riccardo retez

MMF MMXXIII UPDATE: A CHAT WITH COLIN STAGNER

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The Milan Machinima Festival is proud to present Colin Stagner's new machinima Pictures of an Exhibition, which invites viewers to embark on a thought-provoking journey through space within Minecraft. Divided into three movements, each accompanied by classical music, this machinima delves into traditional cinematic themes of innovation, tribulation, and contemplation against the cosmic backdrop of outer space.

In his explorations of the conventions and relationships between coding, film, and game design, Colin Stagner seeks to comprehend how the digital realm engenders our lived reality. Hailing from the heartland of the United States, Stagner's practice is one of technological experimentation, with a focus on uncovering the hidden mechanisms that undergird the digital. While some may be tempted to categorize Stagner as an artist, he resists such a label, instead identifying himself as a software engineer who uses his skills to probe the limits of what is possible within the coded world. By drawing on his deep understanding of programming languages and their potential applications, Stagner creates works that challenge our preconceived notions of what is possible in the world of technology.

Riccardo Retez talked to Colin Stagner about Pictures of an Exhibition:

Riccardo Retez: Inquiring into the nature of machinima as a creative practice, I am compelled to ask: what inspired your engagement with this unique medium? Before I delve into the intricacies of your recent work, Pictures of an Expedition, could you describe your personal relationship with machinima? How do you conceptualize this technique, and what purpose does it serve in your artistic vision? Put simply, what is the significance of designing, producing, and ultimately releasing a machinima for you as an artist?

Colin Stagner: My first introduction to machinima was courtesy of the early episodes of Red vs. Blue (Burns, 2003). To produce any film, it is necessary to convince the viewer that the limitations of the medium form a “reality” of sorts. While some films lack sound or color, machinima directors are forced to accept more unusual limitations. In Red vs. Blue, every character must always wear a helmet and hold a weapon. The series embraces these absurdities and plays them for laughs. Interesting constraints make for interesting art.

In an odd but narratively convenient coincidence, I was first introduced to my chosen medium, Minecraft (Mojang, 2010), through machinima. In addition to numerous demo videos, I also recall watching music machinima such as In Search of Diamonds (Dead Worker’s Party, 2010) and others which have been lost to time. These convinced me that the game was worth playing.

At that time, in 2011, I had absolutely no idea that I was going to make a film.

As a software engineer by trade, my only formal education in movie-making was a “Films Appreciation” course from my undergrad years. That and, I suppose, all the films I had ever seen. As this project has taught me, machinima is a uniquely accessible medium for film. There is no need to perfect the kinesthetics of performance or the technical details of sound and image capture. Reducing these barriers expands the range of possible contributors – more artists, more art. The challenge, beyond the physical act of doing, is to create a work that complements or transcends the original “text” of the game and forms a meaningful connection with its audience.

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Riccardo Retez

Works cited

Colin Stagner

Pictures of an Expedition

digital video/machinima, color, sound, 6’ 07”, 2022, United States of America

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ARTICLE: VOLARE: MICROSOFT FLIGHT SIMULATOR MACHINIMA IS TAKING OFF

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Shortly after the release of Microsoft Flight Simulator (2022), a remarkable amount of experimental, avant-garde machinima landed in the White Cube. Three, in particular, stand out: The Cool Couple’s Flyin’ High, Luca Miranda & Riccardo Retez’ America (HD Remastered) and Sebastian Schmieg’s Lights will guide you home. 

