Cybernetic Art Research Project Nr 6

CARP 6

diabolus

carp second life virtual art space

cybernetic art research project

1

2

CARP 6

CARP 6

The word: „Cyberspace“ is known now as an artword, its born from the word „Cyber“ (a shortform from the english word „Cybernetic“ that again comes from the greek word „Kybernetike“; „The art of navigate“ and the word „Space“.

On the worldfamous Macy-Conferences in the years 1946 till 1953 Cybernetik was something of high interest. Wellknown and famous scientists as Alan Turing, John von Neumann and Heinz von Foerster started here from scratch the modern computertechnics and the programm-architecture, today the basics for the Cyberspace. The real Cyberspace was opened by Secondlife. So you speak of web 3-D or so called Metaverses. The Metaverses are Internet-based virtual timespace-infrastructures. The miracle that we are experiencing today: the Cyberspace, the dematerialized virtual time-space, the worldwide webbed society. where we „surf around„ with lightspeed. An artist that is NOT using this virtual universe as a challenge and a goal doesnt deserve the name „Avantgarde“ This e-book dedicated to the pioneer of the Cybernetic Art

Nicolas Schöffer.

He was one of the most important artists of the second half of twentieth century. Father of Cybernetic Art, thus of so-called „interactivity“, he wanted to bring a prospective and nonbackward-looking vision of Art, which could help mankind to develop itself with a good hold on true creative and liberating possibilities of our times.

3

4

CARP 6

diabolus artspace CARP 6

diabolus

second life virtual art space

carp 6 cybernetic art research project

5

6

CARP 6

The WALL shows are ended even we still had great succes doing them. Debbie and the WALL team (Klute, Southern, Josina, Elfod , Juni and Vela) used the hypercube theatre to make a great Video. Larry Pixel siad , we can keep the WALL production there es we think its needed. For me it is a wish to do in the beginning of 2009 and NEW YEAR show with the CARP Trilogy (the WALL, the RINGS and the FUTURE shows) if that will be possible we will see.

Also a great thank you to Gary Hazlitt for his help with the professional Video production.

Since month we are working with great enthousiasm on our projects. The WALL was a real great succes. And the same team has proven its not just for an occasion. Hopefully we will inspire and make people as enthousiast with the RINGS as we did with the WALL and then worldwide.

The RINGS premiere was again a succes. The many months of hard working on it payed off. Our innovation in Technics and perfection in the show is recocknized by the audience. Even our 2 biggest Enemies, CRASH and LAG could not hinder that.

A big Thank You goes to our performer group: Junivers Stockholm, Medora Chevalier, Debbie Trilling, Klute Coppola , Sca Shilova, Efrantirise Morane, Milla Milla Noel, Blanche Argus, Josina Burgess and yes the Yellow Submarine.

We did set new benchmarks in the way of performing achievement. I thank you for all your patience, hard work and going on.

Our technical Innovations also work well. The flying seats opened new dramatic possibillities what only in this way is possible in SL. We cannot forget those ones that gaved so many workinghours for preparing all: Josi, Juni and Medora for the Music and Lyricks. Here also a methode was used that was pretty spectacular, like a virtual sound studio. Josi had

spend much time in designing and making the costumes.

Cara and Vela in the architecture and visual setting, texture design and scripting. Debbie, Juni and Elfod in the many special effects. And Juni and Medora made a super SL program book. Sca spend a lot of time making animations and his good advices about changes to make all look better were used in this great project. Juni has spent much time in camera direction to let it work all well. I am very proud on the self developed migration and production controle Tools that made it possible to transport the whole RINGS production from Benvolio to NMC Labs in 4 working hours. The biggest Outcome of The Rings is, not only the Audiovisual sets but also the Philosophical message and story were realized by the CARP Team.

Also a thank you to Bibi Book and Tuna Oddfellow for the worthfull advices and optimizing ideas.

A Special Thank You to Larry Pixel (dr. Larry Johnson NMC) for his trust and help with the most important resources in SL; SIM & PRIM. And now about the projects we have for the near future: The Living Architecture Envirenment wil be developed more and used for Audiovisual Effects and Experiments. The Platforms on Diabolus will be integrated in new Architecture. (Experimental Lab of Metaverse Illusions ELoMI) We will start 2 new Theatre Productions: The Wall told something about the Past.

The RINGS analizes the Present, the 2 new productions will tell about 2 aspects of the Future.

The Fundamental thought for both productions: „I have found out that most people are not at all interested really in the future. They are interested rather in the lengthening of the past in the morning. However, this does not have the future in the program..... My utopia is a society in which not “the utopia” is a utopia, but the successful change itself.“ (Mathias Horx futurologist)

CARP 6 1. Metropolis: The Future vision rock Opera (Creative Director: Debbie Trilling) The original thought for Metropolis comes from the first creation in 1927. „A mediator needs brain and hands. The meiator between brain and hands must be the Heart“ (Thea von Harbau, Fritz Lang).

It will be e new translation of the leading thought extrapolated in the future. It will not be a easy imitation of the original Story, but making a new story out of the original.

2. The CHANGE The Future Vision Rock Opera) (Creative Director Velazquez Bonetto) The original Thought comes from Matthias Horx. „We introduce ourselves to a vision of the future only as an apocalypse, consumption hell or absurd comic strip.

Once we are there, however, she will turn out to be a quite normal place to love, marry, drive a car and or give birth to a child.“ A further thought is: to create a synthesis between the rational and material-Philosophy of the West and the mental balance Philosophy of the East. About the HSV2 theme we had already a brainstorm meeting and many ideas are collected.

Vodka & Yellow Submarine, Vela

7

8

CARP 6

CARP 6

art space diabolus

special exhibition: calimera lane & flower exonar

9

10

CARP 6

CARP 6

11

12

CARP 6

CARP 6

13

14

CARP 6

CARP 6

15

16

CARP 6

CARP 6

17

18

CARP 6

CARP 6

19

20

CARP 6

CARP 6

art space diabolus

the making of The CHANGE

“A dream you dream alone is a dream.

A dream you dream together is reality.”

John Lennon

21

22

CARP 6

CARP 6

23

24

CARP 6

CARP 6

art space diabolus

the making of The METROPOLIS

„Einen Mittler brauchen Hirn und Hände.

Mittler zwischen Hirn und Händen muss das Herz sein.”

Thea von Harbou, Fritz Lang

25

26

CARP 6

Metropolis Deutschland 1927, 80 bis 153 Minuten; DVD (Transit Classics - Deluxe Edition): 118 Minuten Regie: Fritz Lang Wegweisend in vielerlei Hinsicht Die Geschichte von „Metropolis” – des wohl bekanntesten deutschen Films – ist auch eine Geschichte des Verlusts.

