josina burgess nazz lane velazquez bonetto
metaverse art 2008-2010 Nr.2a
This e-book dedicated to
(30 July 1511 â€“ 27 June 1574)
A publication of the Artspace Diabolus Cybernetic Art Research Project (CARP) 2010 copyrights: Artspace Diabolus Cybernetic Art Research Project (CARP) 2010 Josina Burgess aka. Jose den Burger (Amsterdam Holland) Nazz Lane (USA) Velazquez Bonetto aka. Lรกszlรณ รrdรถgh Diabolus (Stuttgart Germany) forward: DanCoyote Antonelli aka DC Spensley (USA) Metaverse snapshots: Helfe Ihnen Igor Ballyhoo Josina Burgess MillaMilla Noel Tyrhel Byk Alizarin Goldflake Chrom Underwood Velazquez Bonetto All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in a form or by any means, without the prior permission in writing of the copyright owners. This publication includes some words which have or are asserted to have proprietary status as trademarks or otherwise. Their inclusion does not imply that they have acquired for a legal purposes a non-proprietary or general significance nor any other judgement concerning their legal status.
metaverse art ARTISTS: Adam Ramona Abstract Baroque Ak Yip Al Hoffman Alan Sondheim Alizarin Goldflake AM Radio Amarynth Emmons Anita Fontaine Anu Papp Arcana Jasnma Ariella Languish Artistide Despres Avatara Alchemi Bingo Onomatopoeia Bennet Dunkley Bryn Oh Caravaggio Bonetto Calimera Lane Carly Frequency Chantal Harvey Chen Pitney Chi5 Shenzou Cinega Soon CodeWarrior Carling Comet Morigi Cristian Rexie Christo Kayo Chrome Underwood Cypress Rosewood Dale Innis Dancoyote Antonelli Darcy Mokeev DB Bailey Debbie Trilling Dekka Raymaker Del May Diavolina Kirax DeNovo Broome Deruub Pastorelli Eden Toll Eeyore Ogg Eifachfilm Vacirca Elfod Nemeth Em Larsson
Eros Boa Evaluna Sperber Evo Szuyuan Fau Ferdinand Feathers Boa Four Yip FreeWee Ling Frieda Korda Flower Exonar Gazira Babelli George Janick Gleman Jun Gumnosophistai Nurmi Humming Pera Haico Hax Helfe Ihnen Ida Abbey Igor Ballyhoo Jack Shoreland Jenaia Morane Joff Fassnacht Josina Burgess Juanita Deharo junivers Stockholm Juria Yoshikawa Karl Merlyn Kolor Fall Kourosh Eusebio Lamosca Velde Lion Igaly
Loup Erin Lucian Iwish Luce Laval Man Michinaga Magdeleine Rossini Man Michinaga Marion Rickenbacker Marly Milena Marco Manray Maxxo Klaar Medora Chevalier Mencius Watts Merlino Mayo Morris Vig Myth Guyot
MillaMilla Noel Miso Susanowa Misprint Thursday Miulew Takahe MosHax Max Myth Guyot Nazz Lane Nicci Lane Nicolas Sack nnoiz Papp Nonnatus Korhonen Patrick Millard Patric MOYA Penelope Parx Pixels Sideway Rose Borchovski Sabrinaa Nightfire Sanam Sewell Sandree Aubierre Sarima Giha Sasun Steinbeck SaveMe Oh Sca Shilova Selavy Oh Sennaspirit Coronet shellina Winkler Solkide Auer Sisi Biedermann Sicily Zapatero Sowa Mai Stephen Wenkmann Sunn Thunders Therese Carfagno Thess Writer Tim Deschanel Tyrehl Byk Velazquez Bonetto Werner Kurosawa Wirxli Flimflam ART GROUPS: Avatar Orchestra Caelreon Cetus Diabolus/CARP Museo del Metaverso
Odysseyart Pirats Second Front PROMOTERS: Angeline Blachere Desideria Stockton Cher Harrington Cyanide Seelowe Jilly Kidd Joy Ash Inarra Saarinen ItsNaughtKnotty Cannned Katie Reve Lauren Canetti Nebulosus Severine Preciousse Moody Slim Warrior Thinkerer Melville Tommy Parrott Tricia Aferdita Upo Choche Xander Ruttan Yavanna Llanfair AUDIENCE: Artfox Daviau Calimera Lane Chestnut Rau Clovis Luik Dublin Rodenberger Frutti Freschi Kitterannae Hifeng noname Oona Pinion Penelope Parx Prissy Price Rowan Derryth Siss Criss Tayzia Abattoir Theo Finney Thirza Ember Uva Oxide Vicky Dixon Vive Voom Wendy Swenson
josina burgess nazz lane velazquez bonetto
Contents Metaverse Art 2a Artist interviews:
Artist index Al Hofmann Alizarin Goldflake Amarynth Emmons Anu Papp Ariella Languish Artistide Despres Avatara Alchemi Calimera Lane Carly Frequency Chantal Harvey Caravaggio Bonetto CodeWarrior Carling Christian Rexie Chrome Underwood Dale Innis Darcy Mokeev Debbie Trilling Del May Deruub Pastorelli DelNovo Brome Eeyore Ogg Eifachfilm Vacirca Em Larsson eros Boa FreeWee Ling
13 17 25 31 37 47 53 59 65 71 77 85 91 97 103 109 117 127 135 143 149 153 161 167 175
DanCoyote Antonelli: 11,89,90 shellina Winkler: 12,108,110,111,112,113 Al Hofmann: 14,15,16 SaveMe Oh: 16 Velazquez Bonetto: 14,15,80,81,150,152,177,178,179 , 180,182 Alizarin Goldflake: 18,19,21,22,23,24 Junivers Stockholm:26 Josina Burgess: 26,80,81,151,177,178,179,180 MillaMilla Noel: 26,70 Sca Shilova: 26,70,96,105 diabolus/CARP: 27,28,29,30,39,68,69,72,73,74,75,76, 78,79,118,119,102,121,123,124,125,126 Igor Ballyhoo: 32,33,34,35,36,52,177 Juria Yoshikawa: 40,41,46,58,162,163,164,165,166,186 AM Radio: 42,43,44,45 Artistide Despress: 48,49 Pixel Sideways: 50,51 Sarima Giha: 54 Anita Fontaine: 55 Misprint Thursday: 56,57 Calimera Lane:60,61,62,63,64 Moshax Max: 66,67 Caravaggio Bonetto: 80,81,82,83,84 Bryn Oh: 87 Chen Pitney: 88 Alan Sondheim: 92,93 Lucian Iwish: 94,95 Chrome Underwood: 99,100,101,102 Selavy Oh:106,107 Solkide Auer:114,115,116 Del May: 128,129,130,131,132,133,134
Deruub Pastorelli: 136,137,138,139,140,141,142 Cynega Soon: 144,145 Faethers Boa: 146,147,148 Eifachfilm Vacirca: 154,155,156,157,158,159,160 Em Larsson: 161 Frieda Korda & Maxxo Klaar: 183,184,185 eros Boa: 168,169,170,171,172,173,174
Dear Reader, This book will give you an insight of the Phenomenon: ART IN THE METAVERSE. We will show you many different examples of what is created here and from many different creators as well. Many creators that work in this Metaverse were so kind to express in this book what they think and how they use this virtual world as a tool to express themselves in a total new way. Its hard to show all and everything, there is a constant process of creating, pioneering and experimenting going on, but we have tried to give you a good idea about what is going on right now in the metaverse. Dont expect this to be a list of artists with their creations, we give a random view of what is made and created, what is written and what is thought about this wonderful new world, The Virtual World.
We asked artists, musicians , creators to answere 14 questions about their opinion and personal views on Metaverse Art. Many of them dont have english as their native language, allthough on SL the most spoken and written language is english. We preferred to let the artists speak in their own way, so did not change their words. The questions we asked are these: Artist / Content Creator Questionnaire: We are interested in publishing a series of articles in a book form about Art in the Metaverse. With this in mind, we would like to include your responses, perceptions and your experiences regarding the creation of art in the metaverse. In recognition of your contributions as an artist / content creator what you think and have to say is important and our goal is to present many diverse viewpoints about Metaverse Art from as many different artists / content creators. As a Metaverse Content Creator/ Artist we would like to hear from you. We are asking that you please complete the following questionnaire and return your answers back to us. We are also requesting that you include any supporting information that you deem important in helping us understand your responses, please include relevant materials such as; biography, artistic statement, a catalog of your work, links to websiteâ€™s etc. Please note, by completing this questionnaire and returning it along with supporting information to us, you are providing us your approval to use and publish your responses. Should you have any questions, please contact any of us listed below , in-world or out-world. We look forward to your responses. Best regards, Josina Burgess Nazz Lane Velazquez Bonetto
1. Why is the Metaverse as a medium interesting to you and why have you chosen this as a platform to express yourself? 2. What topics/areas do you tend to communicate using this medium? 3. What topics/areas do you want to work on in the near future? 4. Which of your creations in the Metaverse do you think are particularly well done or significant and why? 5. How do you communicate your thoughts to other avatars? Does your style tend to be formal, for example Or abstract? Is it emotional or rational? Is it both? Are your images iconic, spiritual or concrete? Is it something totally different? 6. How do you describe the intention of your Work? That is, why do you create art in this environment? What do you hope to achieve by doing so? What impact are you trying to create? 7. How important is it to you what the public think and feel about your work? 8. How important is it to you to get feedback and reactions from the public? 9. How important is it to you what other Artists/Colleagues/Peers think of your work? 10. What special Metaverse tools or techniques do you use in your creation process? What skills did you bring into the Metaverse from RL? 11. How does creating Metaverse Art help you in your RL? 12. What themes and technical trends do you think are important for the future of the Metaverse? 13. Do you prefer to work alone or in collaboration with other artists? 14. Do you tend to specialize in Metaverse only art (â€œNPIRLâ€?) or do you import RL pieces for displaying in the Metaverse?
Picture 1: DanCoyote Antonelli in Global Justice Event
Picture 2: metaverse environment by Shellina Winkler
Al Hofmann Artist
amount of souls. What is important could vary enormously in every universe and evry being is one in itâ€™s own. I reckon, evolution is important, art as one itâ€™s vehicles also. In orden to get into this terms is of course escential a planetary well being to begin with. Missions are to follow and evrybody will their adecuate place in the chain. One should be in such of state of mind that will give individuals the clarity to -see- themself portrait as a part of the hole evolution process. I guess reassureance is a part of knowing if ur getting ur job done, lol. Again concepts changes constantly like the feedback needs. In my personal case in this matters I set the interaction up to the audience, always an open actitude can give good results for both parts. Totally superficial , except I doing a group project of course.
The Metaverse is a long wait platform for me, it enhances in a very profound way my way to create. New horizons to explore and transform as u go. Music Group creation, video integration to ninjam. massive interactive approaches. I do music and my challenge is to expand instant composition, improvisation, and the ultime goal is to bring happiness through art as a creative human activity. I love my extended collaboration work with the c.a.r.p. group. We have an instant understanding of parameters in order to create and improvise instanly from scracht. Music is everywhere :-) My intention is to create and provoke happiness, awareness, evolution, unity... in all the maximun
Recording, audio,video, looping, studio work: are some experiences that help to get the music into the metaverse. It help me understand new perspectives and approaches to art, creation and life itself. SL is and extension of RL. I see it as a new fresh clean oportunity for humans to improve ourselfs. Doing things right this time :-)
Picture 1-4 Al Hofmann in living architecture CARP 2008 Velazquez Bonetto
Picture 5: Al Hofmann in Cheesus Church by Saveme Oh
ish a piece and throw an open studio to premiere it, dozens of people come to see and comment and buy. In RL I have to battle traffic and pay parking to see another’s art show; here I just tp to as many cultural events in a day as I want. Lastly, because of the global nature of the internet, my work is finally seen all over the world.
