Kunst had tijdens de renaissance een onmiskenbare invloed op mens en maatschappij, maar was dit een uniek fenomeen? Als we videogames beschouwen als een nieuwe kunstvorm en we erkennen de invloed die videogames uitoefenen op zowel individueel als maatschappelijk vlak, kunnen we dan niet spreken van een nieuwe renaissance in eigen tijd? Geen ‘renaissance’ die terugkijkt naar het verleden, maar een renaissance als afgelijnde periode van grote menselijke en wetenschappelijke verandering dankzij (een nieuwe) kunst.
Onder gamers bestaat er geen twijfel dat videogames kunst zijn en ook veel kunstenaars, kunstkenners en musea voor moderne kunsten onderschrijven de status van videogames als nieuwe kunstvorm. Games zijn dan ook een verzamelwerk waar zowel literatuur, theater, architectuur, muziek, schilder- en beeldhouwkunst samen in vervat zitten. Ook gamecartridges en -consoles als voorwerp op zich dragen een kunstzinnige waarde met zich mee. Als Duchamp een urinoir kan laten tentoonstellen, dan mag het Museum voor Moderne Kunst in New York ook een arcadekast van Pac-Man in hun vaste collectie op te nemen. Videogames zijn kunst. De vraag of ze ook ‘grootse’ kunst zijn, is al iets moeilijker. Grootsheid van kunst is afhankelijk van twee factoren: ‘publiek’ en ‘tijd’. Zo kreeg de renaissance ruim 500 jaar tijd om aan mythevorming te doen, games amper 50 jaar.
De technologische sprongen die games en gameontwikkelaars maakten lopen parallel met de wetenschappelijke vooruitgang die kunstenaars maakten tijdens de renaissance. Zo weerspiegelt de herontdekking van het perspectief door Brunelleschi, de levensechte olieverfschilderijen van Van Eyck, de vierstemmige polyfonie van de Vlaamse componisten en de architectuur van ‘de ideale stad’ van Alberti met respectievelijk de komst van 3D in videogames, de grafische evolutie naar realisme, de komst van 4-kanaals geluidschips en de mogelijkheden om digitale gamesteden naar eigen ideaal te creëren.
Hoe opvallend deze technologische parallellen ook zijn, ze zijn maar een klein onderdeel van een groter vergelijk gelinkt aan de invloed die kunst en games met elkaar delen. Over de invloed van videogames en de steeds toenemende gamificatie van de wereld lijkt tegenwoordig geen twijfel meer te bestaan. Net zoals de kunsten uit de renaissance werden ingezet om dankzij gedetailleerde illustraties geneeskunde te verbeteren of door de adel en politici om status te verkrijgen, worden ook games en gamemechanismen ingezet in zowat elke tak van de maatschappij om op een recreatieve manier bepaalde doelen te bereiken. Zo puzzelen gamers wereldwijd samen in de game FoldIt om menselijk DNA te ontwarren en gebruiken politici de game Among Usom hun kiezers te overtuigen om op hen te stemmen.
Games zijn de kunstvorm die we in huidige tijd het meest nodig hebben.
Waar schilder- en beeldhouwkunst de kunstvorm van de elite was, zijn games nu de kunstvorm van het volk. Net zoals de elite in de renaissance deden, gebruikt nu het volk hun kunstvorm om status aan te geven en aan maatschappijkritiek te doen. Zo worden games zoals Counter-Strike gebruikt om nieuws ter beschikking te stellen van gamers in landen waar media streng gecensureerd wordt. Kunstenaars gebruiken game-elementen om wan- en oorlogsmisdaden op een confronterende manier publiek kenbaar te maken. Gamers gebruiken hun gezamenlijke macht om onrecht tegen te gaan, bedrijven van mening te doen herzien en zelfs de koers van de beurs bij te sturen. Maar games en gamers maken ook als eerste moeilijke maatschappelijke thema’s rond gender en diversiteit bespreekbaar, helpen mee aan de heropbouw van monumenten zoals de Notre Dame of halen via Twitch miljoenen dollars op voor goede doelen.
Als de renaissance de aandacht vestigde op het individu, dan vestigt het huidige tijdperk van videogames de aandacht op de ideale zelf. Los van maatschappelijke regels, publieke verwachtingen, feitelijke status en sociale conventies, kan de gamer online zijn wie hij wenst te zijn. Het online personage van gamers ligt daarbij een stuk dichter bij de ideale zelf.
De meeste gamers spelen dan ook samen met collega gamers van over de ganse wereld, zonder elkaar ooit te hebben gezien. Ze werken samen om recreatieve of evengoed nuttige doelen te bereiken op een collegiale, grensverleggende manier, los van politiek, kleur, gender, identiteit of nationaliteit. Games verbinden. Ook al zijn games niet de vorm van kunst die sommigen wensen, zijn ze op dat vlak wel de kunstvorm die we in huidige tijd misschien wel het meest nodig hebben.
De geschiedenis herhaalt zich misschien niet, maar ze rijmt wel. Nemen we de weerspiegeling in wetenschappelijke vooruitgang samen met de overvloed aan parallelle invloeden tussen de kunsten van de renaissance en games in huidige tijd, dan kan men stellen dat er gesproken mag worden van een nieuwe renaissance met videogames als nieuwe kunstvorm. Of het tijdperk van videogames dat pas in 1972 begon ook effectief de titel ‘Videogamerenaissance’ toebedeeld zal krijgen, is afhankelijk van game- en kunstliefhebbers en van het nodige geduld dat ook de andere moderne kunstvormen zoals theater, film en comics nodig hadden om erkend te worden. Of korter gezegd, is de bevestiging van de videogamerenaissance afhankelijk van twee factoren: ‘publiek’ en ‘tijd’. Hoog tijd om aan mythevorming te doen.
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