Der von der UNESCO 2001 als erster Film überhaupt in das „Memory of the World” aufgenommene Klassiker ist aufgrund einer seit 1998 begonnenen Restaurierung heute in einer 118 Minuten langen Fassung zu sehen. Ursprünglich hatte der Film in der Fassung, in der er zuerst ins Kino kam, 153 Minuten – und keinen Erfolg beim Publikum. Ein Viertel des Films ist verloren, und zwar wahrscheinlich für immer – falls nicht, was nach der intensiven Suche nach Negativen und Kopien unwahrscheinlich ist, doch noch irgendwann Reste gefunden werden sollten. Die von der Friedrich-Murnau-Stiftung restaurierte Fassung arbeitet daher notgedrungen mit neuen Zwischentexten, die die verloren gegangenen Teile, soweit notwendig, durch entsprechende Informationen natürlich nur schwer ersetzen können. (Leider wurde der Film schon kurz nach seinem Erscheinen und dem Misserfolg beim Publikum sowohl in Deutschland, als auch z.B. in den USA stark geschnitten – bis auf eine Länge von 80 Minuten, wodurch die Homogenität der Geschichte verloren ging.)

Trotz dieser Einschränkungen liefert der seit 2003 auf einer DVD in dieser Form erhältliche Film im ganzen gesehen einen homogenen Eindruck, sowohl was die Geschichte, als auch was die für die damaligen Verhältnisse revolutionären technischen Mittel betrifft. Was insbesondere verloren ging, sind ausgerechnet etliche Szenen mit Fritz Rasp, der den Schmalen, einen Handlanger Johann Fredersens, spielt.

Fritz Rasp gehörte zu jenen deutschen Schauspielern, die in unverwechselbarer Weise den Bösen, den Hinterhältigen, den Schuft spielen konnten (man vgl. seine Rollen in Filmen wie: „Emil und die Detektive“, 1931, wo er den Dieb Grundeis spielte, oder seine Rollen in verschiedenen Edgar-Wallace-Verfilmungen der 50er und 60er Jahre).

Hervorgehoben wird durchweg, dass Langs „Metropolis”, was Produktionsdesign, Montage, Bilder usw. angeht, eine Art Urgestein für den Film des 20. Jahrhunderts geworden sei. Das ist ohne Zweifel richtig. Kaum ein Sciencefiction, ja, selbst kaum ein mit modernen digitalen Techniken arbeitender Film der Gegenwart lässt keine Rückschlüsse und Rückbeziehungen zu Langs Film erkennen. So wie Kurosawas „Die sieben Samurai”, sozusagen der Ur-Film des „Mission”-Films, in dem nicht ein Held die Geschichte beherrscht, sondern eine Gruppe von Helden einen Auftrag, eine Mission erfüllt, ist „Metropolis” für Designer, Regisseure, aber auch Musiker und Dramaturgen ein fast unerschöpflicher Fundus für kreatives Gestalten. Er gehört zu jenen Filmen, die sich in das filmische Bewusstsein tief eingegraben haben. „Metropolis” ist der schlagende Beweis gegen das Vorurteil, je älter ein Film sei, desto uninteressanter sei er heute. Weder „Minority Report” von Spielberg, noch Scotts „Alien” oder „Blade Runner” – um nur einige Beispiele zu nennen – wären ohne Langs Film möglich geworden. Der Maßstab dafür kann nie sein, dass gemessen an den heutigen technischen Möglichkeiten „Metropolis” die Waffen strecken müsse. Umgekehrt wird ein Schuh daraus: Ohne „Metropolis” müssten heutige Sciencefiction-Filmer die Waffen strecken – oder einen ähnlichen Film „erfinden”.

Doch „Metropolis” ist nicht nur in dieser Hinsicht eine Art Durchbruch, ein Film, der den Expressionismus fast hinter sich ließ und zur „Neuen Sachlichkeit” (in der Malerei etwa Dix, Grosz oder Kanoldt) durchstieß. Die Geschichte, die auf einem Roman Thea von Harbous fußte, ist auch ein Stück wichtiger Zeitgeschichte. Obwohl Lang immer wieder betont hatte, er sei kein politischer Mensch und habe keine politischen Filme inszeniert, strotzt „Metropolis” nur so vor zeitgeschichtlichen Aussagen in Bezug auf die Situation der Weimarer Zeit und ihren Gefahren. Trotz des vermeintlich sozialromantischen Schlusses des Films ist „Metropolis” auch eine Art politischer Warnung und darin Chaplins „Moderne Zeiten” sehr ähnlich.

Gleich zu Beginn eröffnet Lang die Schreckensvision einer nahen Zukunft: eine scheinbar aus dem Nichts geschaffene, sozialer Hinsicht wie bezüglich der Architektur zwei-

CARP 6

27

geteilte Metropole mit Wolkenkratzern, zwischen denen auf hoch gelegten Fahrbahnen Züge und Autos fahren, zwischen denen sogar Flugzeuge kreisen. Unter der Stadt eröffnet sich eine triste, kalte Welt, die Welt der Arbeiter, die mit gesenkten Häuptern und in uniformer Kleidung in Kolonnen ihre Schichten antreten, in Fahrstühlen in die Maschinenstadt fahren oder in ihre ebenso tristen Wohnsilos.

den Schmalen (Fritz Rasp), beauftragt hat, seinen Sohn zu observieren. Von Rotwang erfährt Joh, dass auf den Zeichnungen die Katakomben abgebildet seien, die tief unter der Erde vor langer Zeit erbaut worden waren. Als er sich mit Rotwang dorthin begibt, sieht er, wie Maria den dort versammelten Arbeitern die Geschichte vom Turmbau zu Babel erzählt und die Geschichte mit dem Satz schließt:

Ganz anders das Bild des Teils der Stadt unter dem Himmel, wo sich die Söhne der Reichen im „Klub der Söhne” oder in den „Ewigen Gärten” dem Nichtstun hingeben und Freder (GustavFröhlich), der Sohn des Herrschers über Metropolis, Joh Fredersen (Alfred Abel), mit Damen in (an absolutistische Zeiten erinnernden) Kostümen Fangen spielt. Zu dieser Welt der Reichen gehört auch das Vergnügungsviertel Yoshiwara. In diese von Joh und seinen Adlaten streng bewachte Welt kommt Unruhe, als eine junge Frau in die „Ewigen Gärten” einbricht – mit einer Schar von Kindern in zerlumpten Kleidern, und verkündet: „Das sind eure Brüder.” Freder, der sich auf Anhieb in die junge Frau verliebt, verliert seine bisherige Unbekümmertheit, folgt der jungen Frau, die Maria (Brigitte Helm) heißt, und gerät so in die Maschinenwelt der Arbeit, sieht, wie eine Explosion mehrere Arbeiter tötet, phantasiert einen Moloch, der die Arbeiter verschluckt. Entsetzt geht er zu seinem Vater, der ihn jedoch abweist.