Alizarin Goldflake Artist
I choose to create in the Metaverse because it provides me with tremendous freedom. In RL I am a 2-D artist (http://www.marthavista.com). Here in Second Life (SL) I can build large 3-D environments. In RL art materials, framing, and shipping all cost a fortune; here I spend practically nothing to make my pieces, and when I need to move them, I can do it with one hand. In RL I am limited to images; here I can augment my vision with scripts, sculpties, and sounds. In RL my work is created on a light-reflecting subtrate; here the substrate is light-emitting, which gives colors an extraordinary vitality. In RL I work alone in my studio; here I am surrounded by friends and fellow artists. In RL the economy has put all my galleries out of business and it is difficult to show my work; here I have a constant stream of visitors through my studio and when I fin-
I am basically a mood artist. My immersive art environments use images, sounds, scripts, and animations to create an emotional experience. Visual delight is always a goal; other moods I commonly try to evoke are peace, relaxation, wonder, a sense of mystery, nostalgia. ArtWorld Market (Richard Minsky) ascribes the reason my art works in this way to motor neurons in his August 2008 review (http://minskyreport.com/ alizarin.htm). You can read a description of motor neurons here: http://www.interdisciplines.org/mirror. Basically, the idea is that when you see your avatar having an experience, you experience the same thing yourself. Looking to the future, on a technical level I am interested in learning Blender in order to be able extend my range past the shapes that are possible with the SL editing tools. More generally, I am interested in developing RL/SL crossovers. My work is currently in the “Through the Virtual Looking Glass” SL and internation RL show: http://www.virtual-art-initiative.org/TTVLG/Home. html. My machinima about the Caerleon Interactive collaboration just got picked up by the Museum of Computer Art in Brooklyn (http://moca.virtual.museum/newmedia/bradford/bradford.htm). I blog about my virtual art in RL: http://alizaringoldflake.blogspot. com/ and post videos on You Tube: http://www.youtube.com/user/amajami and have a Flickr stream: http://www.flickr.com/photos/alizaringoldflake/ My work appeared last summer in “Second Life: Perform-
ing the Real in Digital Arts” by Dr. Leman Giresunlu (Assistant Professor Doctor, American Culture and Literature, Dokuz Eylül University, Izmir, Turkey), aka Venus Rosen in SL. The paper was presented at Arts 2009, International Conference on the Arts in Society, Venice, Italy, July 31, http://a09.cgpublisher.com/ program-detail.html: conference schedule, http://a09. cgpublisher.com/proposals/755/index_html: lecture synopsis. “Metempsyche’s Garden” was included in Neutral Ground Gallery, Regina, Canada, “How We Play,” August 6 - 22, 2009, presented by Soil Digital Media Suite, in a piece by Nonnatus Korhonen/Andrew Burrell called “Caerleon Artists Collective Project(ion) Space.” And a video tour of my SL studio and art work was included in the Boston Cyberarts Festival event , “Boston Is Watching,” April 25, 2009, at the Boston Public Library, Boston MA, USA. I hope do to many more of these cross-overs in the future. I don’t release a piece of art until I feel it is both well crafted and significant, at least to me. If I had to pick a favorite piece of mine, I think it would be “Metempsyche’s Garden.” It is a visualization of reincarnation. A fish is reborn as a mermaid. The mermaid is reborn as a human. The human is reborn as a winged spirit, who is finally reborn as a moth. The cycle repeats and overlaps, capturing the evolution of life from the sea to the land to the air, with the insect finally inheriting the earth. The focus of this build is the ephemeral giant particles, which are actually high-resolution jpegs of digital drawings created with Corel Painter using a Wacom digitizing tablet and stylus. For me there is something very haunting about seeing my drawings suddently appear at a very large-scale and then drift away on the SL wind. A brief video about “Metempsyche’s Garden” can be seen here: http://www.youPicture 1: Acquarell by Alizarin Goldflake
Picture 2: Come Go with me by Alizarin Goldflake
tube.com/user/amajami#p/a/u/2/A3SJbvg-bHk. In RL I am primarily a landscape artist. I use a fairly realistic style to create images of recognizable phenomena - trees, clouds, sunlight on a wall. My medium is digital drawing, and my goal with my landscapes is similar to the goal I expressed about my virtual art; in other words, my intention is to affect the viewerâ€™s mood. When I bring my digital drawings into SL as textures for my immersive art, my style remains realistic, but although my imagery appears to be concrete, it is always meant to point toward something spiritual. As for what I hope to achieve by making virtual art, creating the art and having it seen by others is really my only goal. Since the point of art is to communicate to others, what the public thinks and feels is quite important to me. I value all kinds of feedback, positive and negative. Praise is encouraging, and criticism is a good teacher. I often solicit criticism from my friends when I am nearing the end of a build, because fresh eyes can catch weaknesses that I have overlooked. I particularly value the opinions of Juanita DeHaro about my work. Because other art professionals know more about art than the general public, their opinion is especially valuable to me. My RL digital skills include Painter (digital drawing/ textures); Photoshop (textures); Blender (a beginner), Rokuro, and Tokoroten (all for sculpty textures); Audacity (sound); and Fraps (video). My second life tools are the edit window and some script modding ability. Among those skills, my strongest suit is digital drawing; my RL digital drawings, for example, have been
featured in the last three editions of the Painter Wow! books by Cher Threinen-Pendarvis: http://www.amazon.com/Painter-X-Wow-Book/dp/0321503252. Making SL art got me into process art in RL. In addition to my landscapes, I now make abstract digital collages, which I print on canvas in panels, varnish and glue together, and hang with rods like Japanese scrolls. It is called process art because the final image is not envisioned at the outset but emerges as a result of assembling, layering, and composing visual elements. These can be seen here: http://www.marthavista.com/DigiCollage.htm. Because of my interest in creating in the metaverse, I have had to learn a tremendous about in the 3.5 years that I have spent in SL, so I am a more confident person technologically. I think being a SL avatar has also affected my RL by making me more confident about presenting myself and taking chances. For example, I walked into the Museum of Science, Boston, and suggested a DigitalVirtual Art installation for the Cahners Computer Place, which was accepted! But most important of all, I have made some wonderful friends here, friends that I regard as Real friends in any world. In terms of improvements to the Metaverse, I think it is extremely important that a way to protect Intellectual Property rights be developed. Whether I prefer to work alone or in collaboration with other artists all depends on the other artists. I have participated in some truly fun collabs but in general I tend to work alone. Most of the art that I make is only viewable in SL (NPIRL), but I also import my RL drawings and collages and put them on prims, where they look even better than in RL. I love it that my digitally-created work at last has a home in a digital environment.
Picture 3: Come Go with me by Alizarin Goldflake
Picture 4: Metempsycheâ€™s Garden by Alizarin Goldflake
Picture 5: Sunrise Sunset by Alizarin Goldflake
Picture 6: Nightlight by Alezine Goldflake
pening and imagine will only become moreso as the metaverse progresses and becomes more integral to daily life.
Amarynth Emmons Artist
The fact that residents retain all rights to their intellectual property is what first drew me to Second Life. I later decided to show my art work and create work within SL because I’m very shy about showing it in real life and it is much easier for me to be outgoing in the Metaverse. I am also excited about being in on the beginning of a whole new type of world and new ways of creating and marketing art. My work isn’t really topical. I do RL and SL photography and also SL sculpture and I find that I am drawn mostly to nature and also people. I do like when the line is blurred between SL and RL work. Some of my photos can be difficult to distinguish at first. To me that highlights the sometimes blurred line between Second Life and real life in general that I see hap-
I would like to learn more about interactivity for my SL sculpture. SL offers a lot of opportunities that real life doesn’t when it comes to laws of physics, etc. I feel like I am not taking full advantage of what can be done here and only here. I have gotten a nice response thus far to my SL sculptures. My photography has done well also. Don’t know that any of my pieces could be called particularly significant, however. My sculptural work is abstract and my photography is generally not. I would say the images tend to be more emotional and sometimes spiritual. In photography, I mostly concentrate on nature and the human form. In my sculpture I like working with materials that are somewhat contrary to each other such as wood and glass or glass and metal. I like the balance between the hard and the delicate. The harder material is often in a protectoral role wrapping around the fragile glass. I like that it is a completely new medium. I like that there is a community of artists here. And I like that there are no borders or limitations to what you can do and where you can show it. The audience that I have here is so much broader than what I could have in real life. I also feel “safer” here to create and show my work. As are many artists, I’m a very sensitive person and it does feel good when someone validates you as an artist. On the other hand, I don’t take criticism too well! Its nice but I don’t know if its terribly important. It is fairly important. I like to feel a part of the artist
community here so feeling that I am a valuabe addition to that community does play a role. There are a lot of really talented artists here and I feel honored to be a part of that. I brought my photography skills with me. I am still learning to work with scripts in order to make some of my work more kinetic. So far, I’ve been mostly using the more basic scripts such as rotation, particles, etc. I’ve gained a lot more confidence about showing my work to people in real life after getting a good response here. I haven’t yet tried for a RL gallery show but I think I may work on that within the next year.
Picture 1: Josina Burgess & Junivers Stockholm in the RINGS 4d cinema production
I would like to see a lot of strides made in making building easier and more intuitive. Scripting can be a huge roadblock to those of us who aren’t programmers. Obviously, content theft is a big issue; though, thankfully, I have not had a problem with it. I would also like to see better ways of marketing events and products. I have not tried collaborating with other artists so I can’t say for sure though I think probably I am better alone. I do both.
Picture 2: MillaMilla Noel & Sca Shilova in the RINGS 4d cinema production
Picture 3: CARP Production The RINGS scenario king of the world
Picture 4: The RINGS 4d cinema production by CARP
Picture 5: Debbie Trilling & Junivers Stockholm in the RINGS 4d cinema production
Anu Papp Artist
This platform allows me to reach a broader audience in promoting Gaiaâ€™s Lap Foundation, Inc in a more one on one, virtual way through my LIVE performances and education. It also gives me the ability to apply my architectural background in my build/sim design. The foundations projects through the groups and performances. Inworld video broadcasted in RL about this medium and its ability to promote other non-profits. Ravenhart sim has always had a reputation for a being not only a beautiful sim, but a wonderful place to come and relax. I communicate through my LIVE performances which is direct. I connect the Universe through the power of music, to
bring awareness to the needs of children globally. I have conveyed that in the design of the sim. The impact, it speaks for itself. Come and visit. Extremely important. Very. Very. Broadcasting and architectural design. By providing RL connections that assist with the foundation in RL. Less mall/shopping and more educational sims. Either or, depends on what the project is. I import my broadcast and voice.
