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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.

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3. virtual architecture 3.1. SL diabolus benvolio 3.2. MdM cyberlandia 3.3. Metropolis Metaversum

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RL Name: László Ördögh Diabolus About Me: My artistic activity is an integrated part of a wider carrier. It is nourished by more than thirty years of professional experience gathered in such different fields as industrial design, computer graphics, virtual reality, and human engineering. It has multiple influences on my art.

Firstly, owing to years in software production I have developed several new techniques that can be roughly classified as mixed media. On the other hand, industrial scenes, structures and objects have become substantial parts of my artistic language. My industrial experience has helped me to a deeper insight into the entangled economic and political connections that are the propelling forces of our world. I‘ve got a vivid picture of the looming problems that may lead us toward a sinister future. It is my main concern as an artist to call the public attention to questions where further thinking and searching for solutions is needed The message of an artwork comes on several channels and addresses both the emotional and the rational side of the viewer. Every work 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 a second of visual delight about human questions of huge magnitude. My works are all reflections of such moments that have forced me to think and to talk in my own language. I have achieved my goal if my artworks have launched a chain of thoughts in the viewer‘s mind.

What motivates a designer, human engineer and virtual reality software developer to go to Second Life and getting involved in this incredible world? Playfulness, the happy Homo Ludens? Maybe that too. But I have much more serious motivations: 1: - SL is a concept for creative competence, the perfect fantasy machine, the ideal platform to research and experiment the Art of the future.

2: - What I enjoy in SL is the pioneer spirit that rules in this world. In my daily real life working with industrial virtual reality I am also pioneering. But in RL you cannot make everything what you could imagine in your fantasy. There the discussion goes about much money, resources, management, hierarchy, organisation, economical efficiency and so on, not really about things that really matter. SL is a dematerialised world with a high degree of abstraction to realize all possible and impossible associations . It’s the perfect playground, for thinking „Bioavatars“, to experiment with

substantial subjects without the material consequences.

3: - An Avatar in SL is the real metacommunication. Behind every avatar there is people and the avatars are very able to present or show their mentality and norms.

4: - SL is also in the Social Surroundings with simple rules and a Global Community without any borders. Maybe an example for our RL community.

5: - The most valuable what I got from SL are the good friends I have there: Josina the best Muse ever and the most reliable Partner in all the adventures, Caravaggio, Jan, Debbie, Juria, noizz, Juni, Medora, Milla, Al, Kourosh, and all the others in my friends list.

Short RL bio: Education: Academy of Industrial Design Budapest Department of Industrial Design (1971-1976) Graduated: summa cum laude as industrial designer Academy of Industrial Design & University of Engineering postgraduate training in system design (1976-1979) Research and development: Human Engineering Simulation, Industrial Avatars (1981-1988 OMFB IFTI) (1989-1998 IST GmbH. ) Human Symulation Technology Project DFKI German Research Center for Artiffical Intelligence (19992002). Senior Software Developer: Virtual Reality Industrial Avatars (ICIDO GmbH 2002-) Experience in: Industrial design, graphical design, corporate design, system design and organisation, software development and programming. Languages: C++, LSL Special skills: Traditional Art Technics, Computer Graphics, 3D Visualising & CG Special Effects, Computer Aided Design CAD, Engeneering Data Management (EDM) in Intranet and Internet environment. Advanced Information Technology (AIT) (Digital Mock-Up) Ergonomics Virtual Reality & Simulation Technology Design and manufacturing of medical appliances, Design of comunication systems (2000-2001) The list of the publicatins and exhibitions see in the diabolus website.

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The basic definitions of the hypermedia Art.

Hypermedia The prefix hyper- („over“ or „beyond“) signifies the overcoming of the old linear constraints of written text. The term „hypertext“ is often used where the term hypermedia might seem appropriate. Hypermedia is a term first used in a 1965 article by Ted Nelson.[1] It is used as a logical extension of the term hypertext, in which graphics, audio, video, plain text and hyperlinks intertwine to create a generally non-linear medium of information. This contrasts with the broader term multimedia, which may be used to describe non-interactive linear presentations as well as hypermedia. Hypermedia should not be confused with hypergraphics or super-writing which is not a related subject. The World Wide Web is a classic example of hypermedia, whereas a non-interactive cinema presentation is an example of standard multimedia due to the absence of hyperlinks.

Functionalism (FFF) Form follows function is a principle associated with modern architecture and industrial design in the 20th Century, which states that the shape of a building or object should be predicated by or based upon its intended function or purpose.

The functional architecture and design is the negation of purely aesthetic design principles behind the form determined use of a building or a device. Hence the famous phrase „form follows function“ by Louis Sullivan of the popular opinion arose, a beauty in contemporary architecture and design is apparent already from their functionality.

The beginnings of this view to the rich aesthetic theorists of the 19th Century (Lotze, Semper, Greenough), in Ger-

many but only with the founding of the German Werkbund under the slogans practicality and purpose form in the rank of an artistic design of serious collected.

The functionalism gained after the First World War and after the interlude of Expressionism, the term new construction, Bauhaus style, or New Objectivity as a design principle more attention again.

To really universally building was the epitome of modern functionalism in Germany but only after the Second World War and has thus the architectural language of reconstruction far. Since the beginning of the 1970s gets the formal poverty and the functionalist planning increasingly in the field of public criticism, which is why the socalled post-modernism in the 1980s functionalism finally completely new design principles tried. „It is the pervading law of all things organic and inorganic, Of all things physical and metaphysical, Of all things human and all things super-human, Of all true manifestations of the head, Of the heart, of the soul, That the life is recognizable in its expression, That form ever follows function. This is the law.”

Henri Labrouste (* 11. Mai 1801 in Paris; † 26. Juni 1875 in Fontainebleau) Louis Henri Sullivan (* 3. September 1856 Boston; † 14.

April 1924 Chicago) „The tall office building artistically considered“, 1896 What is hyperfunctionalism Diabolus, 08 Dec 2007 Hyperfunctionalism define and implement the different aspects of the requested behavior of a generic system in a hypermedia* or metaverse environment. (it is not relevant that the generated virtual construct named art or science or any conventional historical category of the human abstraction) The requested behavior and set of functions derived from the given environment where

CARP 8 the system successfully survive. The definition typically describes what is needed by the system user (designgoal), which internal functions are necessary, as well as, requested properties of inputs and outputs.

Example: In a real environment with gravitation, the material, structural or static properties has primary meaning. Dont survive a system if the functions are not successfully implemented.

In a symulated generative environment where gravitation is not, or particular interpret, the material, structural or static properties has absolutely no significance. If these properties are still represented, we are talking about imitation. But the imitative representation of a system also has meaning when used as a transfer medium for learning and training.

