在smth2003的blog里看到与wiki同样出色的电子艺术作品一文，其中提到中国的冯梦波获得了优异奖（Distinction）。饶有兴趣地去看了看，但却疑惑起来。
With “Quake III” as the basis of his work, Feng has come up with a very different sort of video game. On one hand, the keyboard has been replaced by a “dancing board” to allow users to control the game with their feet; on the other hand, Feng Mengbo has imparted a clearly ironic-political note to the game by inserting himself-camera in one hand, plasma gun in the other-into the game as an on-screen figure. Feng Mengbo is one of the leading Chinese media artists. His games, films and photographs reflect his unique style and creativity in dealing with virtual reality.
好吧，他做了什么呢？玩QUAKE3游戏。此外，一，用跳舞毯代替键盘输入；二，给游戏一种ironic-political注解，采用的方法是制作一个skin…
对于一，我在四年前就做过了，试着玩过古墓丽影（三代？四代？记不清了）以及FIFA足球，感觉古墓似乎比quake更适合用跳舞毯输入，但是也够累的，不知道冯用这玩意能真的玩起来吗？还是装腔作势摆样子？对于二，我实在没看出怎么反讽政治了，或许还有点啥别的。
总之比起wiki的意义来讲，我没看出冯的这个“作品”的技术和艺术含量。我不喜欢行为艺术，更不喜欢所谓的行为艺术家。要说把QUAKE3玩成艺术，还是看那些顶尖职业高手对决更加有艺术感吧。或许我没有得到足够的信息？
带着疑惑我继续看他的网站。原来这个作品的名字是AH_Q……阿Q，或许因此有点反讽政治意味？据介绍，这是：a performance/installation based on Q4U，而且using dancing pad instead mouse/keypad to controlled video game。Quake III Arena（Id Software, Inc. .1999）我们都知道，而Q4U是什么呢？似乎是基于Q3A的冯的某个作品？
冯自称是ID游戏的铁杆玩家，从玩DOOM开始就做过Taking Mt Doom by Strategy（1998），应该是个短片。后来在MAC G3上开始玩Q3，玩了8个月，存了数百小时录像回放，剪辑成了32分钟宽银幕“电影”/视频 —— Q3。“it’s not only ultra fast cut edit as a documentary, but also a vitrual interview between the artist and a bot of the game.”
当然他的最新作品还是这个“阿Q”，作为一个行为艺术装置和表演，其基本配置为：
// generated by ah_Q, do not modify
unbindall
bind UPARROW “+forward”
bind DOWNARROW “+back”
bind LEFTARROW “+left”
bind RIGHTARROW “+right”
bind MOUSE1 “+attack”
bind MOUSE2 “+jump”
bind MWHEELDOWN “weapnext”
bind MWHEELUP “weapprev”
seta timelimit “0”
seta fraglimit “0”
exec ah_Q
阿Q（死亡之镜，Q4U之舞垫版）
2002
表演，装置
PC，跳舞毯，音响系统
地图：1280x1024x320 （长宽高）
镜子（北墙）：512×192 （宽高）
武器：火箭发射筒，1具
音源：8点，隐蔽式非触发
玩家再生点：8点，随机
服务器设定：
在线或离线
机器人：1个（FMB）
玩家人数（不含机器人）：3
限时：否
得分限制：否
同时它似乎也出了一个同名8分钟短片，还出了DVD，下面有些截图好像蛮high的……
唉，花招倒是蛮多的，不过这种艺术作品的意义在哪里呢？冯自己在98年针对同名视频作品写过篇文章Taking Mt Doom by Strategy，但说到些什么呢？
It is too pessimistic. Of course, you can say the successful game software are completely business work, not true life, but why there are millions of young people enjoy them? Why they like to be the figures of the bloody game as ‘a naturally born killer’? When they kill the people on the screen by a machine gun, what are they think about? How do they feel when the digital figures crying and bombing? I have no answer.
Anyway, in the time of Internet, our poor children only have one way to play games. It’s their poem, movie and music. I’m afraid, in the future, if somebody want to research the culture of our generation, there is nothing in the library, they can only play millions of video games via the net – we born there, and died there, even the memory, nothing like words on stone, just in bytes, forever.
挺玄乎的，符合行为艺术家们一贯高高在上的无关痛痒的关怀。其实，just for fun就是最好的解释啦，IDsoft不是 identity的id，而是弗洛伊德常说的兽性的本我（id）啊……