„Einen Mittler brauchen Hirn und Hände.

Mittler zwischen Hirn und Händen muss das Herz sein.”

Grot (Heinrich George), der Maschinenführer, bringt Joh zwei Pläne, die man bei verunglückten Arbeitern gefunden hat. Doch Joh kann mit diesen Zeichnungen nichts anfangen. Er entlässt seinen Angestellten Josaphat (Theodor Loos), dem er Unfähigkeit vorwirft. Freder aber verhindert, dass Josaphat sich erschießt, freundet sich mit ihm an, weil er ihm leid tut. Und Freder will wissen, was in der Maschinenstadt den Arbeitern zugemutet wird, wie sie leben, die, den ganzen Reichtum und die ganze Armut erschaffen haben. Er tauscht seine Kleider mit einem Arbeiter an einer Maschine, an der man Zeiger zehn Stunden lang bewegen muss, schickt den Arbeiter namens Georgy (Erwin Biswanger) zu Josaphat und übernimmt dessen Schicht.

Währenddessen begibt sich Joh zu dem Erfinder Rotwang (Rudolf Klein-Rogge), nicht bevor er seinen Angestellten,

Auch Freder ist dorthin gelangt, unerkannt von seinem Vater. Und Maria glaubt, er sei der Mittler, auf den sie und die Arbeiter schon lange gewartet haben. Rotwang und Joh beobachten das alles durch ein Loch in einer Mauer.

Und für Joh steht fest: Er muss handeln. Rotwang hat einen Roboter erfunden. Und er behauptet, dieser Roboter würde bald so aussehen, dass man ihn von einem Menschen nicht unterscheiden könne. Joh und Rotwang sind sich nicht grün, denn beide liebten dieselbe Frau, Hel, die tot ist. Freder ist Johs und Hels Sohn. Und Rotwang denkt noch immer an Rache an Joh, weil der ihm die Geliebte weggenommen hat. Deshalb geht er auf das Ansinnen Johs ein, dem Roboter das Gesicht Marias zu geben.

Während Joh plant, durch diese Roboter-Kopie die Arbeiter aufzuwiegeln, um sie dann besser bekämpfen zu können, sinnt Rotwang auf Rache an Joh. Der Roboter mit dem Aussehen Marias soll Joh und Freder vernichten ...

Lang entwirft mit dieser Geschichte eben auch das Bild einer möglichen, diktatorischen Zukunft vor einem futuristischen Hintergrund (bei dem übrigens kleine Modelle von Häusern und anderen Gegenständen der Stadt verwendet wurden, um ein durchaus realistisches Bild dieses Molochs Metropolis zu zeichnen). Ein Diktator, der sowohl die Ökonomie, als auch die politische Macht usurpiert hat, herrscht mit seinen Adlaten über eine völlig unterjochte Arbeiterschaft. Die (futuristische) Großstadt ist nicht umsonst der Ort, an dem sich diese Diktatur verwirklicht hat.

Ohne die moderne Großstadt und ihre krassen sozialen Gegensätze wäre eine solche Diktatur nicht denkbar. Das (schon anfangs des Films eingeblendete) Motto des Films

28

CARP 6

„Mittler zwischen Hirn und Händen muss das Herz sein” steht im Zentrum der Handlung, die tatsächlich mit einem vordergründig sozialromantischen, ich würde eher sagen: sozialdemokratischem Schluss endet – der Versöhnung zwischen Joh und den Arbeitern, dem sozialen Kompromiss zwischen Arbeitern und Unternehmern.

Aber dieser Schluss kann über die im Film ansonsten angesprochenen, höchst aktuellen Fragen kaum hinwegtäuschen: den zum spannungsgeladenen sozialen Gegensatz ausgewachsenen Widerspruch zwischen Hand- und Kopfarbeit zum Beispiel, der in eine krasse Spaltung von Befehl und Gehorsam, Befehlenden und Gehorchenden geführt hat. Zwischen diesen Polen existieren nur wenige, die Anweisungen nach unten weitergeben (wie Grot, der Vorarbeiter, und Josaphat, der Angestellte).

Doch noch anderes schwingt hier mit, etwa wenn die Arbeiter dem Roboter, dem Rotwang das Aussehen Marias gegeben hat, folgen, als dieser sie zum Sturm auf die Maschinen auffordert, weil kein Mittler mehr kommen werde.

Als sie die Herzmaschine, die Grot steuert und bewacht, zerstören, wird die Stadt unter der Erde überflutet. An alles scheinen die Arbeiter gedacht zu haben – nur nicht an ihre Kinder. Und sie wissen nicht, dass die wirkliche Maria, die sich aus den Klauen Rotwangs befreit hat, und Freder die Kinder inzwischen gerettet haben. Als Grot die Arbeiter an ihre Kinder erinnert und die Arbeiter merken, dass die Zerstörung der Herzmaschine, des Energiezentrums Metropolis, ihnen nichts gebracht hat, wendet sich ihre ganze Wut gegen Maria, für die sie den Roboter halten. Sie wollen Maria auf dem Scheiterhaufen verbrennen. Dazu lässt Lang die spätere Nationalhymne Frankreichs in Erinnerung an die Französische Revolution spielen.

Auch in diesen Szenen ist Lang durchaus aktuell. Er fragt nach dem Weg aus der Unterdrückung. Er fragt nach den Fehlern und Verbrechen der Revolution. Dass die Arbeiter dann nur den Roboter auf dem Scheiterhaufen verbrennen und nicht Maria, ist nur dem Glück der Umstände zu verdanken. Auch hier schwingt aber keine Verurteilung mit.

Denn es ist der Inszenierung deutlich anzumerken, dass Lang die Ursache für die rein gefühlsmäßigen Reaktionen

der Arbeiter und Arbeiterinnen (unter denen sich übrigens Helene Weigel als Schauspielerin befindet) eben auch darin sieht, dass ihnen jegliche Bildung verwehrt worden ist, dass sie zu Arbeitstieren degradiert wurden, so dass ihre Reaktionen – sowohl das blinde Hinterherlaufen hinter einer scheinbar völlig veränderten Maria, die bislang den Frieden gepredigt hat, während sie (in Wirklichkeit der Roboter) jetzt zum Aufstand aufruft, als auch ihre blinde Wut, die den Roboter auf den Scheiterhaufen bringt – auch hierin ihre Ursache finden.