There are functions in different environments are identical.

An artwork with communicative functions can survive (real or virtual) if binds the human attention, and realise a long time storage of the MEM-s in the central neuronal system (attention is one of the limited cognitive resources of the human brain) hyperform follows hyperfunction „It is the pervading law of all things organic, inorganic or generic, Of all things physical, metaphysical or virtual, Of all things human and all things avatar, Of all true manifestations of the intellect, Of the heart, of the soul, That the life is recognizable in its expression, That form ever follows function.

This is the law in the real world.

That hyperform ever follows hyperfunction.

This is the law in the metaverse.”

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Henri Labrouste (* 11. Mai 1801 in Paris; † 26. Juni 1875 in Fontainebleau) Louis Henri Sullivan (* 3. September 1856 Boston; † 14.

April 1924 Chicago) hyperfunctional extensions by Velazquez Bonetto

Formalism (wikipedia) The concept Formalism calls an art-historical method of the interpretation of a piece of art. Besides, the value of the work lies in the autonomy of the form. The formalistic consideration of art stresses qualities as for example composition, colour, lines and texture. Content aspects and relations like subject, history of the origin of the work, historical context and biography of the artist, are secondary or are not treated.

The formalists, as the most important representatives Heinrich Wölfflin and Alois Riegl, aimed at a comparative style analysis which is freely from personal evaluation and is able to solve the *hermeneutics problem of the art history. The formalistic ideas of 19. Cent. served the modern painting as an impulse to develop more freely and to concentrate upon the aesthetic effect from form and structure. The concept of the formalism leaves open itself therefore also on the fine art expand, e.g. in the 20th century from the art-historical methodology has become an art creation methodology. Formalism dominated modern art from the late 1800s through the 1960s.

History of formalism (wikipedia) The concept of formalism can be traced as far back as Plato, who argued that ‚eidos‘ (or shape) of a thing included our perceptions of the thing, as well as those sensory aspects of a thing which the human mind can take in. Plato argued that eidos included elements of representation and imitation, since the thing itself could not be replicated. Subsequently, Plato believed that eidos inherently was deceptive.

In 1890, the Post-impressionist painter Maurice Denis

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wrote in his article ‚Definition of Neo-Traditionism‘ that a painting was ‚essentially a flat surface covered in colours arranged in a certain order.‘ Denis argued that the painting or sculpture or drawing itself, not the subject of the artistic work, gave pleasure to the mind.

‚confusion of the arts‘, he wrote, and a lack of purity in artistic endeavor. Defining a work of art by its ‚art form‘, or medium, limits a work‘s artistic possibilities to the nature of that medium. Yet, this also allows the work of art to stand alone on its own merits.

Denis‘ emphasis on the form of a work led the Bloomsbury writer Clive Bell to write in his 1914 book, Art, that there was a distinction between a thing‘s actual form and its ‚significant form.‘ For Bell, recognition of a work of art as representational of a thing was less important than capturing the ‚significant form‘, or true inner nature, of a thing.

Bell‘s work harkened back to the Aristotelian concept of general forms and ‚species.‘ For Aristotle, that an animal was a dog was not important; that a dog was a Dalmatian or an Irish wolfhound was. Echoing this line of thought, Bell pushed for an art that used the techniques of an artistic medium to capture the essence of a thing (its ‚significant form‘) rather than its mere outward appearance.

Formalism today

Throughout the rest of the early part of the 20th Century, European structuralists continued to argue that ‚real‘ art was expressive only of a thing‘s ontological, metaphysical or essential nature. But European art critics soon began using the word ‚structure‘ to indicate a new concept of art.

By the 1930s and 1940s, structuralists reasoned that the mental processes and social preconceptions an individual brings to art are more important than the essential, or ‚ideal‘, nature of the thing. Knowledge is created only through socialization and thought, they said, and a thing can only be known as it is filtered through these mental processes. Soon, the word ‚form‘ was used interchangeably with the word ‚structure‘.

In 1940, the American art critic Clement Greenberg, in an influential piece in Partisan Review, argued that the value of art was located in its form. The representational aspects of a work of art are less important than those aspects which embody a thing‘s ‚internal identity‘. This led Greenberg to the conclusion that abstraction was the purest art of all.

Greenberg also perceived that impressionism had blurred the boundaries between various art forms. This led to a

The concept of formalism in art continued to evolve through the 20th century. Some art critics argue for a return to the Platonic definition for form as a collection of elements which falsely represent the thing itself and which are mediated by art and mental processes. A second view argues that representational elements must be somewhat intelligible, but must still aim to capture the object‘s ‚form‘. A third view argues for a diale-discursive ontological knowledge. Instead, structuralists focused on how the creation of art communicate the idea behind the art. Whereas formalists manipulated elements within a medium, structuralists purposely mixed media and included context as an element of the artistic work. Whereas formalism‘s focus was the aesthetic experience, structuralists played down response in favor of communication.

Structuralism‘s focus on the ‚grammar‘ of art reaches as far back as the Post-Impressionist work of Marcel Duchamp. In many ways, structuralism draws on the tools of formalism without adopting the theory behind them.

What Is Hyperformalism?

DCSpensley, 17 May 2006(created 4 April 2006) „Hyperformalism is an aesthetic philosphical construct that may be employed by to describe a late 20th century, early 21st century mass art phenomena consisting of scores of personal computer users generating abstract, often spacially unique artworks with software tools.

These spacial realities have no analog in the physical world, and instead of making reference to physical reality, create a unique continuum of reference; a rearrangement of photons to illuminate alternate worlds of form, shape,

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The term Hyperformalism is derived from the combination of the words Hyper and Formalism (as described by WikiPedia) and is being used here to describe aesthetic self expression without anthropomorphic, or representative context. This seperates Hyperformalism from digital collage, aesthetic photo manipulation and other forms.“ Hyperformalism is a critical construct that may be employed by to describe a late 20th century, early 21st century mass art phenomena consisting of scores of personal computer users generating abstract, often spacially unique artworks with software tools...these spacial realities have no analog in the physical world, and instead of making reference to reality, create a unique continuum of reference; a rearrangement of photons to illuminate alternate worlds of form, shape, color and space.

Hermeneutics *Essentially, hermeneutics involves cultivating the ability to understand things from somebody else‘s point of view, and to appreciate the cultural and social forces that may have influenced their outlook. Hermeneutics is the process of applying this understanding to interpreting the meaning of written texts and symbolic artifacts (such as art or sculpture or architecture), which may be either historic or contemporary.

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3.1.2. the emitter theatre 2007. 10. 12

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2007. 11. 14

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CARP 1 First I would like to thank you all so very much for the work you did and the way you all participated in CARP 1.