First screened at the 2021 Milan Machinima Festival, America (HD Remastered) is a sui generis adaptation/replay of America (1986), Jean Baudrillard’s philosophical travelogue. Upping the ante re: the so-called “crisis of the real” denounced by Guy Debord in his 1967 treatise, The Society of the Spectacle, Baudrillard famously argued that reality itself has disappeared: it is no longer a mere representation because simulation took over and basically ate the world. After a series of provocative essays and books including Symbolic Exchange and Death (1976), Seduction (1979), Simulacra and Simulation (1981), Baudrillard wrote a groundbreaking non-academic book titled America (1986), entirely devoted to the land of simulacra. Thirty five years after its publication, this instant cult still provides illuminating insights into the unconscious of a puzzling country, ever so close to imploding or exploding, depending on the point of view. America is a road (and plane) trip across the “New World of banalities”: on America’s freeways, malls, deserts, and cities, Baudrillard experienced an overwhelming, ecstatic emptiness. In his account, the desert is the central metaphor of American culture: empty, vast, radiant, and completely indifferent to history, knowledge, and culture. In short, America chronicles the desert of the real. To reenact Baudrillard’s journey, Mirand and Retez appropriated Microsoft Flight Simulator, a game that uses algorithms and accurate datasets to reproduce the landscape of the United States. They flew over Los Angeles which Baudrillard describes as “an incandescent immensity, stretching as far as the eye can see”. America (HD Remastered’s stunning vistas of Los Angeles are directly lifted from a virtual plane. The video is accompanied by Baudrillard’s original words read by a text-to-speech software tool in French.

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Matteo Bittanti

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NEWS: MMF MMXXII DISPATCH #5

Hello everyone,

My name is Matteo Bittanti and I am the artistic director of the Milan Machinima Festival, which showcases game-based video art at the end of the end of history. 

On behalf of the entire curatorial staff, I am happy to reveal additional details about the fifth edition, which takes place between March 21st and 27th 2022.

The Milan Machinima Festival - a non-profit project that was born at IULM University in Milan - is made possible by the contribution of several people. In this dispatch, I’d like to share some details about our curatorial staff. Specifically, I would like to introduce three key curators: Gemma Fantacci, Luca Miranda, and Riccardo Retez.

Gemma Fantacci is a Doctoral candidate in Visual and Media Studies at IULM University. Her research focuses on the relationship between counter-gaming practices and the avant-garde. She holds an MA in Arts, Markets and Cultural Heritage from IULM, and an MA in Game Design from the same institution. She is interested in machinima, in-game photography and the visual arts. Gemma is the Communication Manager of the Milan Machinima Festival and co-curator of VRAL. 

Among her most recent publications is VRAL SEASON ONE published by Concrete Press, which she co-edited with Matteo Bittanti. Introduced in April 2020 amidst a global pandemic, VRAL is a uniquely curated game video experience, offering screenings of machinima created by artists and filmmakers whose work lies at the intersection of video art, cinema, animation, and gaming. The book collects all Season One’s interviews (i.e., exhibitions 01 to 21), including extra content previously released online. The second volume in the series will be released in the upcoming months 

Luca Miranda is an artist and independent researcher. His scholarly practice focuses on the relationship between reality and simulation. He is especially interested in the notion of the avatar as an aesthetic entity. Luca is interested in the logic of game mechanics and notions such as immersion, identification, and interpassivity. He received a Master of Arts in TV, Cinema and New Media at IULM University, Milan, and previously a B.A. in Media and Art from the University of Bologna. In 2018, he co-founded Eremo, an artistic collective based in Milan operating at the intersection of video game, sound art, performance and contemporary art. His most recent publication is titled GIOCARE A CAMMINARE (Walking as a game) which focuses on the walking simulator, a video game genre that has emerged in the last decade in the context of the so-called indie scene. The book examines the origins, development, and influence of this genre sui generis within the field of digital gaming. Additionally, the author compares the aesthetics, mechanics, and ways of playing the walking simulator with several works and artistic practice, suggesting that the two have much in common.

Born and raised in Florence, Riccardo Retez received a Master's Degree in Television, Cinema and New Media from the IULM University in Milan in 2019 and a Degree in Graphic Design and Multimedia from the Free Academy of Fine Arts in Florence in 2017. Passionate about cinema, video games and visual culture, Riccardo has produced several short films and video clips. He is the author of MACHINIMA VERNACOLARE (Vernacular Machinima), the first academic study of the Rockstar Editor, a popular video editing software embedded in Grand Theft Auto V (2013). The author describes the dynamics of production, consumption and distribution of machinima within the fandom community, which now represent an increasingly complex media ecosystem. 

This year, Gemma, Luca and Riccardo are each curating a special program that will be exclusively screened on March 26 at the MIC, the Museum of Interactive Cinema in Milan. Tickets are still available on EventBrite although seats are limited.  

