW... and figured it was time for a little payback. |
| → Title: WoW AddOns, '07-'08 |
| Tech: LUA, XML, HTML |
| Blurb: Custom "metagame" addOns scripted for World of Warcraft, an 11+ million player MMOG. |
| → Title: The Grinch Who Stole Office, '07 |
| Tech: Flash, MYSQL |
| Blurb: The Grinch Who Stole Office is the result of my foray into learning Flash/ActionScript - which was long overdue. Alex Szeto [former student, collaborator, and lead programmer on multiple projects] was my teacher, and this little book is what emerged. Three embedded Flash games accompany the Seuss inspired narrative. |
| → Title: DICE, '06 |
| Tech: Flash, PHP, MySQL, XML, HTML |
| Blurb: The Domain Independent Collaboration Environment [DICE] was a collaboration portal developed in conjunction with the University of California Humanities Research Institute [HRI] at UC Irvine. The goal was to design tools for collective scholarship and sustained collaboration with limited face-to-face interaction. We built a custom CMS to support activities such as browsing, searching, reading, watching, listening, writing, annotating, collection building, mapping, communicating, collaborating, and playing. This included implemeting services such as: 1-point registration, wikis, blogs, RSS, version control, teleconferencing, data repositories, search and crawl, location awareness, mail, tagging, translation, and motivational techniques to facilitate participation such as scoring and rewards. It was quite an interesting collection of tools and services for its time. My roles were project PI (along with colleague Walt Scacchi) and management [~$100k grant]. |
| → Title: Dino Quest Online, '05-'07 |
| Tech: Flash, PHP, MySQL, XML, HTML |
| Blurb: Dino Quest Online was part of a permanent, multi-million dollar, interactive museum installation where kids learn about life sciences via paleontology. The project consisted of an on-site exhibit with life-size dinosaurs, fabricated dig-pits, creatures, caves, and quest update/completion stations, accompanied by an online environment. Players used a gesture-based infra-red emitter to trigger events tracking their on-site progress. The goal was to recover DNA samples from dinosaur remains, uplink the data collected to "collaboratories," login to DQ Online to complete various game modules extending the on-site game, and learn enough to bring the creatures back to life. My roles were project PI (along with colleague Walt Scacchi) and creative director [~$300k grant for our piece of it]. |
| → Title: unexceptional.net, '03-'06 |
| Tech: MySQL, PHP, Javascript, HTML, J2ME, MIDP 2.0, C++, Torque Script, Flash, XML |
| Blurb: A multimodal, pervasive, location-aware, net-centric game that dealt with love gone bad, political conspiracy, and spiritual transformation. The player was taken on a multi-state journey in effort to complete 21 quests to open 7 major chakras and achieve "enlightenment." Play involved use of a Blog, a GPS-enabled cell phone [or applet if no phone is available], and a 3D game client. |
| → Title: ALT+CTRL, '04 |
| Tech: Exhibition - too numerous to list |
| Blurb: Co-Curated with Antoinette LaFarge and co-organized with Celia Pearce for the Beall Center for Art and Technology. ALT-CTRL provided a venue for some of the most innovative new concepts in computer games by independent developers, artists and game modders. Sponsors included the National Endowment for the Arts, Entertainment Software Association, Game Face Magazine, Blubber Colors, Montana Paint, California Institute for Telecommunications and Information Technology [CalIT2], and the Claire Trevor School of the Arts [~$40k in grants]. One of my favorite parts was the graffiti art commissioned and done prior to the opening. It was thematically related, visually stunning, and covered the entire 10' high perimeter walls of the gallery. |
| → Title: Creepy Comics, '02 |
| Tech: Coldstone IDE, HTML |
| Blurb: Creepy Comics was an attempt to create an episodic role-playing adventure game designed as a cross-platform digital comic. It used the Coldstone Game Engine (released by Ambrosia Software), and suffered an untimely death when development on the game engine stopped. The web-comic trailer and a few in-game screenshots are all that remain. The front-end visuals of the two primary characters [Pustule and Fester] made their appearance in the Perth Biennial of Electronic Art where they became something of a meme, and later morphed into 8 foot by 10 foot vinyl banners for an exhibition at the UC Irvine Beall Center for Art & Technology. |
| → Title: PROXY, '99-'02 |
| Tech: Java, GL4Java, MOO, VRML, HTML |
| Blurb: A head game about about knowledge discovery, file-sharing, and information mis/management in relation to networked identity construction and collective behavior. Deployed using a Java-based multi-agent system interfaced to a MOO and Web portal. It dealt with personalizing information discovery; designing multiple interfaces into shared information spaces; facilitating distributed and collaborative data processing; and enabling synchronous and asynchronous modes of communication and information exchange (Stanford Ng and Stephen Holder, lead programming). PROXY debuted at the Whitney Biennial of American Art in 2002. |