Picture 1: my angel per by Igor Ballyhoo
Picture 2: forest of scissors by Igor Ballyhoo
Picture 3: I drowe bird on the sky by Igor Ballyhoo
Picture 4: Kunst der Fuge by Igor Ballyhoo
Picture 5: scissors tree with red silken shawl by Igor Ballyhoo
ry, etc. What is happening now is I’ll have 2-3 projects going on at once, all of which are so drastically different from each other because the medium is so new and in an experimentation stage- people are experimenting to see what can be made from it. It’s actually funny and keeps things interesting!
Ariella Languish Artist
The metaverse helps machinima in general because you have a lot more freedom to create special effects or express meaning. You can create anything as far as sets in a cheap and effective way. That means with a lower budget, you can create special effects or recreate a certain time period. So, you can do bigger and better projects. Also, you have control of weather, lighting, and gravity. Personally, I like that I can do more things as a 1-person team without having the weardowns of a massive crew. My niche was big business video for a while but I see the trend going towards narrative machinima. I feel like a lot of people are investing in this medium as a viable source for creating video. So, I see more sectors using it like corporate training, narrative, documenta-
Eventually I think I’d like to stick with narrative filmmaking for children’s shows as well as documentary films. Corporate is the main way of making a living at the moment, and those can still be an outlet for creative expression but my real passion falls into films, documentaries, and music videos. I think as the medium grows more and more investment will be put in this and with a well made indie flick it can easily hit the mainstream. I’ve done a series for IBM about their software and I think it accomplished using machinima to NOT be a commentary or self aware of Second Life. In other words, it was just about Software and happened to use Second Life’s graphics. Not one time did it mention Second Life. I think this is especially powerful because people might start to use SL graphics for bigger things outside of SL and it opens up a whole new world outside of just virtual. This is truly how machinima can become mainstream. Unfortunately communicating with avatar actors is very formal and conventional. I tell them what to do in a step by step basis. There’s normally not a lot of room for interpretation because all an avatar can do is double click something to play an animation. I get those ready ahead of time and it requires no acting skill. To move things along, it’s very rational. Now, once someone invents a device where the person can act from their computer and a webcam captures it and the avatar does what the human does, THEN i will be more emotional and abstract, convincing them to put
on a stellar acting performance. I’d like to create art to tell stories, to express myself and visualize what I see in my dreams or on long train rides. I want to control lighting, have the sun hit a cheek just right, learn to think of every piece of my scene as contributing to a greater unconscious feeling that is produced in people’s minds without them realizing it. As a director, I have to be aware of everything and what it portrays. So, the intention of my work is to tell stories through producing feelings so people can almost live in the stories. The impact is whatever the emotional response the work call for. Ideally, someday I’d like to be so financially free that I can just create work for myself. I would distribute it to those interested in seeing my point of view and visions. But to truly work the way I’d be happy to do so would be to be independent of what they say. I guess I just can’t put criticism and art in the same bowl. And I guess I’m a little bit selfish because I want to do it for myself. I’d sooner care what my future children would think than anyone else :) heh At the moment, very important so that I get better and continue working. When I get good enough to appease myself, I mean certainly no one can ever be perfect. But I think I’ll know when I’m finished as an artist and create purely for myself. I work really hard now so I can be selfish later. As important as reactions from the public. Everyone’s opinion matters, I try not to judge who they are and simply look rationally and noncritically at their criticism but decide for myself if its something I should work on. I learned the most complex camera moves here and how to shape light from the flexibility of the Space navigator as it can create a camera dolly move, tilt, pan, and crane
all at once. Literally, all space is open to me to recreate any type of move so it’s made me understand more about the move and reveal process. I also understand light more and how it hits landscapes at a certain type of day and how to shape it. It makes me understand camera angles and lighting more in RL. I think the graphics need to get better and shadows need to be more secure. Shadows are a big big plus to the realism of the animation and the best machinima out there right now is almost good enough to compete in the big leagues. The hard thing is finding the gems in a sea of people who do it as a hobby. Although sometimes those who do it as a hobby end up being the best. Anyway, the more talent emerges and is publicized and raved about out there, the more people will accept and invest in this medium. So, shadows are a plus as well as a way to control depth of field (like I can push the background out of focus if I wanted to). The addition of the two of these in a secure, non-crashing way will completely change filmmaking here. Part of why I’ve invested so much time and energy in machinima is because I get to do more alone. Not that I don’t enjoy collaboration, but I do enjoy having more control because I feel its the easiest way to really nail down my vision. There are some projects that call for collaboration though and like any filmmaker, you adapt to whats best for the story. No. I have a bunch of RL music videos but I keep those online, don’t import them here. Picture1: Living Architectrure international collaborative cybernetic audiovisual project by Al Hofmann, Caravaggio Bonetto, Merlina Rokocoko, MillaMilla Noel, Josina Burgess, Velazquez Bonetto. diabolus CARP metaverse art exhibition 2010.
Picture2 spaceinstallation by Juria Yoshikawa
Picture 3: virtual installation by AM RAdio
Picture 4: virtual installation by AM RAdio
Picture 5: virtual installation by Juria Yoshikawa
Artistide Despres Artist
I consider the Metaverse is an important new medium to express art and i wish to experiment with new forms that will result from this evolution. Utopian, and light political messages through metaphoric representations. The border line and communion between disciplines. As a whole and structural pov i like the work of Bryn Oh and aurakyo Insoo. I have also interest in works that explore the use of multi-disciplinair horizons. Must be a mix... My professional influences (photography) tend to give a semi realistic render. But i work at taking distance from that phenomene. I would rather give no label. The experimental aspect is more important for me than a real achievement. A real achievement cannot be measure unless you observe after a big period of
time. Let the next generation juge, lol. Could be difficult to analyse. The public is quite easy and i do not see much open critic on the Metaverse. But some feedback is encouraging. Not so important. Rather important if a certain level of critic can be given. Varied, from professional texturing tools to 3D modeling (Blender), video and sound editing... As a RL teacher in an art school, it keeps me researching with tools and medium. Well the mix of all the disciplines + Networked collaboration I do both quite alternatively. I try to specialise in Metaverse only art.
Picture 1-2: consume level 10 by Artistide Despress
Picture 3: consume virtual scenario by Pixel Sideways
Picture 4: good by Igor Ballyhoo
Avatara Alchemi Artist
Originally I was introduced to SL via work, setting out to investigate the possibilities of creating machinima as proof of concept for RL films. It seems so far though, that is not an effective option. My photographs are of images that grab my attention for whatever reason, so they’re not thematic. Entertaining screen stories with a moral foundation, be that for the mini, small, large or expansive screen. I hope that my work, photographic and film, can inspire people to create a better future for us all. My images of SL ‘nature’. It amazes me how mere screen-captures of arranged pixels can move a person emotionally. My style is abstract, emotional and spiritual. My work is a result of a spontaneous innate need to express. There is no intention beyond that. I’m experi-
menting and exploring the opportunities still. Acceptance of my work signifies ‘belonging’, and that is a basic human need. Although I’m still working out how much of that is ego :) ditto 7 ditto 7 I belong to the school of “minimal post processing”, so I use very basic tools. As far as my skills, please refer ‘Artis’s statement’ below. So far, there has been no link beyond expansion of my skills, knowledge and experience. Not sure really...(?) When it comes to photography, I prefer to work alone; in film, with a team. I import RL images into SL, no specialty. Artist’s statement: ... the idea and action that manifest - by the thoughform all begins ... “A European hybrid, calling the burned land of Oz my home. I reluctantly wear my heart on my sleeve, hiding behind the veil of the electronic ether that spreads its tentacles across this blue island in space we call home. My love of photography was probably seeded in the very early years of my life, watching my father in his homemade dark-room. Although my relationship with photography has been a stop-and-start affair: I didn’t really start exploring photography till my architectural training. Then took it up again during my postgraduate years as a filmmaker, during which I tought black and white photography development techniques - the old days version of post processing. After this, for various reasons, I didn’t pick up the camera for 13 years. Since I have, ten years ago, I tend to point-and-shoot where I’m looking, so no filters or tripods. Consequently, many of my photos tend to be angled, which has recently been noted as my ‘style’. Although developed unintentionally, I do like the added dimension
metaverse art and perspective, not seen at the scene. It is this kind of tension I hope to capture in my images, be they RL or SL. Hence the scenes that grab my attention are inveriably in some kind of juxtaposed relationship, be it of shape, colour, texture, light. Like my father, I don’t call myself a photographer - I’m something more akin to a life observer and an archiver, seeing the images I capture as archived moments. Moments which I hope not only reflect life, but create a biofeedback loop, to facilitate creation of a better future.” My RL photographic stream on Flickr http://www. flickr.com/photos/soulgate/ My SL photographic stream on Flickr http://www. flickr.com/photos/41235206@N07/ Some works exhibited at ??
Picture 1: installation by Sarima Giha MdM arena
Picture 3: Anita Fontaine Picture 2: installation by Sarima Giha MdM arena
Picture 4: Misprint Thursday (Odysseyart)
Picture 5: audiovisual installation by Juria Yoshikawa
Calimera Lane Artist
I came to SL to learn about Jaron Lanier’s concept of Virtual Reality as before I had only been familiar with textbased online representation. That was the mediate trigger. The immediate impulse was given by an entry in an academic’s weblog, whose open research on cyberculture I followed at that time. For 18 months I logged in on a daily basis and already before your very first log on--as soon as the registration process of creating a free SL account is started-one can’t but express oneself. This is what online identity is about. You can’t hide. I quickly got fascinated with all those representations of the virtual becoming actual in the grid. Reality is a matter of definition and one of immersion. The rotation of particles ? I wish I had the time to get into creating scripts. I more
or less am absent from SL for one year by now. For what I ve been called an artist, I just modded and tossed together free particle scripts and a handful of textures, thats all. Everyone can do this. What I can say for sure is, it is nothing hat has not been made before. I enjoy creating visual effects out of nothing with easy means. Parameters are not unlimited. I love to explore how things work. May I ask you to specify your concept of the public? I unintensionally managed to place myself out of chat range on most of the particle performances I had given friends told me afterwards. Would have been nice, but I can say I had a great time anyways. With particles you do not only simulate 3D with 2D means. You also simulate 4D in 3D. I think thats what Velazquez likes about my thingies. And about particles as such. In the beginning I rezzed a prim, out of curiosity. Particles were impossible in the beginning. But they tickled my interest, whenever I saw them. Open Access is important. That depends on the person I am supposed to work with.
Picture 1: Calimera Lane
Picture 2: Calimera Lane
Picture 3: Calimera Lane
Picture 4: Calimera Lane
Carly Frequency Artist
The audience is large and diverse in every way, including geographically, and the overhead to exhibit is very low, making it easy to share my art with a lot of people I would never reach in RL. I am showing the diversity and beauty of the world and its people through my photography. I want to explore some macro images of natural and man-made beauty. I am especially proud of my husband’s photos of men in Egypt; the expressiveness of the faces is amazing. But I also love some of my work in Northern California; the trees and ocean scapes. Communication is all of the above, same as in RL. My images are more concrete, but you can’t help capturing Spirit when you shoot people and natural beauty. I really just want to get my work in front of people and
let them see the world as I see it. If they like it, I am happy. Well, I like if people like what I do and want to see it over and over, in my shop or their own homes, but I am not crushed if someone doesn’t like my art... different things touch people differently. Very. Even negative feedback is important. Otherwise, one works in a vacuum. I love when other artists see my work and make comments, because they are always looking at the world in a different way than those who do not make art. The skills I bring are merely my eyes and a knowledge of how to present imagery, and an eagerness to learn from everyone around me. There are no tools I use here I don’t in RL, other than some lighting tricks. I’ve only been here in SL a few months, so I am still learning every day! It’s satisfying and I think it keeps me more creative and open. This is a hard one. I guess what SL is doing is a new trend, in that we can have walk-in galleries and museums, as opposed to static websites, and we can interact directly with our viewers in discussion, vs emails. That’s exciting to me and I think we will see more of it in future, not just here. I work alone. Mostly they are RL photos, although I have begun creating ‘glass ware’, vases and bowls and things, here; I do not and cannot work with glass in RL.