For more information about the Milan Machinima Festival please visit the official website.

Stay tuned for more and thank you for your attention.


NEWS: THREE CURATORS SHARE THEIR VIEWS ON THE MMF MMXXI

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Gemma Fantacci, Luca Miranda, and Riccardo Retez — part of the Festival’s curatorial team — discuss the key themes and trends of the MMXXI edition and the rationale behind their programming. (Interview in Italian without subtitles)

IN ITALIAN

Gemma Fantacci is the curator of HACKTHECUBE, an exhibition platform that uses both the format and the problem-solving nature of the Rubik’s Cube. She received an M.A. in Arts, Markets and Cultural Heritage from IULM University and later enrolled in the Master of Arts in Game Design, combining her interest for art with new media, especially video games, machinima, and in-game photography. She is a regular contributor to ATP DIARY, an online magazine focusing on contemporary art. She is also the Communication Manager of the MILAN MACHINIMA FESTIVAL and co-curator of VRAL, an online platform exclusively dedicated to avantgarde machinima. A Ph.D candidate in Visual and Media Studies at IULM University, Gemma Fantacci lives and works in Milan.

Luca Miranda’s practice focuses on the relationship between reality and simulation. He is especially interested in the notion of the avatar as an aesthetic entity and its representational features. In his work, Miranda critically scrutinizes game mechanics and notions such as immersion, identification, and interpassivity. His work deals with the image of the avatar in contemporary culture. Miranda received a Master of Arts in TV, Cinema and New Media at IULM University, Milan, and previously a B.A. in Media and Art from the University of Bologna.

Riccardo Retez is a Doctorate candidate in the Visual and Media Studies program at IULM University, Milan, Italy. He is also a digital content creator specializing in contemporary visual culture including cultural studies and game studies. He is the author of Machinima Vernacolare (Concrete Press, 2020), the first academic study of the Rockstar Editor, a video editing software embedded in Grand Theft Auto V. He is currently studying live streaming culture.

Gemma Fantacci, Luca Miranda e Riccardo Retez — parte integrante del team curatorial del Festival — discutono i temi e i trend dell’edizione MMXXI e condividono alcuni criteri di selezione (intervista in italiano).

Gemma Fantacci è la curatrice di HACKTHECUBE, piattaforma espositiva che adotta la struttura e la logica del rompicapo del cubo di Rubik. Dopo aver conseguito una Laurea Magistrale in Arti, Patrimoni e Mercati presso l’Università IULM, nel 2018 ha ricevuto un Master of Arts in Game nel medesimo ateneo, coniugando l’interesse per l’arte con quello per i nuovi media, e in particolare per video games, machinima e game photography. Collabora regolarmente con ATP DIARY, magazine online di arte contemporanea, è la Communication Manager del Machinima Film Festival e co-curatore del progetto VRAL. Dottoranda nel Programma di Visual e Media Studies dell’Università IULM di Milano, Gemma vive e lavora a Milano.

Luca Miranda studia la relazione tra realtà e simulazione, l’avatar come entità estetica e le correlate dimensioni testuali e visive. Centrale, nella sua pratica artistica, è l’analisi delle meccaniche videoludiche, insieme alla riflessione critica sui concetti di immersione, identificazione ed interpassività. Investiga la figura dell’avatar nella cultura contemporanea. Ha conseguito una Laurea Magistrale in Televisione, Cinema e New Media presso l’Università IULM di Milano e una Laurea Triennale al D.A.M.S. dell’Università di Bologna.

Riccardo Retez è un dottorando in Visual e Media Studies presso l’Università IULM di Milano. Creatore di contenuti digitali che investigano la cultura visiva contemporanea, Retez si interessa di cultural studies e di game studies. È l’autore di Machinima vernacolare (Concrete Press, 2020), il primo studio accademico del Rockstar Editor, un software di montaggio presente in Grand Theft Auto V. Studia le culture del live streaming online.