We have worked out many ideas and learned a lot from each other. In CARP 1 our goal was to research SL scripts and the visual effects here and try them out in practice.

the carp 2 idea tree Diabolus Virtual Art Space: The Cybernetic Art Research Project 2. (CARP 2) The aiming of the Project is: To announce the SL audiovisual possibilities.

Progam starting at 2007-12-01 ending at 2008-01-14 In the CARP 2 new focus, I would like to do some suggestions: (of course all suggestions are welcome) 1.- The possibility to experiment with the sculpted prim technique (we have tried some already) Try out the freeware Wings 3D program with sculpted bitmap export, handbook and tutorial.

2.- We will not build special rooms or places for the exhibition because the goal will be to make and build in such a way, that it will be interesting for avatars to walk through. These exponats will be placed around the pillar tree in the middle and when they are ready we place them in a logic way and connect them with each other.

We just have to mark where we can build so that we don’t start building on neighbours land.

3.- Experiment with time and experience (like a story) with the knowledge that when something looks “simple” the bio-avatar is less interested and won’t stay long (is this true) Experiment with effects that have a longer experience or story for avatars to undergo.

Phase 1: Creation 1.a. Every participant will select the for him or her interesting SL Audiovisual components.

Juria Yoshikawa : Caravaggio Bonetto: Sculpted Prim Josina Burgess: Sculpted prim, story telling, particles nnoiz Papp: Sculpted prim

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Velazquez Bonetto: Sculpted prim ,huge prim, Particle effects MANAX: Story telling Debbie Trilling: Particle effects 1.b.Identification of the Research-Goals and Targets.

The important SLS Mechanismes will be explained.

1.c.Experimental Phase.

New audivisual Effects will tried out, new scripts will be written.

1.d.Every Participant will develop and build in the „Idea Tree“ his or her ideas with help of the new written scripts Phase 2: Publication of the Outcome.

2.a. 1 week Exhibition of worked out Exponents.

2.b. An Electronic Book (PDF) will be published of this Project.

2.c. An Audivisual Component and Script-Collection of the worked out outcomes will be given to the Participants.

How we Work: 1. Open communication, co-laboration and co-operation 2. Open idea and know-how exchange 3. Open audiovisual component and script exchange Rules: 1. There are no rules. Inovation is not bind to any rules.

2. Out of the first rule there are no further rules.

Limits: 2000 prim.

Carp 2 vernissage 2008- 01- xx 2PM SLT Location: Virtual Art Space Diabolus (benvolio) Owners: Josina Burgess, Velazquez Bonetto & Caravaggio Bonetto Land : 11608 qm Prim : 2808 Website: www.gallery-diabolus.com

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Add Up of CARP 2

in a consequent way.

First I would like to thank everybody that participated and worked so hard on the CARP 2 project.

We worked out many new techniques and developed a total new Audio Visual Art form.

-The big spectacle stage in CARP 2 was intentional for the building up of a story. Many of us; Debbie , Josina, Noizz and me contributed a lot in the 2 live concerts of nnoiz as a 2 hour long Audiovisual Liturgy Orgy that were a great success.

The Sculpti Goal: Biggest success in the CARP 2 project. In fact we used the sculpted components in all the products. A series of (150) own made sculpted bitmaps were used to build free and spectacular effects. Many of us have learned to use this- not easy- technology and used its components in real professional sculptures and pieces of Art. The most spectacular variant was the use of huge prims. But we also experimented with movement control and reaction forms on these sculpted components.

The Architecture Goal: Build from the CARP elements in a special way, this means: not the architecture decides what and how the building will look like but the exponents decide how the architecture components will work out together. Art piece and architecture together decide the looks and the effects.

So a Synthesis where architecture and Art build together a integrated unit.

Visual spectacle and functional building elements are both united in Art-Architecture.

When being honest we must admit that this way of Art-Architecture synthesis already was reached in a great way by Antonio Gaudi.

Story Goal: We did build several interesting stories.

A special thank you to Juria Yoshikawa for a great spontaneous idea for Carp 3. New horizons to open: A method of collaborative Spontanety. On the spot creativity ( Collaborative Audiovisual Improvisation or: Virtual Jazz) we named it.

Where different artists give different components to modify a piece of Art TOGETHER as a creative collaborative spectacle, as a story. This method has a great attraction and unexpected outcome. In Jazz music this method works already for ages, now we will use this in the visual Art also

Special thanks to Debbie Trilling for helping with building up a professional virtual”DANCE PARTNER” and the many beautiful particle effects. Her Particle Garden fascinated many visitors.

Thaks to Josina for the many different dance partners and the spectacular particle effects and of course thanks to nnoiz, his live concerts are really fantastic. We tried out a new technique: The Shared Live Concert Streaming. The benefit is here that not to many avatars have to concentrate on one particular spot. With a great number of avatars on the same spot the simulators will produce lag and the fun and joy factor will decrease.

-A very impressive venture was Josina’s Ghost Cave. From a technical view a highlight of the CARP 2 project. She united many SL audiovisual components in just one scenario ( story, mood elements, sculpti, bitmaps, Sound, particle effects, collaborative creation etc)

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Diabolus Virtual Art Space: The Cybernetic Art Research Project 3. (CARP 3) Progam starting at 2008-02-01 ending at 2008-03-01 CARP 3 Project Program (English) In CARP 1 and 2, our group was concentrated on the learning and understanding of several SL Art-technical possibilities . In the next CARP we will, based on this technical knowledge, concentrate at first on creative progress, creative agglutination and creative techniques.

Creativity (or „creativeness“) is a mental process involving the generation of new ideas or concepts, or new associations between existing ideas or concepts. Creative innovation might require co-activation and communication between regions of the brain that ordinarily are not strongly connected.

Creativity techniques are heuristic methods to facilitate creativity in a person or a group of people. Generally, most creativity techniques use associations between the goal (or the problem), the current state (which may be an imperfect solution to the problem), and some stimulus (possibly selected randomly). A random image, sound, or article can be used instead of a random word as a kind of creativity goal or provocation.

In concrete: for the CARP 3 Project we have 3 Theme concepts.

Collaborative Improvisation (Virtual JAZZ) (Initial idea: Juria Yoshikawa/Velazquez Bonetto) Collaborative Improvisation stand for the creative progress of 3D scenario pictures, concepts or ideas from different people. A Theme is offered to various persons.

They will prepare different presentations into the reach of this Theme. Spontaneous collaboration without preparing anything is possible of course. In a session where all artists be together these presentations will be mixed to get a new audiovisual interpretation.

The sessions where we sit together and share thoughts and audiovisual interpretations can lead to a deeper understanding or new assotiations.