Der Mittler, Freder, der nicht nur die Liebe, sondern auch die Menschenliebe entdeckt hat, Maria selbst, der Arbeiter Georgy und Josaphat, der die Politik Johs nicht mehr mit seinem Gewissen vereinbaren kann, stehen nicht nur zwischen den Fronten. Sie sind es, die versuchen, zu einer tatsächlichen Vermittlung zu gelangen. Dass diese Vermittlung dann in einer Art social contract endet, die stark an die sozialdemokratische Variante des sozialen Ausgleichs der Interessen erinnert, muss vor dem zeitgeschichtlichen Hintergrund der Weimarer Republik gesehen werden.

Es ist kaum anzunehmen, dass Lang Sympathien für die stark stalinistisch geprägte KPD hatte, ebensowenig für die blechernen, aber nichtsdestotrotz lebensgefährlichen Nationalsozialisten. Insofern aber erscheint dieser Schluss weniger sozialromantisch. Was sich in dem Motto des Films und in der Schlussszene (Händedruck zwischen Joh und Grot) eher vermittelt, ist ein Appell an die Notwendigkeit des sozialen Ausgleichs.

Dieser Appell wird durch eine unverblümt (früh)christliche, aber eben nicht kirchliche Metaphorik ergänzt. Die Kreuze, vor denen Maria in den Katakomben in einer Art Altarraum predigt, sind Kreuze ohne Jesusfigur. Dass Maria Maria heißt, ist sicherlich kein Zufall. Dass sie in den Katakomben den Arbeitern nicht nur die Geschichte des Turmbaus zu Babel erzählt, sondern auch einen „Mittler“ ankündigt, ist ein klares Heilsversprechen, ein Erlösungsversprechen. Im Unterschied allerdings zur christlichen Mythologie wird es sich bei diesem Erlöser nicht um eine Person handeln, die halb Mensch, halb Gott ist, sondern um einen Menschen.

Die Räume, die Lang im Film bildet, deuten immer wieder

CARP 6 die Widersprüchlichkeit des Geschehens an. Er zeigt Gesichter von der Seite, der eine schaut von rechts, der andere von links. Der gerade Sprechende wird frontal gezeigt, der Zuhörende seitlich von hinten. Oder er zeigt bis fast an den Schluss des Films jeweils zwei geschlossene Räume mit Akteuren, die gegeneinander streiten: etwa Joh und Rotwang in einem dunklen Raum, durch ein Loch Maria beobachtend, Maria und die Arbeiter während der Predigt.

Dieses Gegeneinander-Setzen der Räume korreliert mit dem widersprüchlichen Geschehen und den widersprüchlichen Interessen der Akteure. In der Schlussszenen setzt er gar fünf solcher Handlungsräume gegeneinander.

Auch die Personen in sich sind doppel- oder mehrdeutig.

Maria ist Arbeiterin, sie steht aber auch für die Verkündung der Erlösung. Sie „gebiert” sozusagen den Erlöser aus ihren Armen (die Szene in den Katakomben, in der sich Maria und Freder in die Arme fallen, die Geburtsstunde des Mittlers, des Erlösers). Gleichzeitig verdoppelt sich Maria in Maria und den Roboter, in die Gute und die Böse. Während bei Maria das Gute aus dem Herzen, aus der Anschauung und dem Verstand resultiert, ergibt sich das Böse bei dem Klon nicht direkt, sondern aus dem Willen Rotwangs respektive Johs.

Auch die „andere Seite”, Joh und die reichen Söhne und Töchter, sind in sich gespalten. Joh vereinigt in sich die Macht über Ökonomie und Politik, von der die reichen Söhne und Töchter leben. Als die Arbeiter die Maschinenstadt unter Wasser setzen, führt der Roboter sie auf die Straßen, um den Untergang zu feiern – auch den eigenen. Die absolute Macht korreliert mit dem absoluten Untergang (man erinnere sich an die Worte Hitlers: Wenn das deutsche Volk nicht fähig sei, sich als Herrenrasse zu etablieren, habe es nichts anderes als den Untergang verdient). Die herrschende Klasse lässt den Karren lieber vollständig gegen die Wand fahren, als ihn aus dem Dreck zu ziehen.

Jenseits dieser Geschichte muss man aber eben auch auf die technischen und schauspielerischen Leistungen in Fritz Langs Film verweisen. Die im Film monumental erscheinenden Modelle vermitteln nicht nur filmgeschichtlich eine Neuerung; sie repräsentieren auch den Größenwahn

29

Fredersens, etwa in einer Szene anfangs des Films, in der die reichen Söhne vor einer mächtigen Kulisse aus Mauern und Treppen Sport treiben. Auch in dieser filmischen Architektur kündigen sich schon – sicherlich unbewusst – die wenig realisierten, aber durch Albert Speer in Modellen umfassend dargestellten Pläne einer nationalsozialistischen Architektur der absoluten Macht(demonstration) an. Lang muss ein feines Gespür für den Zusammenhang zwischen den verschiedenen Komponenten einer „modernen” Diktatur gehabt haben.

Beeindruckend ist auch Rotwangs Laboratorium, in dem durch wundersame Maschinen und durch Elektrizität dem Roboter das Aussehen Marias gegeben wird. Gerade diese Bildfolgen sind auch Ursprung vieler ähnlicher Szenen in späteren Sciencefiction-Filmen.

In der Schauspielercrew besonders hervorstechend sind Gustav Fröhlich, der Freder als einen durch die Entdeckung der Verhältnisse in Metropolis und seine Liebe zu Maria zunächst zerrissenen, verzweifelten Menschen spielt, der dann jedoch die Zeichen der Zeit erkennt und entsprechend handelt. Heinrich George als eine Art Vorarbeiter, der schwankt zwischen der Vasallentreue zu Fredersen und der Solidarität mit den Arbeitern, natürlich Fritz Rasp, der den verschlagenen Schmalen exzellent zu spielen weiß, und vor allem natürlich Rudolf Klein-Rogge als psychopathischer Erfinder Rotwang, in dem sich der Wahnsinn eines persönlichen Zerwürfnisses (die Liebe zu der verstorbenen Hel, von der er nicht loslassen kann, und der Hass auf Fredersen wegen Hel) mit dem Wahnsinn einer entfesselten, keine Grenzen kennenden Wissenschaft manifestiert. Auch hier ist Langs Film weit vorausschauend. Er erkennt, personifiziert in Rotwang, die Risiken einer Wissenschaft, die nach dem Motto handelt: Was ich machen kann, das darf ich auch machen. Rotwang konstruiert den Maschinenmenschen, der nur auf seinen Befehl hört, einen Sklaven, der nicht mehr rebellieren wird. Dieses Motiv hat Lang ja auch in seinen Mabuse-Filmen aufgegriffen. http://www.follow-me-now.de/html/metropolis.html

30

CARP 6

CARP 6

31

32

CARP 6

CARP 6

art space diabolus

the rings

.....The CARP creative team add a 5th ring: the looser and the victims of this system, and describe for the free world-citizens the changing strategys.......

