josina burgess nazz lane velazquez bonetto
metaverse art 2008-2009 2008-2010 Nr.2b Nr.2b
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 2b Artist interviews:
Artist index Igor Ballyhoo Jenaia Morane Joff Fastnacht Josina Burgess Juanita Deharo Junivers Stockholm Lamosca Velde Kolor Fall Lion Igaly Loup Erin Magdaleine Rossini Marly Milena Medora Chevalier Mencius Watts Merlino Mayo MillaMilla Noel Miso Susanowa Myth Guyot Nicci Lane Patrick Millard Penelope Parx Sabrina Nightfire Sandree Aubierre Shellina Winkler Solkide Auer Sisi Biedermann Sun Thunders Velazquez Bonetto Werner Kurosawa Wirxli Flimflam
13 21 27 31 37 43 49 55 61 67 73 79 85 91 95 109 115 121 127 131 137 141 147 153 159 165 171 177 195 207
Evo Szuyuan: 11 igor Ballyhoo: 14,15,16,17,18,19,20 Deruub Pastorelli: 22,23,24,25,26 Flower Exonar: 22,23,24,25,26 Josina Burgess: 28,29,32,33,34,35,36,46,47,48,72,7 5, 116,118,119,139,140 Velazquez Bonetto: 39,46,47,48,50,56,64,65,68,70,7 1, 74,76,77,80,84,120,122,123,124,125,136,139,140, 186, 188,190,191,192,193,194 Kourosh Eusebio: 28,29 Juria Yoshikawa: 30,41,62,128,129 Nicolas Sack: 40 Sasun Steinbeck: 42 Debbie Trilling: 44 Junivers Stockholm: 44,45,149 Caravaggio Bonetto: 46,47,48,66,69 DanCoyote Antonelli: 50,52,53,60 Adam Ramona: 54 diabolus/CARP:57,62,63,178,179,180,181,182,184 Deruub Pastorelli: 58,59 Evaluna Sperber: 78,80,92,93,94 Merlino Mayo: 81,82,83,96,97,98,99,102,103,104,10 5, 106,107,108 Medora Chevalier: 87,88,89,90 MillaMilla Noel: 110,111,112,113,114,117,126,130 MdM: 133 Arcana Jansma: 134,135 Callimera Lane: 138 Ux Hax: 142,143,144,145,146 Maria Grot: 142, 143,144,145,146 Luce Laval: 148 Caravaggio Bonetto: 148,150,151,152,174,175,176 shellina Winkler; 155,156,157,158 Solkide Auer: 160,161,162,163,164 Marion Rickenbacker: 166,167,168,169,170
Eden Toll: 173 Werner Kurosawa: 196,197,198,199,200,201, 202,203,204,205,206 Wirxli Flimflam: 208,209,210,211,213,214
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: 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: video by Evo Szuyuan
Picture 2: 7up by Josina Burgess
-it seam to me that recently I comunicate with other avatars mostly in ~fuck off~ manner, so abstract I guess...
Igor Ballyhoo Artist
-I am not trying to achive anything, all I do is I create things that I see behind my eyes, so I could see them with my eyes... I show my work simply because some other ppl wants to see it too. - I don’t give a fuck, I would create no matter what, more then half of my things noone but me ever seen... -Most of public in SL are idiots anyhow. I am pleasantly surprised when I hear something smart, I fall in love with that person emediately (this is really rare) I think that 99% of public in SL never heard about Man Ray, why would anyone care for what they think then? -copy previous answer and replace public with “artists”
- Because not only that I can create here in easiest possible way, but I can also put in use my work instantly. I could create in bigger quality things in some other ofline 3D program, but here they can become alive. - I am questioning everything and I am making conclusions of my search. Mostly ballance in human existance and duality of everything that exists -in near future, I will make a sandwich... -if you ask me, u will probably get different answer then most of ppl who knows my work will give you. I think my most important work is “eternity is watching you”. That is one small instalation that remind me that all I do or don’t do leave mark on future.