NEWS: ON THE RED EYE WITH LUCA MIRANDA, RICCARDO RETEZ, AND JEAN BAUDRILLARD

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In Luca Miranda and Riccardo Retez’ America (HD Remastered), French philosopher Jean Baudrillard returns to life as a zombie hologram. His simulacrum is on a red eye to an hyper-real Los Angeles. Part of THE CLASSICAL ELEMENTS, a series of five special screenings at this year’s festival, America (HD Remastered) is a remix/remake/reenactment/adaptation of Baudrillard’s fascinating travelogue of the same title (almost). The only machinima created with Microsoft Flight Simulator in this year’s line-up, America (HD Remastered) pushes the boundaries of the medium.

In this video interview (in Italian without subtitles), Luca Miranda and Riccardo Retez - who are also part of the curatorial team - discuss their work. Both Miranda and Luca graduated from IULM University. Miranda’s Cheatimerism was featured in 2020 as part of VRAL, while The Bowl (La Jatte) and Alma were screening at the 2020 and 2019 MILAN MACHINIMA FESTIVAL respectively.

Luca Miranda’s practice focuses on the relationship between reality and simulation. He is especially interested in the notion of the avatar as an aesthetic entity and its representational features. In his work, Miranda critically scrutinizes game mechanics and notions such as immersion, identification, and interpassivity. His work deals with the image of the avatar in contemporary culture. Miranda received a Master of Arts in TV, Cinema and New Media at IULM University, Milan, and previously a B.A. in Media and Art from the University of Bologna.

Riccardo Retez is a PhD.D candidate in the Visual and Media Studies program at IULM University, Milan, Italy. He is also a digital content creator specializing in contemporary visual culture including cultural studies and game studies. He is the author of Machinima Vernacolare (Concrete Press, 2020), the first academic study of Grand Theft Auto V’ video editing software Rockstar Editor. He is currently researching live streaming culture.

In America (HD Remastered) di Luca Miranda e Riccardo Retez, Jean Baudrillard rivive come un ologramma zombie. Il suo simulacro è in volo su una Los Angeles iper-reale. Parte di THE CLASSICAL ELEMENTS, una serie di cinque proiezioni speciali, America (HD Remastered) è un remix/remake/rievocazione/adattamento dell’affascinante diario di viaggio del filosofo francese pubblicato negli anni Ottanta. Unico machinima creato con Microsoft Flight Simulator nella rassegna di quest’anno, America (HD Remastered) ridefinisce la natura stessa e il potenziale espressivo del machinima. In questa video intervista, Luca Miranda e Riccardo Retez — che fanno anche parte del team curatoriale — discutono la loro collaborazione e prassi artistica. Miranda che Luca si sono entrambi laureati presso l'Università IULM. L’opera Cheatimerism di Miranda è stata presentata nel 2020 nell’ambito di VRAL, mentre — un altro remake sui generis — The Bowl (La Jatte) e Alma sono stati proiettati rispettivamente al MILAN MACHINIMA FESTIVAL 2020 e 2019.

La ricerca artistica di Luca Miranda si concentra sulla relazione tra realtà e simulazione, l’avatar come entità estetica e le correlate dimensioni testuali e visive. Centrale, nella sua pratica, è l’analisi delle meccaniche videoludiche, insieme alla riflessione critica sui concetti di immersione, identificazione ed interpassività. Investiga la figura dell’avatar nella cultura contemporanea. Ha conseguito una Laurea Magistrale in Televisione, Cinema e New Media presso l’Università IULM di Milano e una Laurea Triennale al D.A.M.S. dell’Università di Bologna.

Riccardo Retez è un dottorando in Visual e Media Studies presso l’Università IULM di Milano. Creatore di contenuti digitali che investigano la cultura visiva contemporanea, Retez si interessa di cultural studies e di game studies. È l’autore di Machinima vernacolare (Concrete Press, 2020), il primo studio accademico del Rockstar Editor, un software di montaggio presente in Grand Theft Auto V. Studia le culture del live streaming online.

NEWS: INTRODUCING MACHINIMA VERNACOLARE

We’re happy to announce the release of volume one in the new series GAME VIDEO/ART. STUDIES edited by Matteo Bittanti: Machinima vernacolare by Riccardo Retez.