33

34

CARP 6

Hi my friends.

Message in a bottle from a sandy beach in Crete listening to the waves and watching the clear sea (just before I dive in) Had been meaning to set out my Rings journey for a while.

Here it is. Long as ever (well its my style and at work I‘m so brief you wouldn‘t believe it! :) Hope it‘s ok for you Peace and love from the South Med. Juni and I started discussing the potential of SL more than a year ago. We were both convinced that there was something important in this new way for people to meet, make connections and learn from each other. It offers new ways for ideas and campaigns to become global. It offers new ways for people to find others who care about the future of the world - to debate, discuss, agree and disagree - and to act in our different ways in RL to bring change.

People talk of the „wisdom of crowds“ that emerges in the Metaverse. Well here it can emerge, crossing boundaries of nationality, age, gender, race, politics and religion. We can make new connections, new understandings, new alliances and networks.

BUT we also saw so many empty sims. Places where good information about important issues, vital to the future of humanity and our planet, was left unvisited and unread, unacted on where action is most needed.

SL‘s visitors were being drawn to clubs, shopping, music, fun. Concerts were held for good causes and raised money for them. But where did the audiences hear about the work, get encouraged to be involved?

We talked with people like Jacques from Humanbe and Hippyjim from Greenpeace about this problem. We decided to look for ways to bring campaigning and music performance together. The prime aim was not to raise funds, but to raise awareness.

It was such a pleasure to find Josi and Vela already thinking and working along the same lines. Their art work was already special and pushing the boundaries. Josi‘s experience as a professional protest singer enriching her lyrics.

Vela‘s radicalism expressed through his challenges to art form orthodoxy. We knew working as a group together we could aim higher and explicitly to spark debate on social change.

We started meeting on Commonwealth weekly, looking at the issues highlighted there by the good causes : homelessness; injustice; war; environmental destruction. We saw the beautiful panorama of the Arctic - the very spot where the hole in the ozone layer was discovered. We thought of different possibilities SL offers to surround and immerse people in understanding. Josi‘s imagination began to sketch some of the scenes. Vela to start to realise them in exciting ways. I went searching for the philosophers to guide the way ahead. Juni‘s musical inspiration became limitless.

Juni had been inspired by the words of Albert Einstein. A human being is part of a whole, known by us as the universe. My lyrics to Forest envisioned a world where, after man made destruction, we could find a way back to realise our connection with Nature. The forest pool is a potent symbol to me, the source of rich life.

SL‘s shape shifting is a constant source of fantasy and laughter for me. In my forest mood I visited that great place Grendel‘s. When I first flew my butterfly out to express One, Veal just shouthed WOW,WOW, WOW. From then on we introduced more and more of this special side of SL into the performance.

King of the World could not be more different from Forest.

Gritty, urban, it had to tell in a few minutes the whole story of the „fall“ of everyman - one that echoes the real stories I hear as a campaigner for an end to homelessness. Juni‘s music fits this perfectly.

When we started rehearsals I was the awkward one - dances wouldn‘t do for this, I wanted drama and home-

CARP 6

35

less people who were real human beings, not caricatures.

Everyone was just brilliant. They tolerated my intolerance and quickly rose to the challenge - Blanche with her great theatre sense, Josi working on her pitiful beggar, Vela building a huge cardboard city, Sca making anims and Juni with the brainwave of using cameras to heighten the focus on the drama. Debbie, Efran, Milla, Klute all bringing their talents and interpretations. Hours of directing,searching for our hobo looks, and rehearsing.

Laughter as we changed shapes, clothes and gender. But I hope that work pays off in the message it carries - the poor are the same as us, we should connect, we are just luckier, not better.

The path has been an interesting one. It‘s challenging but so stimulating and rewarding to work with such great people from different countries and backgrounds. Oh and we sometimes laughed so much when we played that we cried.

Hope you all enjoy the show. We certainly enjoyed making it. And if you can - please join the weekly discussions and the Rings group. Solutions lie in our hands, we just need to connect. Be the change you want to see.

Medora Chevalier

36

CARP 6

CARP 6 BREAK THE WALLS Story We live our lives from day to day, in our jobs, in our houses, taking care of our business and are so busy, busy, busy. Always in a hurry, always running after something..in the evenings we sit for our tv, watch the news and see what is going on in the world…we listen to the words spoken by people we think are the ones who Know it all..and believe what they say. We let them form our minds and thoughts and take it for granted most of the time.. We read papers and magazines and read the stories of people we think who Know it all, and believe what they say and take it for granted most of the time.. We shake our heads when we hear about wars and evil and death and destruction, pollution and smog and climat change. We hear messages of energysources drying up, food that will be more expensive, and we shake our heads and go on with our lives from day to day, in our jobs and our houses and are so busy, busy, busy..

But……do we ask ourselves questions? Do we still Think ourselves? Do we Care about each other? Do we Help when Help is needed? What do We do? WHAT DO WE DO? We have Walls in our heads, we think to protect us from evil outside, as a shield is comforts us and makes it more easy to survive…We think.. but we dont think at all…we just hide behind them because when we really would start to think, and to care, and to help things would change…and we dont like changing..we want to stick in our habbits of living our lives from day to day, in our jobs, in our houses and being busy,busy,busy. And in the evenings we sit for our tv and watch the news..and take whats said and showed for granted…most of the time…….

Josi

37

38

CARP 6

Not possible in the real life Friday, October 17, 2008 http://npirl.blogspot.com/2008/10/rings-homo-sapiensversion-20-protest.html Alpha Auer The RINGS is a work created in Second Life® by a multinational team within the Cybernetic Art Research Project (C.A.R.P). Josina Burgess, one of the minds behind the production tells that this has been developed through months of collaboration by a creative team drawn from Germany, the Netherlands, Sweden, Austria, Italy, France and the UK. Taking its principles from hyperfunctionalism as well as H.J.Krysmanski‘s Power Structure Research.

This team has put together an impeccable musical production which utilizes cutting edge technologies such as collaborative worldwide song composition/ recording/ mixing techniques, automatic audiovisual timeline controlling systems, flying seat systems as well as a 4d live-cut camera system and puppet animation record/play system.

Says Josina Burgess: „Every scene has a real concrete RL Inspiration, not a formal one but more the content of it. The title RINGS comes from the Power Structure Research. We used as a content base the description of H.J Krysmanski. In the themes we added a 5th ring. In this ring are the victims of the system. The form we used always has to do with the themes from then. But it was never the goal or the intention to use styles from what ever direction. Better to use fitting formats that helped to understand the content of the message. We call that Hyperfunctionalism... ... All together this 4 ring system shows and describes the worldwide experimentation to re-organize the ruling class; that without a strong state and under the conditions of regulation of economic, collective forms have to survive.