| → Title: SHIFT+CTRL, '00 |
| Tech: Varied |
| Blurb: Co-Curated with Antoinette LaFarge for the inaugural opening of the Beall Center for Art and Technology. SHIFT-CTRL was a collection 20+ international media works installed in over 2,500 square feet of exhibition space that were either actual computer games, experientially functioned as computer games, symbolically referenced computer games, or were influenced by computer games in their making. Sponsors included the Rockwell Corporation, Connexant Technologies, Microsoft, Antenna Design, Rare Medium and many others. Over $100,000 was budgeted for the show and accompanying events, which ran from October 17-December 3, 2000 [~$250k in grants]. |
| → Title: Search & Retrieval, '00 |
| Tech: Thinkmap |
| Blurb: Search and Retrieval: Information Navigation as Art was commissioned by LA Freewaves as an online component to the "7th Annual Festival of Experimental Media Arts." LA Freewaves is a nonprofit multicultural media arts network committed to community empowerment that is comprised of a coalition of some 65 arts organizations, 68 schools, 74 libraries, 32 cable stations, and thousands of media artists and activists in the greater Los Angeles area. Search and Retrieval consisted of over a dozen international contemporary media artists. Though primarily designed for an online audience, was also selected for presentation at the California Museum of Photography during the month of November, 2000 [~$35k software grant]. |
| → Title: Secret Agent, '00 |
| Tech: Custom Lipstick Cam/Mic, Portable Server, Streaming Media, HTML |
| Blurb: Secret Agent was commissioned by the Institute for Studies in the Arts at Arizona State University for a workshop and exhibition entitled "Digital Secrets: New Collaborations in Visual Art and Technology." It was the first piece produced by members of the UC Digital Arts Research Network [UCDARNet] which included: Shawn Brixey [UCB], Sheldon Brown [UCSD], Sharon Daniel [UCSC], Lynn Hershmann [UCD], Louis Hock [UCSD], Victoria Vesna [UCLA], and Fabian Wagmister [UCLA]. Lynn secured actress Karen Black to play the role of the remote controlled, semi-autonomous secret agent. Shawn and I built the hardware/software needed to make it all work. Secret Agent took place from November 9-11, 2000. |
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→ Title: |
| Tech: Perl/CGI, C++, HTML |
| Blurb: Tomb Raider was authored for "Cracking the Maze," one of the earliest on-line exhibits of computer game patches, modifications, and add-ons curated by Anne-Marie Schleiner. It consists of a patched patch, a hacked mail server, and an appropriated Web site. |
| → Title: Alexandria Digital Library, '97-'98 v1.0 |
| Tech: Java, JIGI, Oracle, HTML |
| Blurb: The Alexandria Digital Library [ADL] is a consortium of researchers, developers, and educators, spanning the academic, public, and private sectors, exploring a variety of problems related to a distributed digital library for geospatially-referenced information. The undertaking was sponsored by NSF, NASA, and DARPA. I directed the User Interface Design and Implementation component. My small team (Natan Freitas, lead progamming, Kevin Lovette, backend programming) built a Java application suite to provide a public interface to the ongoing R&D to help secure additional funding. I also helped author the visualization section of the successful second-round NSF proposal effort [~$7 million in grants], and was listed as a Co-PI. |
| → Title: Life in the Universe, '96-'97 |
| Tech: Macromedia Director |
| Blurb: Life in the Universe with Stephen Hawking was released as a CD-ROM in March of 1997, with planned translation into five languages. The project was formed around an essay written by professor Hawking entitled "Life in the Universe," and five articles from a special issue of Scientific American also entitled "Life in the Universe." Due to the richness and density of the information we attempted to make exploration of environments, and the acquisition of knowledge through those explorations, the driving forces behind the user's investigations. My roles were co-designer, art director, and production manager. |
| → Title: Fine Art of Appropriation, '97 |
| Tech: Perl/CGI, C++, HTML |
| Blurb: The Fine Art of Appropriation [submit as the written portion of my MFA Thesis] is an online artist's book that explores fair-use in the context of the digital domain. It was authored entirely from found material. When submit to the library for binding, the book - including all images and sounds - was converted to Base64 and printed out. |
| → Title: Bodies© INCorporated, '95-'96 |
| Tech: Perl/CGI, VRML, HTML |