Bi-sociation (initial idea: Arthur Koestler) Bi-sociation stand for the creative progress of knowledge, pictures or presentations from different definitions and concerns. The definition was introduced by Arthur

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Koestler leaned on the word: association. ( The Human, misdirected of the Nature, 1978) and is today the axiom in creativity as well as in humour research. As a creative axiom Bi-sociation describes the permeate of mind routines during associations of mind attachments. In fact bi-sociation arises over that when the concept is bonded from two standard not belonging together abstraction levels.

From bonding things that normal don’t belong together comic can be a result. In the research of humour, people concentrate mostly on the first aspect. Humour and comedy are the result of the collision of different worlds and abstraction levels.

This bonding of different never thought about elements can lead to a surprising insight. It can lead to a deeper understanding of fuses. Koestlers thoughts have lead to many different concepts and ideas in creative research.

Bi-sociation becomes hereby a method that consciously fuse concepts and other ideas, that normally don’t belong together in routine thinking..

Semantic Intuition (inverse thinking) The Semantic Intuition is a creative technique, where the combination of ideas or/and pictures can generate new ideas. With semantic intuition you build words from 2 different words, or pictures out of picture-components that come from the world around us or the theme or the concept. The new word born from that can deliver new ideas. Often this is described as a inversion of the normal practice of thinking about name after the product is made. With semantic intuition a name is found for a possible product and after that how this product should look like. Practical out of the environment where the ideas should come from, a list will be gathered out of understandings and/or pictures. From this list two word/pictures will be formed into a new word/picture.It will be deliberated what is behind the new word/picture combination.

How we Work: 1. Open communication, co-laboration and co-operation 2. Open idea and know-how exchange 3. Open audiovisual component and script exchange Rules: 1. There are no rules. Inovation is not bind to any rules.

2. Out of the first rule there are no further rules.

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Carp 3 vernissage 2008- 03- 01 2PM SLT Location: Virtual Art Space Diabolus (benvolio) Owners: Josina Burgess, Velazquez Bonetto & Caravaggio Bonetto Land : 14336 qm Prim : 3276 Website: www.gallery-diabolus.com CARP 3 Projekt Programm (Deutsch) In CARP 1 und 2 hat undsere Gruppe auf die Erlernen von unterschiedliche SL Kunst-technische möglichkeiten konzentriert. In der volgenden CARP Projekten weden wir auf diese technische Basis in erste linie auf kreative Vorgänge, kreative Verbindungen und Kreativitäts-Techniken konzentrieren.

Kreativität bezeichnet die Fähigkeit schöpferischen Denkens und Handelns. Ursprünglich wurde der Begriff Kreativität als Bezeichnung für die Ursache persönlicher geistiger Schöpfungen (Urheberrechtsgesetz) von Künstlern verwendet. In jüngerer Vergangenheit wurde diese menschliche Fähigkeit vermehrt zum Gegenstand des Interesses von Wirtschaft und Wissenschaft. Die Erforschung kreativer Prozesse und ihre Beherrschbarkeit und Berechenbarkeit gewinnt zunehmend an Bedeutung.

Kreativität im weitesten Sinn beruht auf der Fähigkeit des menschlichen Gehirns, die Lücke zwischen nicht sinnvoll miteinander verbundenen oder logisch aufeinander bezogenen Gegebenheiten durch Schaffung von Sinnbezügen mittels freier Assoziation mit bereits Bekanntem und spielerischer Theoriebildung (Phantasie) auszufüllen.

Das Spiel - auch als Gedankenspiel - gehört als wesentliches Element zur Kreativität. Dabei kommt der weniger begrifflich-isolierenden und logisch-kausalen, dafür aber nonverbal, assoziativ und ganzheitlich denkenden (in der Regel rechten) Hirnhälfte eine besondere Bedeutung zu.

Beteiligt sind aber letztlich beide Hirnhälften. Da die kreativen Denkprozesse weitgehend unbewusst ablaufen, werden kreative Einfälle, wie schon das Wort nahelegt, oft als Eingebung einer überpersönlichen Intelligenz oder Wesenheit (göttliche Inspiration, Musenkuss usw.) oder als ein mystisches Geführtwerden erlebt ----Wikipedia In concreto: für CARP 3 Projekt diesbezüglich haben wir 3 Themenvorschläge: Kollaboratives Improvisation (Virtual JAZZ) (Initial idea: Juria Yoshikawa/Velazquez Bonetto)

CARP 8 Kollaboratives Improvisation bezeichnet den kreativen Vorgang der Verknüpfung von 3d Scenarien Bildern Begriffe, Visionen oder Vorstellungen aus unterschiedlichen Personen. Es wird ein Thema für unterschiedliche Personen mitgeteilt. Die sollen für diese Themenbereich Darstellungen und Komponenten vorbereiten. Auch spontane kollaboration ohne vorbereitung ist weitaus denkbar. In eine gemeinsamme Session werden die unterschiedliche Darstellungen miteinander gemischt für neue audiovisuelle Interpretationen zu ermöglichen.

Das Zusammentreffen von Gedanken und audiovisuelle Interpretationen können zu einem tieferen Verständnis von neue Zusammenhängen führen.

Bisoziation ( initial idea: Arthur Koestler) Bisoziation bezeichnet den kreativen Vorgang der Verknüpfung von Begriffen, Bildern oder Vorstellungen

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aus unterschiedlichen begrifflichen Bezugsrahmen. Der Begriff wurde von Arthur Koestler in Anlehnung an das Wort „Assoziation“ eingeführt (Der Mensch, Irrläufer der Natur, 1978) und gilt heute als ein Grundbegriff in der Kreativitäts- sowie in der Humorforschung.

Als kreativer Grundbegriff beschreibt Bisoziation das Durchbrechen geistiger Routinen. Während die Assoziation gedankliche Verknüpfungen auf einer Ebene bezeichnet, geht die Bisoziation darüber hinaus, indem sie Begriffe und/oder audiovisuelle Komponente aus zwei einander üblicherweise nicht zugeordneten Ebenen miteinander verbindet.

Aus dem Zusammentreffen nicht zusammengehörender Dinge kann Komik entstehen.In der Humorforschung konzentriert man sich vor allem auf den ersten Aspekt: Humor und Komik entsteht aus dem Zusammenprall unterschiedlicher Ebenen und Welten.

Das Zusammentreffen zweier bislang nicht zusammen gedachter Elemente kann zu einer überraschenden Einsicht führen.

Das Zusammentreffen kann zu einem tieferen Verständnis von Zusammenhängen führen. Koestlers Überlegungen haben in der Kreativitätsforschung auch zu unmittelbaren Anwendungsvorschlägen geführt. Bisoziation wird dabei zu einer Methode, die bewusst Begriffe und Dinge miteinander in Verbindung bringt, die nach dem üblichen, routinierten Denken nicht zusammen gehören.