Picture1: virtual architecture by Moshax Max
Picture2: virtual architecture Moshax Max
Picture3: cybernetic performance diabolus/CARP
Picture 4: Metropolis 4d cinema production by CARP. Performer MillaMilla Noel, robot design and build Sca Shilova
Chantal Harvey Artist
My interest lays in machinima. SL is wonderful for meeting people, as i like to work in teams, and it gives the opportunity to build sets to film in. Machinima. I film what i see, i film what i dont see. Meaning i do fiction, too, short movies. Anything, I do not limit myself to one sort or area. I will do any machinima, from art to commercials, music to politics or sports, documentery to presentations. Anything goes. No limitations. Merry Christmas Frank - it was a huge team effort, a good story, and a good twist and feel. Wish for you - It is what i felt when i heard the song, and it does not show what she sings, it is pure emotion caught in machinima. The rings - a 44 minute machinima, filmed 5 times, huge edit - first of its kind I believe.
I am always looking for ways to bring emotion across, as that is the hardest thing to do with machinima. trying to create? I want to bring machinima to the world. It is the next new thing, it is avant-mainstream. I feel that i am a pioneer, taking the artform to higher levels, exploring, never repeating myself, pushing my limits. I want to make a difference with my films. And I want to make a feature lenght movie. Hm. I want it to be seen. It is not so much what people think about it, but that they think about it. It is always interesting. Some matter a lot, most dont. I work for tv in rl. I use fraps to film, adobe cs3 to edit, quick time pro to encode. It brings recognition, and invitations to masterclasses, speaker conferences, cross media events. Better graphics, facial animations, puppeteering. Hey i like both. I do cross media machinima, so i import rl film and mix it with machinima.
Picture 1: The RINGS 4d cinema production by CARP
Picture 2: The RINGS 4d cinema production by CARP
Picture 3: The RINGS 4d cinema production by CARP
PicturePicture 4: The4:RINGS 4d cinema production by CARP
and experience, reflect to it.
Caravaggio Bonetto Artist
I like to use Second Life as a medium, because it gives the possibility to create things that wouldn`t be possible to do in Real Life. The most important aspects of Real Life architecture and art such as money, deadline and gravity don`t exist or count in the Metaverse, but there are other phenomenas that do exist, such as immateriality which widens the creativity on a large scale for most of the artists including me. Compared to 3D Softwares such as 3D Max or Maya the user surface of SL is kept very simple and practical and an other very important thing is, that whatever I build it comes into interaction with other avatars who can enter my artworks, projects
I tend to communicate topics that interest me in my Real Life art. In my paintings I thematise phenomens that influence the society I live in and ways of acting in this society. As main themes I`ve choosen manipulation, consumerism, globalisation, identity and future studies. One work that I did in this area was “Global Wood”, that turned out to be a great success, it was even used as a stage for the Rings show by CARP team. On the other hand I did an experimental research art project called “Emoticon” , where I`ve been searching for connections between colours, music and emotions based on the emotion theory of Plutschik and on the idea of Spatiodynamic Theater by Nicolas Schöffer. This project was an extraordinary team work. I believe in collaborations, as the knowledge of humanity is enduringly growing, one cannot know everything. It`s important that one is a master in his/her field and is able to collaborate to share knowledge in the good of something greater. As a third aspect I`ve been useing Second Life as a tool to create surroundings, spaces, stages for my latest paintings. In the near future I would like to use SL not just as a tool but as an inspiration for my RL art.
Picture 1: The RINGS the forest. scenedesign by Caravaggio Bonetto CARP 1
Picture 2: The RINGS global wood, scenedesign by Caravaggio Bonetto
Picture 3: collaborative improvisation VJAZZ by Caravaggio Bonetto , Josina Burgess and Velazquez Bonetto
Picture 4: The WALL V1 costume design by Caravaggo Bonetto
Picture 5: The Global Wood Exhibition by Caravaggo Bonetto
Picture 6: The WALL V1 avatar design by Caravagio Bonetto
Personally, I use the metaverse as a tool for building virtual sets and locations that I can use in films. I am interested in telling stories that make people laugh, and will be trying to spend more of my time focussing on that.
CodeWarrior Carling Artist
Because it encompasses every prior form of artistic expression. In the metaverse, we can create written works.. read those works at live poetry readings, film those poetry readings and create videos of the readings, put those videos onto surfaces in world and create a visual art installation featuring the written and spoken work. That is just one example using poetry, but we can have live musicians in here, perform plays, we create sculptures routinely in that we build ‘places’ in here. I am still exploring, but as a film maker I have found subject matter in the metaverse ranging from traditional art such as live music performances, live theater, stand up comedy and art gallery/museum installations to things that could only exist in the metaverse that are difficult to describe in traditional terms.
I think I did a particularly good job with http://www. blip.tv/file/2503163 and it’s a work that gave me a lot of freedom in how it was presented. There is no ‘story’ that must be told and I was free to really just interpret visually the impact of the performance art exhibit that is shown in the piece. It’s hard to give one answer when I am still learning and exploring what it is to be a filmmaker documenting the metaverse. Depending on the subject I’m filming, different approaches may be called for. When filming one of Vaneeesa Blaylocks performance art pieces for example, and abstract and emotional approach is almost neccessary to convey to the audience the effect the piece had on me. In many cases, I see my role as simply a conduit that attempts to communicate my impression of a performance art piece or a live theater piece to the audience viewing my video. In other cases where it’s a story of my own making, my role is much more open and I can then choose the approach that I want to choose to give the kind of emotional impact I’m looking for to go with the story. My ultimate goal is to make people laugh by creating humurous stories, but along the way there are many things about the metaverse that I can document and film and bring to the outside world as it were in the form of video. I have been experimenting with 3D graphics for several decades, and it’s always been difficult to explain to people without the proper computer skills what I do with 3D and why it appeals to me. Now, through video recordings of what takes place in the metaverse, I can provide a way for all of us who
spend time in here to show other people what it’s all about. I would probably be lying if I said it didn’t matter to me at all, but I think I can honestly say that it doesn’t matter very much. Time and again I have read comments by artists who have reached the pinnacle of their fields and the common thread seems to be that an artist should seek to make art that pleases themself. To thine own self be true, right? I try to make my films pleasing to me, and there are always things about them that I wish were better, but each time I learn how to avoid those things that displease me and the next film is better. Well I am used to the reactions one gets from the public about virtual reality and the metaverse, so it’s not that important to me to get their feedback. I’d have to say that it is important to me what other artists and colleagues think of my work. Machinimatographers use special apps that can capture video from what they see through the metaverse browser. I have tried several different types of tools for recording live video from the screen and I use a couple of them depending on what I need to do. What is particularly exciting recently are applications that allow what happens in the metaverse to be streamed live out to other viewers on the internet. This opens up a lot of possibilities for events in the metavers to be viewed by many thousands of people. As to skills I bring to the metaverse from real life, I’ve got about thirty years experience programming real time control systems and writing drivers for various kinds of hardware such as video cards, sound cards, network cards and the like. I would say stress relief, but sometimes it can be quite stressful trying to film events, particularly live events in the metaverse. That’s what it started out to be though, an enjoyable and relaxing hobby.
I think that overpopulation, energy issues, pandemics, transition to information based economy all point toward an increasing tendency to work from home and that means a future in which virtual worlds will play an increasingly important role. It depends on the particular piece of work, but speaking logistically, I prefer smaller teams. The metaverse has some scalability problems that make it much harder to work with bigger numbers of people. I suppose you could say that I specialize in metaverse only art. I don’t film things from real life as yet, and have no plans to.
Picture 2: virtual installation by Bryn Oh, arena 2008
Picture 3: virtual installation by Bryn Oh, arena 2008
Picture 1: virtual sculpture by Chen Pitney
Picture 4: Dancoyote Antonelli aka. DC Spensley MdM arena 2008
Picture 10: Dancoyote Antonelli aka. DC Spensley MdM
realize myself i don’t know, i’m here only from few months alone only metaverse art.
Christian Rexie Artist
here is very simple to open my creative, and realize things impossible in reality , in 1st life visual, imaging: i’m a photographer same... probably a develop in photos, with moving images. I think last photos, for image and afterwoek effects. Some other artists in my circuits says that i’m a good creator. As photograpger, I represent what other peoples builded. I try only to give my point of view. to give to users another point of view of SL builds. a lot a lot a lot, much than other only photoshoot (see the best view is a skill, imho) and postprocess
Picture 1: Alan Sondheim
Picture 2: Lucian Iwish
Picture 4: Sca Shilova
Picture 3: virtual installation by Sca Shilova
Chrome Underwood Artist
As an artist who had become used to working in two dimensions, I was taken aback when I entered Second Life; I found it to be nothing less than an extension of my mind, my imagination and my body. I was accustomed to wandering around the visual spaces, objects, textures and colors within my own paintings, but when I entered the virtual world for the first time it was as though my paintings had come to life and I was observing myself exploring my own imagination. It not only brought me back to a fundamental childlike state of wonderment, but it propelled me into an entirely new dimension: living in a movie of my own making; I was film director, actor and audience. I was watching myself invent myself creating art. In my avatar paintings I explore the human figure in a
classical sense, but also strive to find the person, the soul, within the avatar. I am fascinated by the complexity and plasticity of the virtual environment and its relationship to the real world. I can create virtual objects and figures, incorporate them into my digital paintings, mix them with real world elements, and hang them in a gallery in sl or in the real world; thus fusing and confusing realities. In my comic strips, I delve into some of the absurd and paradoxical aspects of life in the Metaverse, as well as its sense of romantic mystery, its shape-shifting beauty. I’m planning a series of paintings called “Lost Cities of the Future” which will focus on an imaginary civilization deep in the future, which is then discovered by a people of an even deeper future; in other words, cities of the future already in decay, Machu Picchus of the distant future. I intend to mingle elements of my current paintings into the images to keep the cycle of recycling in motion. I’m also working on a graphic novel, “Chromium and Juliette,” about a tragic love affair among the avatars, loosely based on Pygmalion, bits of Shakespeare (particularly Romeo and Juliette), and Greek mythology - all set in a virtual world. This satisfies both the artist and the writer within me. My goal from the time I arrived in Second Life was to create art that would work both in sl and in the real world. I think my series of human figure paintings based on the female avatar successfully merged the ab-ex/pop style that I work in, using primarily sl imagery as the basis of the work. I also think my comic strips, based on sl imagery, clearly express my ideas about the virtual life. My team of alts, btw, are an important part of my art and have been created specifically for their roles in those works and as models for my paintings. My hope is to eventually move from comics to storyboards and then to machinima films.