| Blurb: Bodies© INCorporated was a collaborative web project produced and directed by Victoria Vesna (Ken Fields, sound, Jason Schleiffer and Nathan Freitas, programming). Participants constructed virtual bodies out of predefined body-parts, textures, and sounds. Bodies© INCorporated was exhibited internationally and received numerous critical reviews and awards. My roles included brainstorming, web interface design, body modeling, and writing. |
| → Title: ASCII Alphabet, '96 |
| Tech: HTML |
| Blurb: ASCII Alphabet was one of the earliest Web projects to experiment with the text to speech synthesis built into the Macintosh OS. To hear it prperly required a plug-in called "Talker." I composed 26 ASCII images illustrating my mouth speaking each letter of the alphabet, which then got read back by Talker. Stutters turned into word fragments, which turned into words and phrases, as the letter being stuttered was "learned" by the machine. Done for the Terminals: Considering the End exhibition. In Fall of 2012 the piece was recreated for presentation at the Museum of Modern Art in NY as part of an exhibition entitled "Artist's Alphabets.". |
| → Title: Terminals, '96 |
| Tech: HTML |
| Blurb: Terminals: Considering the End was an online exhibition comprised of individually curated galleries accessible at several of the UC campuses [Santa Barbara, Santa Cruz, Irvine, and Riverside]. Funded through the University of California's Intercampus Arts, and Directed and Produced by Victoria Vesna and Connie Samaras, Terminals investigated how ways of "knowing" death have been culturally encoded. Terminals was released [1999] as an artist's book/CD-ROM. My roles were editor, interface design for the Web, CD-ROM design and production, and participating artist. I also worked with Carolee Schneeman to create a web version of her piece "Mortal Coils." |
| → Title: Some Bits Of My So-Called Life, '95 |
| Tech: HTML |
| Blurb: Some Bits of My So-Called Life is the result of a two week period, during the Fall of 1995, when messages recorded onto my personal answering machine were fed back out to the World-Wide-Web. Remember, this *was* web circa mid-'90s, so such public displays still felt pretty new and exciting... |
| → Title: analAT&T, '95 |
| Tech: Video, HTML |
| Blurb: analAT&T was a performance/video project [done in collaboration with Adam Zaretski] that tried to draw attention to the ways in which mid-90s corporate culture was projecting a seductively fascist/humanist ["YOU WILL"] relationship of the body to envisioned technology. My dungeon-slung self served as transducer caught in the circuitry of this informational flow. What the video-short shows is that what the body produces, as it's forced to interface and merge with new technical forms, is not necessarily representative of what it consumes. |
| → Title: HIStoric Insertions, '95 |
| Tech: Photoshop, HTML |
| Blurb: HIStoric Insertions is a series of tongue-in-cheek studies in technique. The images were created by scanning in photographs of famous paintings, then digitally altering the works by inserting myself into the scenes, mimicking the style of the appropriated artist. It was a good excuse to learn Photoshop. |
| → Title: SPEED, '93-'97 |
| Tech: Perl/CGI, Java, VRML, HTML |
| Blurb: SPEED was a critical forum for the investigation of technology, media, and society. The journal was founded in '93 with Bejamin Bratton while still graduate students in sociology at the University of California, Santa Barbara. I first implemented SPEED as a Gopher site in '93. We migrated to the Web in '94. Between '93-'97 four issues were produced: "Myths of Electronic Living"; "Science and Re-Enchantment"; "Airports and Malls"; and a special issue devoted to the work of French architect, military historian and media theorist Paul Virilio. The goal was to provide an open-ended architecture, where text, image, and sound based materials could successfully marry form and content in an online environment. SPEED received numerous awards, including being chosen [in March 1997, some 4 years into the public web, if one starts counting from Mid '93] as one of the "Top 100 Web Sites of All Time" by The Net Magazine, where it was also the top pick in the Humanities category. |
| → Title: BNAatWar, '91-'94 |
| Tech: HyperCard, Various Video, Image & Sound Editing Software |
| Blurb: Bodies, No-bodies, and Anti-bodies at War: Operation Desert Storm and the Politics of the "Real" is an analysis of the 1991 war in the Persian Gulf, authored as an interactive CD-ROM. It was an attempt to do a media study that actually incorporated the media being studied. It was also a critical response to a popular and academic discourse that was claiming Operation Desert Storm heralded a new era of high-tech combat that served only to remove us from the horror and reality of war. In the thesis I attempt to challenge that position by asserting that it was no less "Real," it simply represented a new type of "reality," one that was in large part the result of the technologies used to re-present it. My hook was that we needed to learn how to more effectively use those technologies, as opposed to letting ourselves be used by them. It was reported to be the first CD-ROM submit as a Ph.D. in the social sciences. |