Semantische Intuition Die Semantische Intuition ist eine Kreativitätstechnik, bei der durch Kombination von Begriffe und/oder Bildern neue Ideen generiert werden sollen. Bei der Semantischen Intuition bildet man Wörter aus zwei Einzelwörtern,oder Bildern aus Bildkomponenten die aus dem Umfeld der Aufgabenstellung entnommen wurden.

Das so entstehende Wort kann neue Ideen liefern.Dies wird häufig als Umkehrung der üblichen Vorgehensweise beschrieben, nach der man zuerst ein Produkt erfindet, und sich dann überlegt, wie es genannt werden soll. Bei der Semantischen Intuition bildet man zuerst den Namen eines möglichen Produktes und überlegt sich dann, wie dieses Produkt aussehen könnte.Vorgehensweise Aus dem Umfeld, für das neue Ideen entwickelt werden sollen, wird eine Liste von Begriffen und/oder Bilder gesammelt. Aus dieser Liste werden zwei Wörter/Bilder zu einem neuen Wort/Bild kombiniert.

Es wird überlegt, was sich hinter dieser neuen Wort/ Bildkombination verbergen könnte.

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3.1.6. CARP 4

2007. 11. 14

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CARP 4 (cybernetic art research project) Programm Progam starting at 2008-03-15 ending at 2008-04-30 First I would like to thank you all so very much for the work you did and the way you all participated in CARP 3.

The Audio Artists: noiz Papp, Junivers Stockholm, and Kourosh Eusebio The Visual Artists: Juria Yoshikawa, Debbie Trilling, Caravaggio Bonetto, Josina Burgess, Eden Toll, Abstract Baroque and Velazquez Bonetto.

Special Exhibitions: Kaarl Merlyn & Eifachfilm Vacirca In CARP 3 our group concentrated on the creative techniques, creative collaborations and what we did with all that in CARP before. The outcome was in many themes extreme surprising. Especially the digestion of the “Collaborative Audiovisual Improvisation” in short” VJAZZ showed a very creative potential.. A special THANK YOU to Calimera Lane, Josina Burgess, Caravaggio Bonetto, Eden Toll, Abstract Baroque, Kourosh Eusebio and Junivers Stockholm for the incredible involvement. The VJAZZ sessions were planned upfront to be performed in 30 minutes. But in many sessions we still were improvising after 4 hours and this fully enthusiastic. For all of us it worked as a narcotic.

We became addicted to VJAZZ. A great Thank You to Olga Wunderlich for her engagement to our group and specially for the presentation in the Directors Lounge (Improvisation (Virtual Jazz) by Juria Yoshikawa, visual artists and Noizz Papp sound artist/musician) And a special Thank You to Debbie Trillling who took a very difficult assignment on her shoulders: Organizing The Wall Mega production and build that on many occasions herself and program it. This production will be ready in CARP 4. Also many Thanks to Kaaarl Merlyn for his Village Installation in the Diabolus Galery and to Eifachfilm Vacirca for his wonderful 444 Performance.

Theme proposal for the CARP 4 Project: Our CARP 4 program will be very simple. Finally we want to express something with all that we have learned in the CARP projects before. This time its about the content. In

the carp 4 idea tree this program The Wall project will be performed direct for an audience. And we want to give more dimension on the VJAZZ sessions what we will show at the Global Justice Gala; a Protest show of the 21st century. The quintessence in CARP 4 is to bring our knowledge into a Global Common Communication. Of course every spontaneous idea will be welcomed and worked out as far our resources let us.

Just like in all the other CARP projects.

The CARP 4 Team: The Audio Artists: Junivers Stockholm, Kourosh Eusebio The Visual Artists: Calimera Lane, Debbie Trilling, Caravaggio Bonetto, Josina Burgess, Velazquez Bonetto Elfod Nemeth Duggy Bing, Juria Yoshikawa, How we Work: 1. Open communication, co-laboration and co-operation 2. Open idea and know-how exchange 3. Open audiovisual component and script exchange Rules: 1. There are no rules. Inovation is not bind to any rules.

2. Out of the first rule there are no further rules.

Location: Virtual Art Space Diabolus (benvolio) Owners: Josina Burgess, Caravaggio Bonetto & Velazquez Bonetto.

Land : 14336 qm Prim : 3276 Website: www.diabolus.ning.com

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3.1.7. CARP 5

2008. 03. 30

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the carp 5 idea tree CARP 4 (cybernetic art research project) We have reached a important goal in the CARP 4 Projects: To tell something important wit all the knowledge we got in SL Art Techniques and the new methods. We have concentrated ourselves on the Contents first but did not neglect the Forms. The outcome gave new criterions in many products in reach of SL collaborative Art. A big Thank you to Marion Rickenbacker (UK) for her beautiful photography and for her perfect collaboration.

Her exhibition; “Camera Obscura” has shown total new possibilities to present RL Photo Art in SL. A big Thank you to Ux Hax (Spain) and maria Grot (Argentina) for their “Geometry of Sound” Performance. The Hax/Grot Duo presented a Technical and Critique extreme pretentious work of Art. The Synergy of visual effect, Sound interactivity and animations surprised the audience every time.

A big Thank to Eden Toll (USA) for her Visual Poetry Exhibition. Her Concept was: To combine Poetry and Visuality with important interactive effects. Her professional collaboration with other Artists has benefit and leaded the Concept to a extreme high level.

The Global Wood Installation (Content Art) of Caravaggio Bonetto (AUSTRIA) was a great inspiration for Josina Burgess and Junivers Stockholm to write and compose a new Song and start a beginning point for the future RING Production. The Global Wood also inspired for more reincarnations: as a VJAZZ Session and as a Performance. With the RING Project we wont create only new Visual Effects but we also will have, thanks to “Josi Mc Cartny”and “Junivers Lennon” musical talents in writing and composing our own Song production base.

The Collaborative Improvisation (VJAZZ) sessions ap-

pealed again to many. In all Sessions the Public could enjoy the new particle creations of Calimera Lane (Germany), Josina Burgess (Holland) Caravaggio Bonetto (Austria) and Velazquez Bonetto (Germany) Special thanks to Kourosh Eusebio (USA) for the meditative music, made special for the VJAZZ sessions.