In my digital paintings, I work by overlapping both verbal and visual elements, constructing complex, layered abstractions which often contain familiar references. It involves the sampling (or, recycling) of visual elements from the world around me; things I find emotionally stimulating. As a former musician, I’ve always measured a piece by the pleasure I had in creating it, which is very similar to the pleasure I found as a drummer in a rock band. I should also add that I became a digital artist early in the game and set out to prove that you could actually squeeze your soul through the keyboard and come out with something as passionate, poetic, and profound as any physical work. I guess you could say its pretty emotional. This might be the toughest question of all, because I tend not to think about my work; I make things that excite me, things that explode with life. I have often said that I am perhaps the last one to ask, because I’m just the guy who makes the stuff; I leave the analysis to others. In other words, it’s a lot more fun to make art than it is to try to define it. I don’t really have an intellectual agenda. But, to specifically answer your question regarding the art I make in this environment, a big part of my intention is to capture some of the magic of the virtual and to bring it out into the physical world for my fellow earthlings to marvel over. Or ignore. I worked for years without getting much recognition, as my early digital art was dismissed as “push button art”, and most digital art still is, I suppose. In fact, I didn’t gain any recognition as a digital artist until I entered Second Life and found others like me, who could look beyond the fact that it was digitally created, and see the beauty of it. The recognition I’ve received in here has been extremely gratifying, and has led to greater acceptance in the real world. It is all very ironic to me, though, as my pre-digital work had been shown nationally and internationally and won numer-
ous awards. Oil and canvas are still sacred in the real world. To be honest, I enjoy it when someone tells me directly that they love a particular work, and I can actually have a meaningful dialog about it with them. We artists too often work in solitude and don’t have much contact with our audience except at openings and other events, so the feedback means a lot. It is very gratifying when artists whose work I admire give me positive feedback on my work. I also enjoy the sense of community in the Second Life arts scene, which is a lot more open and friendly, and less competitive as well. Of course, I’m comparing it to the New York art scene, where you can actually be eaten alive. There is a real cross-pollenation going on in here because of the openness and the willingness to advise, consult, critique, and even teach. Hard to find that in the real world. I am a traditional painter who chose the computer as my primary medium a dozen years ago, and have worked almost entirely in Adobe Photoshop. I’m still trying to figure out how I might apply this skill to the three-dimensional environment in Second Life. One of these days a little light bulb will go on over my head when I’m least expecting it, I suppose. I believe that the Metaverse environment has renewed my sense of wonder, which has directly effected my work, and as the world becomes more tech-savvy and familiar with the concepts of virtual life, I believe my work will find a home in the real world as well. Like all works of art, I think it will be refined, improved and blend more naturally with the real world, and then the distinction between the two will slowly disappear. Then we will have almost infinite creative freedom. I have worked with other artists, but like marriage, I
suppose, it only works if it is the right person. Otherwise, I work alone. Of course, alone often means that I become at least three or four people in order to create my art. I donâ€™t know if that counts as collaboration. :) My work is all digital, and it now goes both ways: sl ingredients and rl ingredients are often merged, and shown in both worlds. I should also add that all of the work shown in real life is under the name Chrome Underwood, and not my name in real life. Itâ€™s my little joke on the art world; since my work was dismissed when I went digital, I decided to become digital myself to make the circle complete. My Links: My website, which contains links to my gallery, my webcomic, mojozone, and to my blog, Chrome Never Sleeps: http://chromeunderwood.com A recent interview I did for Prim Perfect magazine: http://bit.ly/b14iup Please feel free to contact me regarding this or any additional info which might be helpful.
Picture 1: SL comics byChrome Underwood
Picture 2: SL graphics by Chrome Underwood
Picture 3: SL graphics by Chrome Underwood Picture 4: The RINGS 4d cinema production by CARP
Picture 4: SL comics byChrome Underwood
I would make works that would surprise me with their behaviors.
Dale Innis Artist
I’m still very pleased by the Time and Motion series of dynamic sculptures; various of them have been shown at various venues in Second Life, and the basic idea is rich enough that I can always sit down and tweak the algorithms a bit and get something new.In an entirely different direction, I’ve started to be pleased enough with some of my inworld photographs to put them up for public display and even sale. We’ll see how that goes. :) Again I don’t consider my art to be necessarily about communication of thought. My style, in most of my work, is abstract and rational, perhaps iconic, relatively simple forms and textures shaped and controlled, to one extent or another, by mathematics. But since in some sense the whole universe around us is shaped by mathematics, such abstract forms can resonate with human senses, and even emotion.
As a medium, it offers incredible flexibility and freedom from constraints; the ability to bring ideas into being almost directly, without the limitations of atoms, gravity, and materials costs. As a platform, Second Life in particular is a creative space that is seamlessly embedded in a social, and even a commercial space, and that’s really marvelous. I don’t think of my artworks as communicating specific things in topics or areas. They are small structurings of time and space, which touch the viewer, or not, in whatever way they do. I try not to presuppose. I would like to work more with interactivity; works that respond to the audience and to each other. I have done some of this, and I would like to do more. Ideally
Primarily I do it because it is fun. :) I want the objects that I create to surprise people, to intrigue them, or make them think or feel in ways that might not otherwise have. Or to make them go out and try to build something like that themselves! I work primarily for my own delight, and sometimes for my friends. It is validating and gratifying when the larger public appreciates things, but that isn’t the main motivation. It is validating and gratifying, but it isn’t the main motivation. :) It is probably even more validating and gratifying, but it isn’t (you know) the main motivation. Primarily simple non-scuplted prims, simple textures, and scripts. I am a computer programmer IRL, so
scripting comes naturally. My photographs are unprocessed or very lightly processed SL snapshots, with liberal use of the environment editor (which rocks). It’s a great escape from daily RL concerns, and a source of happiness and energy, so I can go back into RL invigorated in mind and spirit, with all those little creative atoms still bouncing around in my brain. Wow. Well, I expect we will get more powerful scripting languages, more advanced object models (meshes, the ability to import from high-function external modeling tools, and so on), and even fancier rendering pipelines. Less technically and more socially, I think interoperability between virtual worlds, in one form or another, is pretty much inevitable, and should make things even more complex and rich and surprising than they are now. I tend to work alone, and I enjoy that, but I have also had some very rewarding collaborations, writing scripts for Sabrina Nightfire and for Juria Yoshikawa for instance. Collaborations between very visual artists and those of us who are more scripty can be very effective. I don’t import RL pieces to any extent at all, really. Some of my photographs (like the Blake Sea Ferry series) are quite “realistic”, but it’s the realism of the virtual world, not of RL. The most I will take from RL is the occasional heavily processed RL image to use as an abstract texture, but even that is rare. Random facts about me: I will be celebrating my third rezday anniversary shortly; 22 November 2009. A professional programmer in RL, I’ve created a number of scripted artworks in SL, which have been displayed in the Virtual Artists Alliance and Oyster Bay galleries, as well as a few other places whose names I don’t currently recall, and in various friends’ homes. I’m a charter member of the VAA itself, being more or less active at various times,
interviewed a number of prominent SL artists for the weblog, goofed around at VAA events, scripted objects for the Photohunts and the Haiku Speedbuilds, and generally tried to be useful in between shopping and dancing and building and scripting and exploring and having long talks until the wee small hours of the morning. Various random works by various SL artists, including me, can be found in my public park in Hughes Rise:
Picture 1: virtual installation by Sca Shilova
Picture 4: cinetic installation by Selavy Oh
Picture 10: metaverse sculpture by shellina Winkler
As I worked on Paris 1900, I think building historical monuments was a very instructing matter. I liked to re-build “Moulin de la Galette, “Chez Maxim’s”, “Les Halles” and the French Academy??
Darcy Mokeev Artist
Mostly because it only depends on me. In RL you always need someone, that means lots of money, lots of explanations, lots of diplomatie : publishers, galerists, producers and so. In metaverse you just need to understand and learn how to do it yourself, and décide for youself. (Just try to build a tower in RL, you’ll see what I mean. Lol) Anything I want : paintings,(I am a painter in RL) buildings, lightings.(I am a lighter for theater in RL) I can even sing, create a planet, play piano, explore, wear any suit from any period of history, be beautiful, talk to people, listen to people....and do things with people.... will try to make a skin, and clothes.
As I told you, I’m a professional painter in RL since many years. I used to work in Theater and shows making Decors, lightings, scenographies and costumes. Posters too. Now I have a school of art in Paris. I can communicate in many ways in SL. Running a Art Gallery to expose RL and SL artists, for example.??, produce a show with singers, historical exhibition??or discovering new forms of art, like the “Matte Painters”. Personnaly I do prefer hyperrealism, but open to anything new. I just want people to think. Life is a mystery. Who am I really ? In the metaverse, it’s obvious. Who is behind the avatar really ? I am a memory. Without this memory, I just can’t be anymore. I want to interest people that they can think abour themselves. I choose this environnement because I could make a big gallery for my studients. So they could show their work to their families in the USA or Israel, in England or Canada. I also created several male and female avatar they can use to visit easely this new world....and they do !!! It’s better for them to like it. If they don’t, they will like something else. No problem. I just do what I have to do. (Il RL, a good theater decor is the decor that fits. Nobody sees it. So I’m used to be ignored as much as to be seen) When I was an actor it was very very important of
course. But now It is not, really. It is important for anyone to love and understand more and more each day. Not loving something is less pleasure. It’s a pity. But people never talk of YOUR work. Everyone speaks always of himslef thru what they see. It’s always intersting, but not really your matter. I prefer they like it, of course. If they don’t, we will speak of something else. I found I loved to build palaces (witch you can’t really know in RL). I enjoy making textures. I surely will learn how to create in Maya to import in SL ( or any other metaverse like Blue Mars or openGrids). Picture 1: sculpture by shellina Winkler
Just like RL. Metaverses are RL. (They are not material. A film is virtual, a theater show too) Making a website is it RL ? Painting on a canvas is it RL ? The RL of a RL painting is nothing more than wood, canvas, oil and pigments. The reality of Art il not in the RL but in our mind and heart. Creating IS creating, anywhere anytime. Not creating is just being dead. No ? Importing inventair from Grid to Grid, Easy relations between metaverses. I think metaverses will, one day or another, replace the net as we see it today. Used to collaboration, but it is quite different. I like both. One I give myself to others, two I get from others what I give to myself. Sort of spiritual bisexuality. Lol.
Picture 2: sculpture by shellina Winkler Picture 3: cinetic sculpture by shellina Winkler
Picture 4: sculpture byshellina Winkler
Picture 5: Solkide Auer
Picture 6: Solkide Auer
communicate any particular message and am as happy for someone to watch the performance and see it simply in terms of a good night’s entertainment as I am for them to interpret it at some deeper level. I mostly work with particles, lights and scripted objects.