The absolutely designated personnel of this „Ring castle“.

In fact a few thousand in the outside ring, operates more

and more in a environment of absolute corruption: „The relation of corruption in the Antiques and in Modern times towards world-relations were named as falsifications.

Corruptions (as a statement) cant play any role in the governance forms of today, because they themselves are the substance and the totality of the Empire. Corruption is the true performing of commands, without any relation or adequate subscription to the Demimonde (Hardt u. Negri 2002, 398).“ The Rings is an impeccable production, which would do any Real Life theatrical venture proud; taking the fundamental concepts of Real Life scenography and stage production into a virtual dimension particularly through the usage of the controlled camera system. Indeed for me there were immediate Real Life associations, one being the Laterna Magika from Prague. Thus I could not help but wonder how it‘s creators Alfréd Radok and Josef Svoboda would have used the technology in relation to the multilingual social milieu of the metaverse.

The underlying premise of Laterna Magika was the seeking of a universal non-verbal theatrical language, which Radok and Svoboda considered to be of essence in view of the emergence of a global culture - and this as early as in the 1950‘s. Thus the entire lavishness of the stage constructions as well as the extensive usage of media elements were used to this end, i.e., they carried an inherent mission which went far beyond the pursuit of a merely spectacular visual display. Radok and Svoboda were in pursuit of developing a visual language of narrative, capable of expressing far more than the obvious: One of a level of sophistication and complexity that would render the spoken word obsolete in its ability to convey layers of meaning and narrative. So, I cannot help but wonder whether the theater producers of the metaverse might not give this consideration also: Today, in the metaverse we are indeed faced with a multi-lingual culture. The delightful neko designers whose devoted customer I am and whom I often try to engage in conversation are usually Japanese and not in good command of English. Another good example to this conundrum would be the colony of French Chris Marker aficionados that seems to have

CARP 6 grown in my neighbor sim Ouvroir, which houses the Chris Marker exhibit of the Gestaltungsmuseum, Zurich. Again, I find that, more often than not, communication in English with these new neighbors proves to be a problematic proposition.

The visuals of the Ring are indeed beyond any reproach.

The stage sets, the special effects, the usage of shape, texture and color satisfied even a stickler for perfection like myself. The animations that bring together the choreography are impressive and then most importantly the quality of the music is of such a level that I felt compelled to ask Josina Burgess additional questions with regard to its creation.

Having voiced my admiration for the production of the Rings - and again, I am truly impressed with the high level of professionalism and perfection here, I nonetheless have questions: The all important one is the reliance upon the spoken word to the extent that the performance does. And yet another one is the usage of an enclosed auditorium: Since we are in an environment where as far as creativity is concerned the sky seems to be the limit, why not take this into the very skies of Second Life? Or under the water?

Or indeed both? Wouldn‘t this also not go towards some truly unexpected, if not downright magical usages of the controlled camera system which contributes so hugely to the viewing experience of the Rings?

This is a truly talented team of people that have put together a performance that is definitely a must see in Second Life. And in the end, I would love to see them move further into the development of a purely visually narrative language as well as into the realization of content material that is more in the nature of a free fall rather than one which materializes as the conveyance of a somewhat direct message. In short one that leaves more room for the associative, the ephemeral, the complex, the alluded.

I have no doubt whatsoever that their combined creativity is more than amply equipped to accomplish even far more substantial feats than the mere realization of my hopes in this regard.

39

Here is a video by Gary Hazlitt and his Just Virtual Film of C.A.R.P.‘s first musical production: The Wall, V-2 The all original score is the work of Junivers Stockholm (S) and Josina Burgess (NL), while the lyrics on which this is based too originate from Josina Burgess, together with Medora Chevalier (UK) and again Junivers Stockholm.

Indeed looking at the credits list much of the creative momentum behind this work can be ascribed to Josina Burgess who has also been instrumental in the design of the sets and costumes and Junivers Stockholm who has also been effective in scripting and special effects, the script writing and direction to KoTW and camera directing.

Velasquez Bonetto is the creative director/producer as well as the builder and scripter of the Rings. The songs are sung by Josina and Junivers working together from a distance by sending files over to each other from Holland to Sweden and vice versa. Other names involved in the creative effort are Debbie Trilling and Elfod Nemeth (both from the UK) for special effects, Caravaggio Bonetto (A) for scenario, building and graphics, Medora Chevalier (UK) for the concept of the King of the World song which she co-authored with Junivers Stcokholm, beyond which Medora was also the narrator, script and supervising editor to KoTW. Panorama photography has been undertaken by Jan van der Woning (NL), the animations by Sca Shilova (NL). The actors and dancers of the Ring are: Blanche Argus (S), Josina Burgess (NL), Medora Chevalier (UK), Klute Coppola (F), Efrantirise Morane (I), MillaMilla Noel (I), Junivers Stockholm (S), Sca Shilova (NL) and the sax was played by Jazzoru Otoole (S).

40

CARP 6

CARP 6

41

42

CARP 6

3 August 2008: For immediate release

400 years ago artists came together in Italy to create the first performance of new work that brought together music, drama, dance and the visual arts – a form that became known as opera.

tist said: „It is our responsibility as artists to call the public attention to questions where further thinking and searching for solutions is needed. The message of this artwork comes on several channels and addresses both the emotional and the rational side of the viewer. The Rings may have many different interpretations. There is nothing more boring than explanations at how it should be understood and nothing more exciting and thrilling than a simple and clear artistic language that can talk in a second of visual delight about human questions of huge magnitude.“

In the 21st century virtual reality is home to new forms of artistic collaboration in which national and art form boundaries disappear. New forms, as yet unnamed, emerge. And new forms of social connection reach across the globe, addressing the pressing challenges of human survival and the way we become divided from each other.

Junivers Stockholm, composer and director, said: „For a long time I have believed in the potential of the Metaverse to connect people in new and powerful ways: to take humanity to a future of cooperation instead of competition.

Music has the power to draw people in to work on the answers to the major questions of our time.“

The Rings is a work created in Second Life by a multinational team within the Cybernetic Art Research Project (C.A.R.P). It has been developed through months of collaboration. The creative team is drawn from Germany, the Netherlands, Sweden, Austria and the UK. The performers are based also in Italy and France.

Josina Burgess, CARP co-founder, lyricist and vocalist said: „We should never underestimate the power of song to wake people up and to mobilise people to change the world. From the beginning of time it has brought people together in unity and strength.“

The Rings Virtual reality‘s protest rock opera grows from new forms of international artistic collaboration

It takes the form of a rock opera with composed lyrics and music, building and scripting, costumes, shape changing, flight, dance and drama underpinned by new use of in world cinematic techniques.