The WALL Production was the biggest challenge for the CARP Team. A unnumbered quantity of different Art forms were integrated in this Production. This Production has set in many dimensions new benchmarks. Also in LSL Scripting, Visual Effects, Production Organisation, Animation and Show Controlling. The WALL is also a Show of superlatives The 5 shows in the Diabolus Art Space did run every time with full sim(40 avatars) And the Benvolio Sim was just not big enough for this production. For this matter we replaced the WALL to a 4-sim Theatre in Havens Paradise with a capacity of 150 A special big Thank you goes to Debbie Trilling (UK) She was (and is) Creative director , the motor running this production. Her diversify and fundamental knowledge, her bulldozer persistence and her precision in details were elemental in making THE WALL a Super hit.

When someone would like to have a SL production this size and quality: Ask for Debbie The Dramaturgic centre and highlight of the WALL is the WALL itself.. Elfod Nemeth (UK) has created a special effect what holds together the whole production and what creates at the end Synchronic with the music the absolute WOWWWWW moment.

A big Thank you to the wonderful Puppets of Duggy Bing (USA) The wonderful Puppets he created represent a Stylistic connection with the Video performance of the real Pink Floyd Wall. Duggy also delivered many great graphics for the background projections.

A Special Thank you goes to Josina Burgess (Holland) and Junivers Stockholm (Sweden) for a new song that was specialy written for this Production. This Song tells the con-

CARP 8 tent and the meaning of the whole story and encourages to Think.

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ness. I Thank you so much for this overwhelming Gift!

Velazquez Bonetto

Thank You also to Caravaggio Bonetto (Austria) Josina Burgess (Holland) Debbie Trilling (UK) and Klute Coppola (France) for the artistique Costumes, Animations and Outfits who ware always in the Emotional Centre.

The Script Writers are always the Grey Eminences in SL. Always staying on the mysterious background. Wrong. In the WALL Project scripting itself became Art. And Art scripting became a new discipline. In the WALL Project there were 3 scriptwriters/artists: Elfod Nemeth (UK), Debbie Trilling (UK) und Velazquez Bonetto (Germany). It was a really great fun to find out and develop all these new effects with Debbie and Elfod and to realise them. For me it was a big challenge to build the whole Theatre Architecture, The Colour Environment, Texture Projection, Stage and Show control System. A special challenge was to keep the Visual Effects and Audio streaming Synchrony during the 45 minutes the show takes.

Thank you to Haven Colville (UK) and his CREW for the professional 4-sim organisation and support in the migration work.

A special Thank you to George W Bush (USA)for his “humorous” notes in the WALL Soundtrack And finally a few important notices: All those who worked with us in CARP and offered so many, many working hours..Why? from Idealistic views? Yes, why not? The Ideal to reach out of positive future visions to create a better world, a better life. What are these Ideals and why are they so important and valuable for us? This form of International “Working Together” is so much fun and we all learn so much from each other doing this. It shows a wish of all people and avatars to work together in a peaceful and creative way and overrules all WALL’s (national Boarders, Political Systems and Time zones). A true WIN-WIN situation for all, and a positives Model behaviour for our real life.

To discover, create new thinking, to enjoy success together even in a virtual world. Its worth to a irrational volonteer-

CARP 5 progam starting at 2008-03-15 ending at 2008-04-30 Theme proposal for the CARP 5 Project: .. from the CARP5 team I collected the following ideas for: 1. LEGENDS Kourosh Eusebio, Eden Toll, Calimera Lane Create Worlds of Sound, Word, and Vision Every mind’s reflection of world is entirely unique, while surely we share our environment in thoughts, discussions, and feelings.

Art is language. It is a discussion of realms lost and unknown, found and familiar.

As with music, each listen channels rivers of sound, in ways singular and universal, to sculpt landscapes of images, words, and emotion.

You are invited to share visions and sounds,poetry and prose, as felt from and presented to these pages.

Music and images await,ready to inspire and evolve.

2. Worldpeacejamming-vjazz sessions Juniverse and friends, Josina, Velazquez .....

3. The 5 Rings Juniverse Stockholm, Josina Burgess, Caravaggio Bonetto, Velazquez Bonetto (based of the 4 rings description from H.J.Krysmanski Power Structure Research: Descriptions model of the ruling class today and the 5th. ring from the CARP team) 1. Ring: Money Power: The global wood * 2. Ring: CEO Power: The marrionet clowns

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3. Ring: Distribution Power: The wall * 4. Ring: The Information Power: The plastic Bag -> occupation of the public space and time 5. Ring: The Powerless: This world: The re-occupation of the public space and time Based on H.J.Krysmanski: Descriptions model of the ruling class today 4.. Project ideas from Debbie 4a Jean-Michel Jarres Projekt: The14th of. Juli 1979 Jean-Michel Jarres first Concert took place at the Place de la Concorde in Paris. It already showed very clear in what direction Jarres future concerts would lead too: Lighteffects, Projections, Fireworks and a huge audience – 1.000.000 people were watching his firs live concert and gave Jarre a notice in the Guinness-Book of Records for the biggest audience during a concert in all times. ( Oxygène Equinoxe Magnetic Fields Rendez-vous Revolutions Oxygène 7 – 13 ) Jarre Concert 1989. With this concert in Paris where he did a lightshow at the biggest Buildings of Paris at La Defence and where the architecture including the Arch of Triumph, Jarre did surpass his own record for the 2cnd time, in the Guiness Book of Records a number of 2.000.000 people were written down, some speak of 2.500.000. The room the audience took reached out till behind the Arch of Triumph.

4b. The string theory (a Project of Eifachfilm and Debbie) 4c. V2 the technical challange of Werner von Braun 5. The CARP 5 technical challenge: synthesis of the controling systems in the task oriented audiovisual language LSL++TOM (task oriented meta-macro) - interactiv action-reaction - human control - automatic control configurator control, interpretation, effects

The CARP 5 Team:

caravaggio bonetto velazquez bonetto josina burgess juria yoshikawa calimera lane debbie trilling junivers stockholm kourosh eusebio duggy bing elfod nemeth millamilla noel medora chevalier flower exonar deruub pastorelli al hoffmann blanche argus klute coppola efrantisire morane sca shilova

(A) (D) (NL) (J) (D) (UK) (S) (USA) (USA) (UK) (I) (UK) (NL) (NL) (NL) (S) (F) (I)

How we Work: 1. Open communication, co-laboration and co-operation 2. Open idea and know-how exchange 3. Open audiovisual component and script exchange Rules: 1. There are no rules. Inovation is not bind to any rules.

2. Out of the first rule there are no further rules.

Location: Virtual Art Space Diabolus (benvolio) Owners: Josina Burgess, Caravaggio Bonetto & Velazquez Bonetto.

Land : 44336 qm Prim : 11000 Website: www.diabolus.ning.com

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3.1.8. CARP 6

2008. 10. 25

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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 8 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.