Debbie Trilling creative director performer
In some respects it is more accurate to say that the Metaverse chose me, rather than the other way around. I did not enter the Metaverse with any conscious intentions of using it as a medium to express creativity; it just happened and evolved over time. I was immediately drawn into the Metaverse; its culture, its ethos, its sense of glimpsing into the future and seemingly unlimited potential. This interest has remained with me since the very beginning. I’m not sure I have a particular topic that I am trying to communicate. If I did, then ‘The Wall’ series of performances would be the nearest; anti-political and, hopefully, somewhat subversive. But I am not motivated to
I’d like to employ the lessons learnt and knowledge gained over the last 2 years working on ‘The Wall’, ‘The Rings’ and ‘Metropolis’ and other intense high-profile productions, and work with a talented team of content creators to direct another ground-breaking and stunning production. Velazquez Bonetto and I have already started this process with the recent development of the “NEXUS-9 Master Controller” (named in homage to Philip K Dick). This controller is five times faster than the controller used in ‘Metropolis’ and ten times faster than the one used in the original ‘The Wall’ production. It is stunningly accurate in four-dimensions. Its first use will be for ‘The Wall V-3’ and it will form the bedrock of all CARP’s future productions. Vela and I are very happy with it and its performance. One day I’ll find time to write a ‘History of the Master Controller’ blog; from the first version developed for ‘The Particle Garden 2007’ (CARP 2) right through to the present day NEXUS-9 (CARP 10). ‘The Wall’ is particularly significant as it was CARP’s first major production, was technically ground-breaking and aesthetically pleasing. It set the benchmark for all future productions. As CARP have evolved as a team of Metaverse artists, so has ‘The Wall’ evolved. Each version reflects our continual development as a team and as individual Metaverse artists. Version 3 will be technically and aesthetically the best version yet. The burning of ‘The Man’ installation for Burning Life 2009 was a very challenging project. How to create an impressive build, particle display and piece of theatre,
metaverse art with heavy physics, while having an audience of 200 to 300 avatars per performance? This challenge had Elfod Nemeth, Gypsy Paz and I poring over scripts for many hours making sure each and every line of code was efficient as it could possibly be. That all three performances were successful is testament to the experience gained from previously working on big productions with CARP. Both versions of ‘The Particle Garden’ (2007 and 2009) exhibition are significant, I think, because, as well as being aesthetically pleasing, it demonstrates the amount of control and direction that can be imposed upon particles. Each effect is precisely directed in time and space, and is repeatable. The underlying principles can be taken to bigger productions where an effect can be reliably reproduced every performance. It was also my first solo public exhibition and so holds a special place in my heart and personal Metaverse history. ‘The Random Profile Projector’ was a toy I scripted for fun one cold, rainy Sunday morning in November 2007. I released it open source and since then it has taken on a life of its own! The script has had over 23,000 hits on my LLab wiki page and is the scripting basis of those annoying gadgets that display your profile picture when you walk into a mall or a club. Sorry about that.
Picture 2: The WALL virtual theatre production by CARP
I tend to use visual images synchronised to a soundtrack. It is important to me that the visuals precisely correspond to the beat, rhythm and tone of the soundtrack, and that all changes synchronise. This is a challenge under any VW circumstances, but, the more avatars in the audience the harder it is to accomplish. It requires all objects to be tightly scripted; uncompromisingly so. It is not unusual for a set of scripts to go through 10, 20 or even 30 versions of dePicture 1: The WALL virtual theatre production by CARP
Picture 3: Debbie Trilling creative dictator
velopment before I am satisfied that that set of scripts is as efficient as they are going to get. Ensuring the synchronised visuals and sounds requires watching the performance over and over - tweaking, refining and adjusting for weeks or months before the public even get to see it. The consequence of this is that my work tends not to be spontaneous but is instead heavily directed, controlled and repeatable. My works tends not to have an overt message or recurrent the theme and I approach each on a project-byproject basis. Ultimately I consider the work to be about creativity for its own sake; the pursuit of the ever elusive perfection; about fun and entertainment. I do not seem to have a need to endow a project with “meaning” so long as the above criteria are being fulfilled. If I enjoy the creation process and the team with whom I am working also enjoy, and if also the audience enjoy the completed product then I think that that is impact enough. Pretty important, actually. I often tell myself that I should try and be cool, that it shouldn’t matter what the public thinks. But sadly, I have not managed to scale to those dizzy heights of coolness and the fact is, it does matter to me. Receiving IM’s and notecards from the pubic is always pleasant. Often time-consuming but nevertheless pleasant. It is not “important” to me in the sense that I could not live without it but it is important in the sense it allows for open communication, rather than appearing aloof.
Picture 4: Metropolis 4d cinema production by CARP
I have a small circle of trusted content creator friends whom I bounce ideas off and receive feedback from. These individuals are quite capable of telling me if a particular experiment is actually a disaster or conversely, if something I am unsure of actually works. These friends are time-proven to be able to give accurate feedback; not unnecessarily or patronisingly laudatory nor harshly or jealously critical. Their presence and friendship has proven valuable time and time again. It is important to me what these individuals think of my work; less so others. Within the VW environment itself, I use the standard supplied tools. Outside of that environment I use ‘Photoshop’ for textures, ‘Premiere Pro’ and ‘After Effects’ for machinima, ‘LSL Editor’ for scripting. I have always worked in technical environments including a number of years as a programmer with extensive experience of a range of computer languages. I seem to have a knack for picking up any software and being able to produce high quality work with it within a short period of time. I haven’t watched TV, read a newspaper or drunk alcohol in over three years. The mental and physical health benefits are palpable. I haven’t any new or unique insights into this. VW stability has improved many-fold in the recent past but we need now to get a fix on lag in all its forms and be able to increase the number of agents on a region without that region turning to syrup. I enjoy working in a team with talented content creators who themselves enjoy and are capable of working harmoniously within a team. Due to the nature of VW content creation, a lot of time is spent alone anyway. Working with well-selected
and compatible team members allows for social interaction, skill development, sharing and a host of other benefits. I like to create in the Metaverse, for the Metaverse. I use external software simply as a means to this end. The work itself is not necessarily “NPIRL”; it may or it may not be. That is not particularly a criterion that motivates me. But neither do I import into the Metaverse work made in RL for RL.
Picture 5: Metropolis 4d cinema production by CARP
Picture 6: Metropolis 4d cinema production by CARP
Picture 7: Metropolis 4d cinema production by CARP
Picture 8: WALL V3 Dirty Woman
Picture 9: WALL V3 Run like Hell
Picture 10: The WALL after show party
Del May Artist
and fashion also play a big role in inspiring my work.... and I love pushing boundaries in this sense, creating new looks with my avatar. On another scale, I like to work with a concept. For example with my show ‘Cyber Iconic’, the only intention was to evoke recognition in the viewer, as to which image I had chosen to represent... but to make it different enough, so as to have it’s own identity and to question what it is about an image that makes it iconic. I chose cyberpunk as the theme and each image evolved as I worked on it. As a result, a mixture of topics emerged.... aesthetics, beauty, the human condition, excentricity...... all of which I feel are reoccurent subjects in my work. I want to continue to work with my instincts as this is what I enjoy most, and what works for me.... and I hope that my work will continue to evolve in terms of what I can achieve technically. I would like to expand my horizons and work with animation and machinima.
I didn’t so much choose the Metaverse as a medium. My reasons for joining SL were not for the creative aspect, but out of curiosity for what this world was. I had no idea before joining, what I would do here. Using the Metaverse as a platform for my expression is something that happened over time. I did not set out to do it, but I am a naturally creative person, and will always find a creative angle on everything I do. I began taking photographs when I learned of Flickr, and once I became familiar with the possibilities inworld, I began then to push myself artistically here. I am a very expressive person in terms of my emotions, and this is what I tend to communicate with a lot of my work. I also focus on the human form, but not with the emphasis on the flesh... more in the sense of line. Style
This is a difficult question, because I am not one to rate myself. I am very critical of my own work and always think about improvement, rather than looking back and applauding myself. Having said that, I would say that the most significant thing I do, is to create poses. These are the backbone of my work..... and I now sell them too, and I hope that this inspires others also :) My style is a combination of things. I would say that my signature work, is minimal and emotional sometimes quirky, sometimes soulful. I work with beauty, but not in a traditional sense.... I explore beauty as a concept and like to challenge the norm. I am told that I have an amazing sense of style..... I communicate my thoughts through the forms that I create and through my avatar’s appearance.... skin, shape, dress.... The combination of these things is what makes an image work for me. There is no particular recipe for it and often I go off on tangents.
The intention of my work is to communicate. I am a visual artist because I get frustrated with words and find it easier to communicate visually and physically..... and I do this in every enviornment that I am a part of. Sometimes as humans, we are speechless.... at times like this only actions or art can truly express how we feel. I think any true artist works primarily for themselves..... there is a drive, a need to create, to explore and to understand oneself and the world. Having said that, I think being able to communicate this to others, is the ultimate goal. Otherwise we would not show our work and wouldn’t not care if it was understood or not. In this sense, it’s very important to me that I communicate to others and if I reach people, inspire people, give pleasure to people, this gives me enourmous satisfaction :) Having said that, I am my biggest critic and so if I really believe in a piece I created, this is enough for me ;)
Picture 2: metaverse foto by Del May
I think I just answered this in the previous question, in terms of positive reactions. It’s great to get feedback in any form though, and constructive criticism can help us to learn and grow as artists. Well, there’s nothing better than a genuine appreciation of my work, from somebody who’s own work I respect. This holds a lot of weight and value for me. Having said that, I do not expect everybody to like what I do, and do not take offence if it doesn’t work for some people. As I said before, if I believe in what I’m doing myself, that is enough for me. I am not very advanced technically. I work creatively with the tools and creations that are provided by othPicture 1: metaverse foto by Del May
Picture 3: Del May
ers inworld.... with the environment editor, with props, locations, textures and attire that others have created. I play with things.... use my imagination and edit objects where necessary and possible. Sometimes I create textures. I create the poses I need. I studied sculpture in rl and I have recently come to realise, that this is a fundamental part of my work with poses... it’s my instinct to work with shape and form. I do whatever is necessary in terms of post processing, but I prefer this to be minimal. I don’t consider myself to be a skilled person. I just find my way ;) It fills a gap. I need a creative outlet and for the moment, this is it. Oh this is a biggy. I really have no clue in terms of technical trends ;p Anything which will serve to make the Metaverse more flexible in terms of what we can achieve, has got to be a good thing. I think it’s just important that we all strive to continue to improve and create. Creation is the key to this Metaverse. I prefer to work alone, because I am not so good at delegating and also, my head space is very limited when I’m working. I get into the zone with it, and this is when I am my most creative. Having said that, if an idea requires more than one avatar, I will ask somebody to assist me in this. I will then take advice and suggestions from them with regards to the work, but I wouldn’t call this so much a collaboration ;) Similarly, when I have been asked to assist others... it’s remained very much their work. Maybe collaboration is a possibility for the future however ;) I work only with NPIRL
Picture 4: metaverse foto by Del May
Picture 5: metaverse foto by Del May
Picture 6: metaverse foto by Del May
Picture 8: metaverse foto by Del May
I strongly believe in free culture where professional art dont exist annymore, since we all have the tools to express and create, copy, remix and manipulate.
Deruub Pastorelli aka. Ruben Haan artist
I am interested in the combination of using te internet/metaverse for my creations together with non digital things. The way people present themselves on platforms such as secondlife interests me. But I cant say that I clearly can communicate an opinion about them in my work. Its more an inspiration and a fascination. In Secondlife I made some 3D paintings; sculpted shapes textured with acrylpaintings. Its a way of working I use a lot and even more on my own server run on OpenSim software.