Medora Chevalier, lyricist and performer, is a campaigner against homelessness. She added: „Many of the evils of our world can be tackled if we open up our sense of connection to other people and to nature in its beauty. Then we can stop the exploitation of people and living things that so threatens our world and future generations“

The Rings celebrates the miracle of the Metaverse, the dematerialized virtual time-space. It asks - is this where humanity can at last unite: to overcome the forces that push us towards global destruction and blames victims for the pain they feel. It reminds us that we can be guided towards optimistic action by great humanists and philosophers.

The Rings will be performed at the Artspace Diabolus NMC Lab, Second Life The premiere is Saturday 6 September at 1pm SLT (10pm CETs, 9pm GMT) with a 2nd showing at 2.30pm (11.30pm CETs, 10.30 GMT).

It ends on a note of optimism. We are invited to unite and change the world. After performances on Thursdays there will be Rings discussion circles, involving campaign organisations active in Second Life.

Audiences are advised to arrive at least 20 minutes early as the open rehearsals that have been held have attracted full sims. Thereafter it will be performed on Sundays and Thursdays at 2pm SLT.

Velazquez Bonetto, CARP co-founder and virtual reality ar-

For more information contact:

CARP 6 by notecard in SL Medora Chevalier or by email scheherazade.storyteller@yahoo.com or from 7-21 August by notecard in SL Josina Burgess or by email jose@jan-van-der-woning.nl http://diabolus.ning.com/ http://www.gallery-diabolus.com/CARP/carp-05.pdf Audience reaction to the open rehearsals: „I have never been so amazed in SL as I was when I saw your project today. For the first time I realised the great challenges of SL for the real world, thanks to people like you.“ „GREAT awwwwwwwwwsoooome show!!“ „Why can‘t every Monday evening be like this?“ „If I could create 1/10 of your scripts ... I‘d very happy!!!!“ „Its very very awesome !!!! „I‘m very impressed“ „I crashed twice but ran back“ „I‘m really touched“ Four technical innovations of the RINGS production 1. Collaborative worldwide song composition/ recording/ mixing technics.

2. A new automatic audiovisual timeline-controlling system.

3. A flying seat system 4. A 4d live-cut camera system 5. A new puppet animation record/play system

43

44

CARP 6

Why RINGS? The RINGS concept based on the descriptions model of the ruling class today from H.J.Krysmanski. (Power Structure Research) In general you can deduce a certain description model out of the Power Structure Research of the ruling class or elite. Beyond there are 4 groups linked by a function covenant where you find 4 sub systems of systems like: functional relation - ownership – administration – distribution and employer relations.

The CARP creative team add a 5th ring: the looser and the victims of this system, and describe for the free world-citizens the changing strategys.

The original Text: H.J.Krysmanski Power Structure Research: Descriptions model of the ruling class today A Version was published in ‚Wissenschaft und Frieden‘ 4/2004: http://www.uni-muenster.de/PeaCon/global-texte/ globalws0203.htm Four Authority’s In general you can deduce a certain description model out of the Power Structure Research of the ruling class or elite. Beyond there are 4 groups linked by a function covenant where you find 4 sub systems of systems like: functional relation - ownership – administration – distribution and employer relations.

In the heart of this functions covenant is the group of the personal richness. For example the Super Rich: they represent the Power of Money. In every occasion and through micro – networks, or “Philanthropy”, or the power machine of Foundations an Institutions this group has a huge influence in businesses and worldwide community’s in live.

This new form of Philanthropy stands above the normal capital market in their way of functioning. They cant be or-

dered in somehow capital fractions and is mostly busy with trans capitalistic forms of capital destruction to withhold power competition.

With the disappearing of the Sovereign forms of the modern time still this group, as the only ones, can use a upper sovereign state form to reduce “the Regime of private removal , universally. (Hardt u. Negri 2002, 313) The next group represents the power of the companies.

There are the Chief Executive Officers of Industry, Finance and Militairy, that form a kind of securing wall around the core of the super rich and form together with them the pact of „Corporate Community/ Upper Class“ (Domhoff). This company-elite has a priority in increasing and administration of the capital of the super rich and has many multi millionaires between them. The can be seen as the Capitalistic class in the traditional form.

In between this administration elite there are of course capital fractions and economic grounded interest contradistinctions, specially between the big trans national companies that go beyond national borders and function as connections in global systems and the restricted modern economy of earlier years. (Hardt u. Negri 2002, 165) The third group, already more derive, represents the Distribution Power. Here it is commonly the political class, a real serving class, able to preserve the distribution rightouseness of the company-elite and their appearance. In the core of this political class the Oligarchy’s or the “Political Management` (Mills) are acting. Election wars mostly to get people on certain positions. Further the distribution politics has reached a step in the global, conditions where the universal values of justice cant play any role anymore and the “art of governance” exist.. “ Do not integrate conflicts, only when they submit to a coherent social dispositiv, or when the differences can be controlled(Hardt u. Negri 2002, 348) The complex ring on the outside builds finally the layer of Technocrats and Services. Here the power of Science and communication are used. In this army of Assemblers, Experts, Helpers from all dimensions of the society. (Science,

CARP 6 Media, Culture, Technique and so on) is the real knowledge of the real functioning of the capital world systems and their sub systems with critical and maybe subversive tendency mixed, so contradictions can be changed into actions.

All together this 4 ring system shows and describes the worldwide experimenting to re-organize of the ruling class, that without a strong state and under the conditions of regulation of economic, collective forms, have to survive.

The absolutely designated personnel of this “Ring castle”. In fact a few thousand in the outside ring, operates more and more in a environment of absolute corruption: “The relation of corruption in the Antiques and in Modern times towards world-relations were named as falsifications. Corruptions (as a statement) cant play any role in the governance forms of today, because they themselves are the substance and the totality of the Empire. Corruption is the true performing of commands, without any relation or adequate subscription to the Demimonde (Hardt u. Negri 2002, 398)

45

46

CARP 6

CARP 6

art space diabolus

the wall

The Final Brick in The Wall....

47

48

CARP 6

CARP 6 The Final Brick in The Wall.... „Mother, should I trust the government?“

49

Me ‚old gran, gawd bless ‚er cotton socks, used to say, „Debs, keep ‚um wanting more...and, if that fails, get a large divorce settlement“. She was a woman of wise cliches.

Friends ‚The Wall‘ has been running since April 2008, after being originally concieved as a CARP Project in January. To date, we have performed 28 times to around 2000 people. This is an average of 70+ attendees per performance, and we all remember the night that we had an audience of 160...