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3.1.9. CARP 7

2008. 11. 16

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Saying Thank You: First of all I would like to say to all of you that worked with us in CARP 7 a big big THANK YOU all.

Thanks to Millamilla Noel and Divaolina Kirax, for the beautiful SL and RL socio-foto exhibitions in the CAMERA OBSCURA. Special thanks to Milla for the excellent video made for the videocaleidoscope.

The EMOTICON was also a very interesting project where we can experiment with total new audiovisual effects and methodes. Many thanks goes to Josina Burgess, Millamilla Noel Evaluna Sperber and Caravaggio Bonetto for the beautiful visuals and also a big thank you to Al Hoffman for the great improvisations and concerts. In fact this is our laboratorium in what we can try out many new emotional audiovisual components.

Many thanks to Sca Shilova, Josina Burgess and Caravaggio Bonetto for the Human Rights Festival installations in Benvolio sim.

Many thanks to Ida Aabey, and Miulew Takahe for the collaboration in the Double skin mixed reality (Ida Aabeys ARENA project) installation in Benvolio sim.

Many thanks to Nora Koltai, Josina Burgess, Caravaggio Bonetto and Istvรกn Orosz for the collaboration in the imagine gallery project.

The creative Team has also spend much work in the CHANGE project. Medora Chevalier, Josina Burgess and me have wrote several textst with an important content. Of course was the lost of sims at NMC giving a problem and we couldnt build up 2 productions parallel to each other ( Metropolis and THE CHANGE).

I finished a very important Publication Project: The Arena E-book, it is a authentic document of the Second Life Metaverse Art. Together with the other CARP documentation it gives a all over view of the most interesting International Phenomenem: Metaverse Art. a special THANK YOU goes

to Roxelo Babenko and arco Rosca for their help, collaboration and perfect organisation. http://artspace-diabolus.com/CARP/arena_1.pdf http://artspace-diabolus.com/CARP/arena_2.pdf website: diabolus.ning.com http://issuu.com/diabolus/docs/arena_1 http://issuu.com/diabolus/docs/arena_2 As a new Publication medium, also for the earlier E-books we will use issuu . The URL-s are: http://issuu.com/diabolus/docs/1_yes_entry http://issuu.com/diabolus/docs/2_dance http://issuu.com/diabolus/docs/3_automat http://issuu.com/diabolus/docs/arena_2 http://issuu.com/diabolus/docs/arena_1 http://issuu.com/diabolus/docs/carp-01 http://issuu.com/diabolus/docs/carp-02 http://issuu.com/diabolus/docs/carp-03 http://issuu.com/diabolus/docs/carp-04 http://issuu.com/diabolus/docs/carp-05 http://issuu.com/diabolus/docs/carp-06 Beside all this also 3 RL projects were created and organised in SL: Caravaggio Bonetto has realised 2 Projects for her study Architecure at the TU in VIENNA. With this project was tested what possibilities there are in the virtual world and RL education and how to use them. In December a very succesfull mixed reality experiment was organised with the collaboration of. Josina, Cara, Al Hofmann, Me and the RL Galerie-ARTITUDE in Budapest.

The RINGS shows are ended even we still had great succes doing them.

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, Any1 Gynoid, Josina Burgess and yes, the Yellow Submarine. We did set new benchmarks in the way

CARP 8 of performing achievement. I thank you for all your hard work.

Since months we are working on our new project : METROPOLIS. After the WALL and the RINGS the same team is working on this new production. We have again many innovations in the new production and we use the inventions of the WALL and the RINGS. The great outcome of METROPOLIS is, not only the Audiovisual spectacle but as always usual: the Philosophical message.

We cannot forget those ones that gaved so many workinghours for preparing all: Special thanks to nnoiz Papp for the phantastic soundtrack what he specially made for the METROPOLIS production.

Special thanks to Josina for the many many characters and costumes and for the many operational ideas.

Special thanks to Debbie Trilling for the METROPOLIS video production.

Many thanks to windyy Lane and Cara helping me in the concept and build of the METROPOLIS theatre architecture and in the scene design and build.

Also big thank to windyy Lane for the many AV animations.

A big thank goes to the METROPOLIS performer group: Debbie Trilling, Josina Burgess, Efrantirise Morane and Milla Milla Noel.

A big thank goes to Sca Shilova for the new design and build of the Roboter And now about the CARP 8 projects we have for the near future: We have to finish 2 theatre productions. That is our first goal for CARP 8. In the EMOTICON project is still a lot of potential and many new ideas. This also is working as a audiovisual experimental Laboratorium for us. Further we let surprise us with spantaneous new projects that come our way.

As publication Project a Magazin will be developed with the title: HyperArt.

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3.1.10. CARP 8

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Saying Thank You: First of all I would like to say to all of you that worked with us in CARP 8 a big big THANK YOU! Since 3 months we are performing METROPOLIS. In the first 2 months we had always a full sim. People even came 1 hour before to get a seat and waited peacefully for the show to start.

The enthousiasm and professionality, the loyalty and the willingness to make this project again a succes is something that we do not find in RL all the time. This team shows that you all are wonderful people and its an honour to work with you .

A big thank you goes to the METROPOLIS builder and performer group for their fantastic work: Debbie Trilling, Josina Burgess, Efrantirise Morane, Milla Milla Noel, Nnoiz Papp, Sca Shilova, windyy Lane and Caravaggio Bonetto.

Special thanks to Junivers Stockholm for the additional Metropolis song.

Thanks to MillaMilla Noel, for the CAMERA OBSCURA organisation. Milla did a great job.

Special thanks for all CAMERA OBSCURA exhibitors: Sennaspirit Coronet, Miskat Quinan and Thess Writer Thanks go to Josina for the wonderful solo exhibition: the Face of the Sky

05 The New Co. video project with Debbie Trilling (video recording), Josina Burgess, MillaMilla Noel, Sca Shilova, Klute Coppola 2. my personal solo project the stereo panorama photography and video set for the metaverse infrastructure.

3. and the 2 mega architecture projects with Josina for 2 open sim grids : cyberlandia (4 sims) and metropolis metaverse (4 sims) Special thanks for Roxelo Babenco, Nicolas Sack,(cyberlandia) and Lena Vanilli (Metropolis metaversum)for the many co-laborativ helps in the starting phase. Open sim has a great potential in the future and we would like active help to create this future.