Picture 1: virtual environment by Deruub Pastorelli
Picture 2: virtual environment by Deruub Pastorelli
Picture 3-4: virtual environment by Deruub Pastorelli
Picture 5: Deruub Pastorelli exhibition opening in artspace diabolus
While it is very, very simple, this creation is the one I’m currently proudest of; exploring the concept of the avatar as “captivating” art, the tension between being a person and being objectified - but objectified in the way we choose, it the ways we permit. ????
DelNovo Brome Artist
My artwork moved into the realm of electronica years ago and it generally ends up looking best on a computer screen, so displaying it in world was a logical step. The idea of using SL to compose and create static and interactive artworks was a natural step. My work is always about people, their ethics and the tensions (for good and ill) between who we are and what we think we ought to be. More specifically, I do adult and erotic art. Right now I’m exploring the use of the Restrained Life suite of applications to create interactive experiences. So far, I’ve created a number of small devices that are intended to explore the idea of the avatar as art.
It really depends. My works tend to play with the archeotypes found in classic bondage illustration and pornography, although my intent is not to create porn, per se. Rather, I’m trying to explore and illuminate the ideas, mindsets, taboos and cultural assumptions behind them. Like all art, it’s an attempt to hold up a mirror, and what it shows a person is ultimately something I cannot predict. That is, I think, what makes what I do something other than precisely pornography or erotica - because to me, those ideas are about what’s in my head, and while they have their own value, I’m much more interested in the infinite variety of how people see themselves, when prompted to express that. I’m afraid that I don’t really have any concious impetus. My work arises from my subconcious and then I try to make sense of it afterward. If people get it, when they resonate with it, I feel it’s a success - which is how I judge my “frame” to be a success. WEll, since I try to fund my SL habits by selling my work - it’s quite important. But of course there’s the emotional fulfillment of feeling that I’ve touched hearts and minds. :) Very important to my process. I often design, build and create art in reaction to or in co-operation with friends and strangers. Hm. It depends on who it is. I can tell by the art whether they would understand what I’m trying to do. :) There are many “Painters of Light” in SL - and while I
admire the skill, I’m not interested in what they have to say about those of us who render in shades of randomness, uncertainty and darkness. I use photoshop, RLV tools for posing and quick switching and I seem to have a talent for visualizing things in SL in 3D - though it doesn’t translate to regular 3D design tools that I’ve tried. Hm. How does any art help? Funny, it’s the same question my parents asked when I was ten or twelve. I’ve never come up with an answer - and never been able to be anything else. It’s what I am. :)
Picture 1: Cynega Soon
Richer and more intuitive interactivity. More natural presentations. And that is why I consider the “Adult” areas and themes to be absolutely critical to the future of SL - just as it was the foundation for the Internet. (And the printing press, and probably written language. ) There is nothing more physical and intuitive than sex and violence, and when both are satisfactory to the absolute limits of the medium - it will be satisfactory as an enviornment for doing anything that is human. It will be a reality, rather than a simulation of reality. Alone, in general, but sometimes collaboration. It depends on who and what. I do both, actually. In many cases I create images from SL, work them with the intent of both in-world and out-world print production. (Nothing to show at the moment.)
Picture 2: Cynega Soon Picture 3 Cynega Soon
Picture 4: Faethers Boa in camera obscura
Picture 5: Faether Boa
Eeyore Ogg Artist
The (virtual) third dimension is what intrerests me. The ability to use my computer to create objects, rather than just images. And to place those objects within a greater context, in a shared, explorable space. All this without having to get off my ass and actually build something in RL, wich would demand much more time and resources. I like to challenge my audience’s field of perception, hoping to make them open their minds a little and try on new ideas. I don’t really know. Usually I´m inspired by current events, wich I then want to comment on in some way. Last year, I has a big exhibit where I created and sold “Authentic Fake Warhols”. Some of those artworks were straight copies, other were Warhol-inspired pastishes. A few were modified copies of known RL fakes.
I was inspired by the RL “fake Brillo-box scandal” that was all over the news at the time. So I filled a large SL gallery with these copies and pastishes and sold identical items at varying and random prizes. The big idea was, of course, to discuss what mechanisms define “authenticity” in a world where everything is derivative to some degree, when at the same time everything can be infinatly duplicated. This exhibit was, in some ways, a failure (see question 7) but it taught me a lot about how other people think about their percieved worlds. So it was significant for me personally, anyway. I deliberatly try to confuse my audience. I want people to ask themselves “Just what am I looking at here?” So I try to create images or objects that are pleasing to the eye, very formal paintings or sculptures, and then place them in a context where they may not belong. Or I make them interactive, so that you have to click on them to really understand them. I cover this pretty much in my answers to question 1 and 2. Ulltimatly I want people to question themselves and to question the world, to re-examine their role in society and culture. Barring that, I like to keep people entertained . Audience participation and audience reaction is all that matters. There is no reason to display your art unless you want other people to experince it. If i can’t get my message across, I have failed. Then again, interesting side effects may arise from a percieved failure. The “Authentic Fake Warhols”-exhibit was a failure in the sense that most visiting avatars simply did not “get it”. The absurdity of a virtual copy of a RL copy went straight over most peoples heads and all they could see were a lot of pretty pictures. So the exhibition taught me a lot of invaluable lessons about how other people view the metaverse - interestingly, most people do not seem to want any metaphysical side to their metaverse. They want things to
Picture 2: Cablebiotops by Velazquez Bonetto
be “hands on” and “face value”. I don´t care much. It´s nice if artists I admire like what i do, but like I said before, the audience is all that matters. I´m rather skilled in Photoshop and InDesign, so I’m able to create textures that don´t neccesarily look like “textures”. So far, my SL and my RL are compleatly seperate. I think people must lern to be more prim-savvy. Think things through in advance. Don’t use 15 prims if you can acieve the same thing with two. Don´t upload larger textures than what is neccessary. Because everbody does not have the same hardware capacities as you do. So the more intricate and complex your art gets, the less people will view it. Make a concious effort to keep things simple. I havn’t found anyone that has been interrested in collaboration so far. I´m open for suggestions though. So far, my SL and my RL are compleatly seperate. Don’t hesitate to contact me if there is anything else you want to know.
Picture 3: Cablebiotops by Velazquez Bonetto Picture 1: MANAX by Josina Burgess
Picture 4: MANAX particle theatre by Vealzquez Bonetto
but not with SL. So that’s the main reason I choose to start with 3D at this point and not earlier. Also because I have support of my friends here, it’s a constant flow of communicating … very fast.
Eifachfilm Vacirca Artist
I am a video professional. I worked in TV stations and i am a master of video installations in theater plays. I lead for 4 years the video department of Schauspielhaus in Zürich, the main city theater of Zürich. The metaverse is just a logic follow up to my work in visual media. As an artist I focus on new tools, SL is perfect for me easy access. My media is screens and projectors and soon RID (Virtual Retinal Display), http://en.wikipedia. org/wiki/Virtual_retinal_display. So I am a professional for all it needs to feed these tools … video is just one way to do it. These days computers make it, as I started we used beta cam SP mostly, VHS, Hi8. I worked in the news on TV. I am used to work fast. 3D was always to must work for me, to much time between idea and result. If I want to make a news clip it takes me 1 day … if I want to make a 3D artwork, I work on it for weeks,
I am interested in cultures and human behavior. My main influences are the theater plays and the TV news. I combine the two … more the big things, not details. Like my 444 piece. It showed people want to grow big and forget the essence, things like this or my money grave yard, for all the money that died in late2008. The topics will show up them selves. I do art when I must do it. I cannot predict future, so I cannot plan it. For me its like a chess game, I wait for moves, then I decide what my move will be. The money graveyard. I was lucky, it has money as element. Not much art with money around. I did it within a day … it is part of my art. I am fast, like a news station … so I eat the soup while it’s hot … don’t know if you say this in English (Strike while the iron is hot). I made a installation in theater once I called it ants. http://d-oo-b.net/blipTV.php?movie=AYGf6QMC … it was projected on a 10m screen as visual for a opening party. They spent a lot of money … tax money there. I wanted to point to it. It made me big problems. They said if you make art, you don’t talk about money, you just take it … money should not be the issue for art. The artist must be protected from all money issues. So there was the seed for money graveyard. It is highly emotional I DJ also … it should be fun, party, dancing, iconic … but they also have rational aspect, you can look at it both ways. I try to make things that have several faces, its influenced by string theory … where they found out. That’s the five theories they had are the same thing … just looked at it from different point of views. Your own attitude influences what
you see … or you own history, education, and morals. I learned this in news station where you have to meet all needs. I try to implement this in my art so the message comes through to all. Basically I want people have fun and feel alive … give them brain food. I do this here because in SL I have audience from all over the world. Within one day, and hear their comments instantly all around the globe. I am not aiming to reach millions .. at the same time , I feel like a part of a global “brain”, as one synapses. If my input is valuable for the community it will be handed to next and it spreads within three days … the connectivity that the metaverse provides around the globe to millions. If not it reaches my ten best friends and they not hand it further. I don’t intend impact, I see my self a source of ideas … like an experiment maybe … something useful come up, but I do research. I am not interested in winning concepts and redo them.
Picture 2: rez performance by Eifachfilm Vacirca
I would be happy if they love it, but I wont stop. I do my research, if they ignore it today they might find it useful tomorrow. You never know, Van Gogh no one liked, but he could not stop doing his art. Same with me, I tried many times to stop but suddenly I must do my next move and if Ii am lucky it is a good one. I am enslaved by my art today, if I see a move … I must do mine. It overcomes me like an addiction … I work four days in a row … sleep not much, work twenty eight hours, no break, no food. I like it, but I need rest after such a thing. Actually its because, I don’t like scripting so I don’t stop and script till its finished, but also the textures … it’s work. I like more to have it than to make it Well it depends but I need no work time in between to chat with people … just be and feel how they feel … Picture 1: rez performance by Eifachfilm Vacirca
Picture 3: rez performance by Eifachfilm Vacirca
read the news and the blogs, like sensing to detect a move I must reply on … this can take time Very important, I see myself as part of it, if they say its rubbish it must be rubbish … but if only one say it rubbish and ten say it is cool … I usually mute the guy that tells me its rubbish. It does not help me … sometimes they are just jealous. Good thing in SL is no one knows how many and who you know … you can ask people from all over the world. They don’t even know about them self’s. Like this i can detect ignorant comments very quick. I use scripting and graphics design. I bought my first computer in 1983. I can deal with media any kind, it was major part of my activities all my life. There is not much in SL I cannot do … I spent in here more than 10,000 hours here. Music and RID (Virtual Retinal Display) … it’s not easy to say in the music business, they hunt the audience right now. The metaverse will be the pot where people choose their favorite music. I think in near future this is the most important … the leading art form as I see music as the mother of language. It is a basic need. The DJ and live music scene here exchanges a lot of ideas. The art I do, fine arts is marginal … but also part of the music as the music need a space to live in. But the main reason why people stay here will not be the fine arts … they just come along. I like to do collaboration, but the organization of it is very important for me. If I don’t agree … I am not part of it. I would never accept a bad way to do it, so I often
Picture 4: rez performance by Eifachfilm Vacirca
work alone or in small groups. I don’t want to loose time for selfish reasons. Also I want everyone get his or her respect. I am tried of wasting time. I specialize, but if i make RL art I always make it both worlds. The next move demands maybe a RL action … you never know. I cannot really predict. I made a performance where i was the remote city guide, people saw me on webcam talking and walking in town. They gave me suggestions what to do next … http://d-oob.net/blipTV.php?movie=AYGZ51gC.