Available both on Amazon and Blurb in Italian, Machinima vernacolare examines the relationship between cinema, television, and video games, focusing on fandom productions that made machinima into a recognizable expression of popular culture and one of the most popular examples of user generated content.

Retez focuses on Grand Theft Auto V’s Rockstar Editor, a popular video editing tool used to created countless machinima. The author describes the production, consumption and distribution practices within an increasingly complex media environments. The analysis, which is accompanied by six case studies, demonstrates that far from being passive users, video game players can become guerrilla video makers.

Born and raised in Florence, Riccardo Retez received a Master's Degree in Television, Cinema and New Media from the IULM University of Milan in 2019 and a Degree in Graphic Design and Multimedia from the Free Academy of Fine Arts in Florence in 2017, where he studied the relationship between technology-based art practices culture and the humanities. Passionate about cinema, video games and visual culture, in the past five years Riccardo produced, edited, and directed several short films and video clips. Machinima vernacolare is his first book.

GAME VIDEO/ART. STUDIES examines the complex interaction between digital gaming and the visual arts through academic contributions situated at the intersection of different disciplinary areas – game studies, art criticism, visual studies, media studies and cultural studies – and gives voice to a new generation of researchers as well as established scholars. Both a critical and creative laboratory, GAME VIDEO/ART. STUDIES promotes open dialogue, constructive debate, and sometimes idiosyncratic investigations of ideas, practices, and artefacts that – by their very nature – occupy different layers of today’s visual culture. Using a comparative rather than specialized approach, GAME VIDEO/ART. STUDIES probes the most diverse visual experiences inspired by digital gaming.

To learn more about Machinima vernacolare, please visit this page, which includes a video walkthrough (in Italian).

To learn more about GAME VIDEO/ART STUDIES, please click here.

Siamo felici di annunciare la pubblicazione del primo volume della nuova collana GAME VIDEO/ART. STUDIES diretta da Matteo Bittanti: Machinima vernacolare di Riccardo Retez.

Disponibile su Amazon e Blurb in lingua italiana, Machinima vernacolare esamina il rapporto tra cinema, televisione e videogiochi e le dinamiche del fandom videoludico che ha elevato il machinima a una marca di riconoscimento delle produzioni user generated.

Retez esamina il Rockstar Editor, il software di montaggio video integrato a Grand Theft Auto V (2013),. L’autore descrive le dinamiche di produzione, consumo e distribuzione del machinima all’interno di un ecosistema mediale sempre più complesso. L’analisi, impreziosita da sei studi di caso, attesta che gli utenti di videogiochi non sono consumatori passivi di testi audiovisivi, bensì soggetti attivi in grado di comprendere e manipolare i significati variabili codificati in tali testi, proponendo sofisticati remake.

Nato e cresciuto a Firenze, Riccardo Retez ha conseguito una Laurea Magistrale in Televisione, cinema e nuovi media presso l’Università IULM di Milano nel 2019 e una Laurea in Graphic Design e Multimedia presso la Libera Accademia di Belle Arti di Firenze nel 2017, dove ha studiato la relazione tra la cultura tecnico-artistica e tradizione umanistica. Appassionato di cinema, videogiochi e culture visive, Riccardo ha realizzato numerosi cortometraggi e videoclip. Machinima vernacolare è il suo primo libro.

Laboratorio critico e creativo, la collana GAME VIDEO/ART. STUDIES promuove un dialogo aperto, un confronto costruttivo e una disamina non necessariamente ortodossa di temi, pratiche e fenomeni che, per loro natura, s’intersecano con differenti livelli della cultura visiva. Privilegiando un approccio comparativo anziché specialistico, GAME VIDEO/ART. STUDIES scandaglia le più diverse esperienze mediali ispirate dal e al videogioco per dare voce a una nuova generazione di ricercatori così come a studiosi consolidati.

Per ulteriori informazioni su Machinima vernacolare, visitate la pagina del libro, che contiene contenuti extra, tra cui una video presentazione dell’autore.

Per ulteriori informazioni su GAME VIDEO/ART STUDIES, cliccate qui.