And now about the CARP 9 projects we have for the near future: 1. perform Metropolis 2. emoticon 4 3. video projects Metropolis, Rings, Wall V2 4. exhibitions in Metropolis metaversum 5. start of the CHANGE production 6. organisation a video festival Peace, Love Vodka & Yellow Submarine, Vela =============================

Thanks go to Caravaggio for the architectural experiment: Architecture Coding (reactive architecture)

Analysis from Helfe Ihnen about CARP METROPOLIS published in FLICKR 28 Mar 2009 http://www.flickr.com/photos/22475787@N04/sets/ 72157615929909533/

The EMOTICON was also a very interesting project where we can experiment with new audiovisual effects and methodes. Many thanks goes to Josina Burgess, Millamilla Noel for the beautiful visuals and also a big thank you to Al Hoffman for the great improvisations and concerts. In fact this is our audiovisual experimental laboratorium in what we can try out many new emotional audiovisual components.

„Metropolis is a ‚must see‘ in SL! What the team has made is absolutely stunning and at the top level of what is possible in SL. On the other hand you see sometimes what is missing in SL in technical and esthetical possibilities. Acting seems to stay very difficuilt.

Information by the team:

We did additional 3 projects: 1. Marco Minghetti & the living mutants society episode no.

After an idea of Debbie Trillling to do a re-make of METRO-

CARP 8 POLIS the fist science fiction movie made in 1927 by Fritz Lang, Velazquez Bonetto and Josina Burgess started with working out this Idea to bring it to Second Life.

Velazquez Bonetto rebuild the Whole Metropolis, wrote programms and scripts, situated every scenery at its place and brought new technology into SL . Josina Burgess created all the caracters, avatars, costumes and together they used Muybridge simulations for mass groups where needed. Nnoiz Papp wrote and composed the music specially for Metropolis.

Windyy Lane build the upperclass scenery and made all the animations Sca shilova build the robot and the animations for it. the actors are: Debbie Trilling MillaMilla Noel Efrantirse Morane Josina Burgess Velazquez Bonetto A Camera system is build in the seats where the audience will sit , also the seats, with audience in it, will fly around in Metropolis form scene to scene to be a „part“ of the whole.

Its so far the biggest project ever done on SL, it took months of working, building,creating, rehearsing and animating.

The actors/avatars playing the key figures teleport from stage to stage and perform in between camera close-ups.

The whole Metropolis is a 1 hour breathtaking experience on SL, but not only on SL even in RL people will be able to watch this via You Tube as a new way of making a artistique event going beyond borders.“ ============================ A critics from Moris Vig about the CARP METROPOLIS Posted on April 19, 2009 http://secondarts.wordpress.com/2009/04/19/carp-pre-

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sents-metropolis-in-second-life/ „I’ve been hearing that the CARP/Diabolous team responsible for the inworld tour de force of Pink Floyd’s The Wall was at it again, this time making an inworld version of Fritz Lang’s classic 1927 science fiction silent motion picture, Metropolis. Today, I finally got around to attending a performance.

[Side thought: It‘s like Josina Burgess, Debbie Trilling and their partners in the SL theatric arts at CARP know exactly what trips my artistic trigger. I love Pink Floyd and Roger Waters‘ work, hence my enjoyment of The Wall. In the Viggy collection of classic movie DVD‘s, Metropolis (even my crappy version of it) sits right alongside Citizen Kane and Casablanca. The history of the Metropolis movie is really something interesting, too...click here for more info on that.

But I digress...]

My verdict (like mine is important…a debatable point)?

CARP’s Metropolis is at least the peer of their version of The Wall, if not its superior. The subject matter for both stories is equally grand, and CARP uses Metropolis as an allegory for the state of the world much like they did with The Wall: So we see Lang’s vision of the future…the everlasting difference of the rich and poor, the elite and the worker, the greedy people on the top and the suffering masses…very much alive today as now we see what greediness of the elite did to the world- economics and us, the people.

Today we are living a crisis that is maybe worse then the one just after the War. The main message of Metropolis was that it gave a solution to Post-War Germany to attempt a Social Market.

This in fact is what Metropolis as a movie created at that time. And this was exactly 60 years ago!

Are we powerless and resigned ?

Or do we change this future?

Do we change our own Metropolis?

With that as foreshadowing….there’s MUCH more after the

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fold, including a 100-plus piece slideshow to document this visual treat… website: diabolus.ning.com Technically, you have to start with the theatrical set. This is a dense build that minimizes the use of prims (perhaps CARP needs to be in a double-prim sim like those in Bay City and Nautilus!) and maximizes the use of textures to achieve the dramatic effect. As you will see below, the textures are both rich and grand. They also use textures as a means to demonstrate masses of characters - the chorus, if you will - and accomplishes this with impressive effect. How to ensure that the many, many textures load in a reasonable amount of time in a full sim? Easy - they took the first six minutes of the show to display credits and literally pre-load the entire pack of textures used in the show. Genius.

This compact build also allows for attendees to sit in custom-scripted seating and be “physically” (this is a virtual world, so it can’t be physical,but hopefully you get my meaning) moved from scene to scene. The seating also is a marvel - three sets of seats, flying around the set like a choreographed guided tour of the property. Viewers also place themselves at the mercy of the flying seats - no need to use flycams or mouseview…just sit back and enjoy the ride.

Lastly, the one thing you can’t see in the slideshow below: Music. The score for this show is really strong. It’s electronic in nature and complements the show quite well…just like the textures, the animations, the costumes…

So here’s the slideshow. It’s quite a show, all 60 minutes of it. And, like The Wall, the Metropolis company invites the attendees down to the floor to celebrate the show once it’s done. Can’t beat that!

Do yourself a favor and try to see this show. Metropolis is a grand theatrical performance that shows us how the Second Life platform can be used in ways we may not have thought possible.“

publications of the diabolus/carp: http://issuu.com/diabolus/docs/1_yes_entry http://issuu.com/diabolus/docs/2_dance http://issuu.com/diabolus/docs/3_automat http://issuu.com/diabolus/docs/carp-01 http://issuu.com/diabolus/docs/carp-02 http://issuu.com/diabolus/docs/carp-03 http://issuu.com/diabolus/docs/carp-04 http://issuu.com/diabolus/docs/carp-05 http://issuu.com/diabolus/docs/carp-06 http://issuu.com/diabolus/docs/carp-07 http://issuu.com/diabolus/docs/carp-08 http://issuu.com/diabolus/docs/arena_1 http://issuu.com/diabolus/docs/arena_2 http://issuu.com/diabolus/docs/camera_obscura_millamilla_noel http://issuu.com/diabolus/docs/camera_obscura_divaolina_kirax http://issuu.com/diabolus/docs/camera_obscura_sennaspirit_coronet http://issuu.com/diabolus/docs/camera_obscura_miskat_qinan http://issuu.com/diabolus/docs/camera_obscura_thess_writer

http://issuu.com/diabolus/docs/diabolus_portfolio_01 http://issuu.com/diabolus/docs/naomidevil_portfolio_01_ web

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