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
119