Our production has been critically acclaimed, audiences have loved it and some have returned time after time...

One of my original objectives with ‚The Wall‘ was to „set a new benchmark for live performances in Second Life.“ The general view seems to be that we have achieved this, and this is my opinion too. When I watch the show now I see very little that could be done to improve it ~ and currently my list of improvements is less than five items.

Everyone who has been involved with the show has gone that extra mile to make it what it now is; I feel that we all can be, indeed *should* be, justly proud of what has been acheived with this production.

But, as me ‚ole gran, gawd bless ‚er ‚art, used to say, „All goods things must come to an end...“.

So, it is with some saddness that I have decided that the ‚Final Brick in the Wall‘ will be at 2pm on Sunday 24th May 2008.

I will not here go into each and every reason I have for this decision, and instinct and intuition play a part too, but will briefly mention two: 1) It was always my intention that ‚The Wall‘ would end on a high-note, and not skulk off into the shadows like some defunct West End show. Last night‘s show was a wild runaway success. I believe that as a performance we have reached our peak. Next weekend we play PeaceFest 08, and I suspect that this will attract a new and large audience for us. We then play one more weekend after that, to ride that wave....and then call it a day.

2) ‚The Rings‘ premiers on 6th September and it is important that CARP direct all our energies into this production, with the intention of making it at least as successful as ‚The Wall‘. ‚The Rings‘ is a large and important show, and it makes sense to me that we promote it to the new group members that have joined since seeing ‚The Wall‘. CARP have received a lot of postive attention as a result of ‚The Wall‘; it is sensible that we utilise this. Let us keep delivering fresh, high-quality, unique and important shows to our potential audiences.

Again, as me ‚ole gran used to say as she darned grandpa‘s underpants, „Out with the old; in with the new“.

So, thats it really. Those are my thoughts, my instinct, my intuition and ultimately my decision. It is accompanied by a sense of sadness; but a good sadness, a healthy sadness ~ the sadness of leaving behind a loved one to set off on a world sightseeing tour.

I sincerely hope that ‚The Wall‘ has left you with proud and joyful memories.

I want to thank you all for tolerating my occasional outbursts of temper, my nit-picking of every detail, my constant fiddling with most every element of the show.

I want also to thank you all for the tremendous efforts you have made in those elements of the show that you were personally responsible for. Finally, many sincere thanks to Vela & Josina for allowing me the opportunity to direct this production, and having the belief in me that it would be a project worthy of CARP. If you have any concerns, or want to discuss this further then please IM me....

Oh, and one final word from me ‚ole gran, up in High Heaven, „Debbie! Stop picking your nose and eating it!“

50

CARP 6

CARP 6

51

52

CARP 6

CARP 6

53

54

CARP 6

CARP 6

55

56

CARP 6

CARP 6

57

58

CARP 6

CARP 6

59

60

CARP 6

CARP 6

art space diabolus

the living architecture

61

62

CARP 6

CARP 6

Living architecture cybernetic performance 2008. 08. 07. 2008. 08. 21.

Audio artist: Al Hofmann Visual artist Velazquez Bonetto performance time-space contimuum studies for the hsv2 future opera

63

64

CARP 6

CARP 6

65

66

CARP 6

CARP 6

67

68

CARP 6

CARP 6

69

70

CARP 6

CARP 6

71

72

CARP 6

CARP 6

73

74

CARP 6

CARP 6

75

76

CARP 6

CARP 6

77

78

CARP 6

CARP 6

79

80

CARP 6

CARP 6

Living architecture cybernetic performance 2008. 08. 26.

Visual artist Caravaggio Bonetto Audio artist: Kevinblue Oh performance time-space contimuum studies for the hsv2 future opera

81

82

CARP 6

CARP 6

83

84

CARP 6

CARP 6

85

86

CARP 6

CARP 6

87

88

CARP 6

CARP 6

89

90

CARP 6

CARP 6

91

92

CARP 6

CARP 6

93

94

CARP 6

CARP 6

Living architecture cybernetic performance 2008. 08. 28.

Visual artist Flower Exonat Audio artist: City orchestra via DFM1

95

96

CARP 6

CARP 6

97

98

CARP 6

CARP 6

99

100

CARP 6

CARP 6

101

102

CARP 6

CARP 6

103

104

CARP 6

CARP 6

Living architecture cybernetic performance 2008. 10. 09.

Visual artist Josina Burgess Audio artist: Kourosh Eusebio

105

106

CARP 6

CARP 6

107

108

CARP 6

CARP 6

109

110

CARP 6

CARP 6

111

112

CARP 6

CARP 6

113

114

CARP 6

CARP 6

115

116

CARP 6

CARP 6

Living architecture cybernetic performance 2008. 10. 18.

Audio artist: junivers Stockholm Visual artists: Caravaggio Bonetto, Josina Burgess, Velazquez Bonetto Dancers: blanche Argus & Medora Chevalier

117

118

CARP 6

CARP 6

119

120

CARP 6

CARP 6

121

122

CARP 6

CARP 6

123

124

CARP 6

CARP 6

125

126

CARP 6

CARP 6

127

128

CARP 6

CARP 6

129

130

CARP 6

CARP 6

131

art space diabolus

Juria Yoshikawa

132

CARP 6

CARP 6 Gnossienne Groggy Deep Juria Yoshikawa In the mind, there is a place just out of reach between knowing and feeling. When we first wake, we have glimpses of it: colors, fears, textures, childhood smells, organic sensations, birth and death. A mix of illogical but powerful things that defines us, if in very subtle ways.

Gnossienne No.1, a piano piece by Erik Satie partially inspired me to do an environment that combines feelings and elements of a mind in semiwakefuless. I took the liberty to remix Satie‘s song - stretching, reversing, speeding up - attempting to cast a new sense of time and mood. I also made a very simple outfit to be worn in the space to accentuate one‘s avatar‘s position in the space and the light.

133

Where has Juria been?

Some people who have been kind enough to come visit my work in the past two years may have wondered „where has Juria been?“.

Let me just say that I (Lance Shields) have been kept very busy in rl getting started in a MBA which is a lot harder than I thought it would be.But now four months into it, I feel the need to pick up my virtual artist tools and do some work from time to time. That said, I may not be as prolific as I once was but I hope to entertain you with an artwork now and again.

Welcome back Juria

134

CARP 6

CARP 6

135

136

CARP 6

CARP 6

137

138

CARP 6

CARP 6

art space diabolus

benvolio

139

140

CARP 6

CARP 6

141

142

CARP 6

CARP 6

143

144

CARP 6

CARP 6

145

146

CARP 6

CARP 6

147

148

CARP 6

CARP 6

149

150

CARP 6

CARP 6

151

152

CARP 6