Picture 5: rez performance by Eifachfilm Vacirca
Picture 6: rez performance by Eifachfilm Vacirca
Em Larsson Artist
A I came into SL expecting a game and discovered something much more real. When I discovered art in SL, I knew right away that I would be an artist here. photography writing same I guess that is for others to determine. I started out making very concrete images but have migrated to doing abstract images too. I love to experiment, but feel relatively conservative compared to others in SL. I donâ€™t tend to script my objects or make immersive environments, so my experimentation takes place with my camera or with photoshop. I may try some SL photography again.. I have played iwth it only a bit. New learning takes time. I create art here because it satisfies my need to be creative. I want to share what I create; I love that others
see my work. I could not mange to have a gallery in RL, but I have several here. I appreciate the recognition I receive from others in SL. Feedback and reaction are important to me because they can help me improve my work. Many people have helped me along the way. It is vitally important. I am not a formally trained artist. My colleagues have a lot to teach me and I can learn a lot by listening carefully to their remarks. RL photography -- I bring RL images into SL writing - writing transfers easily between the two It got me working more seriously in photograph in RL. I credit SL with that. I will have a show in a local gallery in the spring. This would never have happened but for SL. I donâ€™t know Mostly alone. the latter, but considering the former
Picture 4: Juria Yoshikawa
Picture 4: Juria Yoshikawa
Picture 4: seeing spOts, being dOts virtual performance by Juria Yoshikawa, soundtrack: nnoiz Papp
Picture 4: seeing spOts, being dOts by Juria Yoshikawa, soundtrack: nnoiz Papp
eros Boa Artist
Have no limit of material, sound action learn real art and teach or create interest to other people , like me, are not artist. In italy we live of art in tourism but only few people know and appreciate it. To continue to copy real art, but with new impression, my art is in the avatar who live the scene. IMMERSIVE ART. Andy Away Again, a my personal copy of Andy Warhol...we are all icon in this world and have our quarter of hour of fame I like to amaze people with easy message, copy to real event, not abstract. Interest, interest and interest in art...create feeling whit an abstract thing (art) totally useless but so â€œwarmâ€? i like people say always the true, who want to know
and want to learn Very important...to work again. Always. i have always to learn from people!! Graphic software for enviroment and avatar i can live one more time!! We need help from media, SL is a competitor very strong for internet and tv..they hate us. Collaborate with other people is very interesting...but my ideas very hard to change, lol Only Metaverse and few photos.
Picture 2: eros Boa aging, Imagine festival diabolus-CARP
Picture 3: eros Boa aging, Imagine festival diabolus-CARP Picture 1: eros Boa aging, Imagine festival diabolus-CARP
eros Boa aging, Imagine festival diabolus-CARP
Picture 4: eros Boa aging, Imagine festival diabolus-CARP
Picture 10: eros Boa aging, Imagine festival diabolus-CARP
FreeWee Ling Artist
- Virtual worlds like SL provide a platform for experimentation in the fundamental issues of reality, identity, and consciousness. They provide the means for rapidly developing ideas without being greatly restricted by cost, gravity, scale, or rationality, though they come with other restrictions peculiar to this medium. I am able to create a massive playground with all kinds of buildings and devices in a matter of a few hours. This creation is immediately sharable on a global scale. And because there is little in the way of materials cost, it can easily be deleted and the space cleared for new projects. I have always believed that anyone can express themselves artistically if they have the right medium. For some the ideal medium in paint and canvas or clay or a violin. For me it’s prims and scripts. I have been more creative since coming to SL than at any
other time in my life. - I tend to make art for art’s sake. I am not usually interested in conveying a message so much as in expressing an idea. My ideas are generally about juxtaposition and exaggeration. But may also be about silliness or about beauty. About questions rather than answers. - I’m interested in identity and interaction. Given unlimited options, how does the way we present ourselves in virtual space express something about who we really are? I think there’s a lot to be learned by exploring this question. - Well done and significant are to different topics. I’ve made some really nice objects of absolutely no consequence. A mason jar full of firefly cubes fluttering about, for example. I’m rather proud of a lily I made. I’ve also built large complex buildings that are well made, but are not that interesting. Honestly, I think of my avatar -- my whole existence in this world -- as my greatest creation. Not just the avatar itself, but the life I’ve createde here that is so separate from the one in rl. I’m proud of this being that I have molded from nothing. She surprises me and teaches me every day. - I have no style. It’s something I’ve been thinking about a lot. With most artists, I can tell their work immediately because they tend to rework the same ideas -- often in highly creative ways, but still the same ideas and this makes their work recognizable. My work is not like that. I crave novelty. Everything I do is new. Once I’ve done something, it doesn’t often interest me to do it again. This is not to say I don’t use the same skills or materials over again. But only when they apply to a new idea. My work is not often visually compelling. Its strength lies in surprise. I try to make it do something unexpected. People often don’t get my work immediately. It takes a moment to look at it, touch it, try to figure out why I made it. Then there’s often an “ah hah!” moment. - I’m not interested in impact. I don’t really care if my work is widely seen or admired. I do it to work out
ideas. The creative process is an end in itself. The product is less interesting. I don’t make art; I work on ideas. And this sometimes projects itself into an object. I find objects useful to record the process is all. A gallery is for finished work. I call my workshop a laboratory because my work often goes unfinished. - My work is not ego driven. If someone doesn’t respond to it, that’s fine. There’s a lot of art I don’t respond to, even if I can see that it’s well done. Creating art is about working out ideas. I like to share that and I love it when someone responds to it. But the joy comes from sharing the wonder. I can stand back from something I’ve made and really see it as though it was made by someone else. If I can see that it’s good, that’s all that matters. And if I see that it isn’t good, I don’t beat myself up about it. - I really like to get feedback if it’s sincere and considered. If someone says “that’s crap” or even “that’s great,” I feel very free to ignore them. But if they say it seems out of balance or the color is too dark, that’s a useful opinion and worth condidering. Much of my work is subtle and often does not provoke the reactions I hope forl. I’m a little disappointed when that happens. But when someone gets it, it’s very nice. When they don’t get it, I sometimes change it to make it more obvious. I wouldn’t say it’s critical to my process. But, for example, a collaborative work can be enormously satisfying. I enjoy creating things for other people with their input. - The opinions of my peers and colleague can be very useful, but I don’t think they’re necessarily better informed than the opinions of anyone else. - I use the usual tools: The in world editor, Photoshop, Qavimator, LSLEditor, Rokuro. I’ve used a few sculpt makers, but I’m not proficient in any of them. I often use in world gadgets for making prim arrays or aligning textures, etc. I have a large collection of specialty tools for different purposes. In rl I have a solid background with many years working in technology, es-
pecially web development and photo manipulation. Working with a PHP web environment has helped me a lot in understanding LSL. - There are specific skills in world that have significantly enhanced my rl work. Just as knowing PHP web environments has helped me in LSL scripting, woriking a lot in LSL has made me much more confident in PHP. My touch typing has improved enormously since coming to SL, but that’s not an art skill per se. - Not sure what you’re aksing with this. I think the technology promises to become more and more complex in the future. At this time, almost anyone can create metaverse content. It’s very easy to do prim building and texturing. But as we’ve seen with sculpted prims, the advanced outworld skills required to make quality content will become more important. It’s good that the technology advances, but there will be something lost if the egalitarian tools are lost and content is left only to those with advanced skills. The in world experience will be fundamentally different when that happens. - I definitely prefer collaboration, but I also don;t mind working alone. Most of my work is done as the result of an idle mind gone amok. - I don’t do much art in rl. I have built some musical instruments in rl and have worked with a colleague to build replicas in world. But most of what I make is original to this world and would never have occured to me otherwise.
Picture 2: Emoticon 2 by Josina Burgess & Velazquez Bonetto
Picture 1: Christ from Abu Graib by Igor Ballyhoo
Picture 3: Emoticon 2 by Josina Burgess & Velazquez Bonetto
Picture 4: Emoticon 2 by Josina Burgess & Velazquez Bonetto
Picture 5: Emoticon 2 by Josina Burgess & Velazquez Bonetto
I’m fascinated by everything that is in transformation. One of my favorite pieces is ‘Spirit of Vulcan’ morphing a work that is defined at random. Every time I watch I know that that combination will be repeated perhaps for several years or maybe never. It ‘a feeling beautiful and terrible at the same time because I know that the past will never come back.
Gleman Jun Artist
I tend to create only one that is lightweight, dynamic, full of energy. The performance is always different and the style is not a stable element. And ‘all inverse altogether. I am a creative and having insights is a natural thing. In RL I worked out things in different contexts, many of which are in common use and do not have specific names. In SL my intuitions are called: art.
In SL we are composed of the same matter of our work and this creates a natural continuity between us, the thought and the work itself. Nowhere is possible.In SL we are of the same subject of our work and this creates a natural continuity between ourselves, our thoughts and the work itself. In nessn else is possible. I think we always tend to say how sometimes it is impossible to do with words. A painting or a sculpture works are always incomplete because it is the viewer to fill with meaning. I look at the effect of color and light and I see freedom, others see us joy, others see us illusion. The arguments then are all and none. The same point 2.
The artwork comes from a creative act of the artist, who craftsmanship or genius for excellence, across ages, places and cultures. This has defined the creative, as one who possesses the uncanny ability to generate form the single cube of wood, an “object” that there is now and not before, the result of an idea born in a dark, mysterious, place in his mind and that always involves the subversive notion of “creativity”. The word creativity always includes the nature of unpredictability, that is a thought process that totally escapes the influence of deterministic laws and the concept of “beauty” modern: beauty is that which is spontaneous, original and generates individual responses. When the fruit of this creative act are ascribed to value judgments, it becomes art. If there isn’t reaction, there isn’t art. Sometimes using software like Photoshop or Gimp but I try to limit their use. I do not have much patience and often abandon a job
because I got another idea or are bored. This is frustrating at times. I create everything in a few minutes in SL so I can now enjoy the results of my creativity. I feel a better person since I know SL. For our purposes, SL will become more and more like the RL for which the three-dimensional modeling and interaction will be very important. Alone, in front myself.
Picture 1: Global players by Vealzquez Bonetto
I think the Art SL has to become part of the visual arts at the same level of Painting, Drawing, Illustration, Comics, Graphic Design, Textile art, digital art, art photography, film, plastic arts. I created an art group on Facebook http://www.facebook.com/home.php?#/ group.php?gid=39860773935&ref=share just to try to define this thing.
Picture 2: Global players by Vealzquez Bonetto Picture 3: Camera Obscura exhibition by Frieda Korda & Maxxo Klaar
Picture 4: Camera Obscura Exhibition by Frieda Korda & Maxxo Klaar
Picture 5: virtual environment by Juria Yoshikawa
Published on May 19, 2010
A publication of the Artspace Diabolus Cybernetic Art Research Project (CARP) 2010 copyrights: Artspace Diabolus Cybernetic Art Research Pro...