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CP 470a Fortmeyer Midterm Paper PDF
CP 470a Fortmeyer Midterm Paper PDF
13 May 2016
Nathan Fortmeyer
SIU 850330050
Midterm Paper
Super Mario Clouds by Cory Arcangel
Cory Arcangel's Super Mario Clouds, which is the result of a hacked Nintendo cartridge of the
video game Super Mario Bros., is a piece about interactivity (or the lack thereof), computer art, and a
virtual landscape. Arcangel's piece raises questions about how the computer and digital art can further
representation that dates back to landscape paintings. Arcangel's piece also addresses the idea of
cracking open a closed system, and hacking into a product under copyright, in order to appropriate and
The subject of the piece are the eponymous clouds. Familiar to even the most causal player of
Super Mario Bros., the clouds which server as the background in the original game become the
foregrounded subject in Super Mario Clouds. In Super Mario Clouds, the viewer's gaze ticks from left
to right (the same direction one moves when playing the unaltered Super Mario Bros.) at a steady,
regulated pace, moving through a blue sky interspersed with puffy, white clouds. Unlike in the original
Super Mario Bros., the viewer of Super Mario Clouds does not directly control the pace of movement.
The viewer does not see Mario, nor the environment of the Mushroom Kingdom, and has no ability to
control the pace of the movement; in Super Mario Bros., although the player cannot backtrack to the
start of the level (once the screen moves to the right, it becomes set and will not return to previously
covered ground), he or she may move Mario at as quick of a pace as possible, running through the
level. The countdown of the time clock encourages speed and economy of movement, and the clouds
play more of a role as background dressing, as well as a way for a player to gauge progress and speed.
However, with Super Mario Clouds, Arcangel repositions the player as a viewer, and the control
of speed vanishes into a regulated tick of progress that, to an experienced player of Super Mario Bros.,
is agonizingly slow. With Super Mario Clouds, Arcangel takes the essential elements of Super Mario
Bros. (control and interactivity), and subverts them. By re-taking control of the user interface (the
player's ability to control Mario, via the Nintendo controller), Arcangel forces the player-turned-viewer
to absorb the clouds, as the view tracks right. The screen, which had originally been a portal into the
game world, becomes a frame for a digital landscape painting; Arcangel appropriates a landscape from
Arcangel addresses the viewer by subverting the original experience of Super Mario Bros., and
also by reprogramming the closed cartridge of the Nintendo. Although it was marketed in the United
States as Nintendo, in its original incarnation in Japan, it was known as the Famicom, a portmanteau of
the words 'family' and 'computer'. In this light, Arcangel is not simply a hacker cracking open the
closed, copyrighted software embedded in a Nintendo hardware cartridge, but also a programmer
With Super Mario Clouds, Arcangel creates not necessarily an illusion of reality, but alters an
electronic equivalent to it. The clouds, and the metronomic pace at which the viewer passes them,
could not be mistaken for photorealistic renderings of clouds. However, for a player familiar with the
world of Super Mario Bros., the clouds do take on a representation of reality. As Sherry Turkle notes in
Video Games and Computer Holding Power, the most important element behind the seduction of video
games is that they are interactive computer micro-worlds (for example, the Mushroom Kingdom of
Super Mario Bros.) that hold an association with infinity. Turkle notes that this infinity, represented in
the programming code, holds all of the secrets of the game world.
Arcangel takes the micro-world of interactive infinity and removes the interactivity. Arcangel
removes the clouds from the context of the controllable game world, and instead re-frames their
infinity. By hacking into and altering the original game cartridge, Arcangel alters a familiar space and a
familiar time into a new digital landscape painting that forces the viewer to focus only on the clouds.
The competition of the game, the race against the clock, Mario's struggle against a world populated by
hostile enemies, and the quest to rescue Princess Toadstool are all removed, leaving only the fluffy,
idyllic clouds. Arcangel takes a closed, consumer product (of the R/O, or read only variety) and
reprograms it as an art piece (of the R/W, or read/write variety) where the background clouds are
repurposed as the main subject, re-aligning Nintendo's hardware with the spirit of Alan Kay's
Dynabook.
Arcangel also engages with Manovich's tenets of new media. As Manovich notes in The
Language of New Media, new media objects adhere to the principles of numerical representation,
modularity, automation, variability, and transcoding. With Super Mario Clouds, Arcangel implements
each of these tenets to transform a video game into a digital landscape painting. Arcangel's hack goes to
the root of the numerical representation embedded in the Nintendo cartridge, and repurposes a discrete
packet of information: the code that creates the representation of clouds. The clouds, and the code
representing them, become a modular unit for Arcangel to alter and automate; the player's power to
move Mario becomes an automated pace pushing the viewer past the collection of clouds. Arcangel
changes the original video game into a new piece (variability) and alters this familiar game world in a
way that gives another shade to computer-generated meaning; Arcangel transcodes the familiar
experience of moving past the digital clouds (which, in the context of the player's experience with the
game world, become real clouds in an alternate world which the player navigates via the avatar of
Mario) into the new experience of a digital painting. Now, what was once background window dressing
becomes the focus of the player-turned-viewer's gaze, and the frenetic navigation of a virtual world