-a) all exept scripting (I use already existing scripts) -b) I am working with photo editing tools in RL for about 15 years, so I use that knowledge here - textures -it doesnt, I create less in rl then I ever did! -I think future of metaverse is in better sculpt support and in higher quality textures, which is ofcourse limited atm with bandwith -I work alone, so far I colaborate succesfully with one artist. -both
Picture 1: my brain connected to metaverse by igor Ballyhoo
Picture 2: final rose by igor Ballyhoo
Picture 3: my child driving around and hugging all world by igor Ballyhoo
Picture 4: perpetuum mobili water by Igor Ballyhoo
Jenaia Morane Artist
It’s funny, because I didn’t exactly choose the medium so much as it chose me. I came to Second Life for two reasons. I had been taking care of my mother 24/7 and was feeling isolated. I was hoping to make some friends and get some support.. I also hoped to find a way to teach some of my writing classes. In my first life I am a freelance writer and teacher who has specialized in creating online classes for authors. I thought Second Life might be a good place to do that. I certainly wasn’t looking for a means to be artistic. The wonderful thing about Second Life (and any virtual medium that allows for 3D content creation and human interaction as avatars) is that it spoke to and allowed me to express all aspects of myself. I want to explore stories and what they have to show
us about ourselves - what they have to teach us about being human. Theoretically, all topics are up for grabs, but the ones that interest me most are the ones that really challenge us to grow - racial prejudice, spirituality, the experiences of returning veterans, cultural differences, women’s rights, aging, death and dying, education, and what those who are disabled or different in some way can teach us. I’m sure I’ll discover more as I go, but those should be a good place to start. Education! I really believe that the cookie cutter approach we’ve taken to teaching and assessing what students have learned has done us all a HUGE disservice. Each person is different and there are many ways to learn. It’s about time we learned to accommodate, encourage and learn from those differences. Veteran and Civilian Dialogs: As a race we need to take a good hard look at what we ask soliders to do when they go to war. We can’t ask them to learn to kill on our behalf and then just come back and pretend it never happened. It is any wonder there is a huge disonnect? Is it any wonder Women’s Issues: As a long-time feminist I have quite a list in this area, but some of the most intriguing include the rights of muslim women, aging and sexuality. Well....I love the Uncle D Story Quest for several reasons. First, it illustrates what it means to create an immersive and interactive learning space that accommodates a wide range of learning differences. Second, it allows for collaboration and co-creation across time, space, and multi-media. Third it can be adapted to and/or have almost an unlimited number of other topics added to it. The Uncle D story is about HIV/ AIDS but there is no reason it can’t (and does) address and teach other topics such as food, travel, chemistry, history, socialized medicine, end of life care, etc. And finally, the Quest is beautiful and touches people
deeply. As an artist you can’t ask for more. This has me smiling. What I love to do best is share my ideas with others by letting them experience my work. So, for example, what is their impression of Uncle D? What is their response when they read his journal, visit his office, or listen to his phone messages? What kind of emotions and responses come up? I am always surprised, and almost always pleased to see how people respond. It is not always as I expect, but that too offers wonderful insights. I intend to encourage others and myself to grow and open ourselves to new ideas and new ways of being. There is a saying: “Don’t judge another person until you’ve walked a mile in his/her shoes.” Telling stories like this allows us to experience life through one another’s eyes. Once you’ve done that, it’s very difficult to judge and even harder not to care. I guess I am trying to help people learn by caring.
Picture 2: sculpture by Deruub Pastorelli, Flower Exonar
What the public thinks is important in that I hope the public will make use of what I create. In terms of how I feel about what I create that doesn’t affect me much. I create first and foremost because I feel I have something to express for myself. Since most of what I do is intended for public consumption - ie to help people learn and grow as I do the same - it’s very important to get feedback. Also, the Questing model is designed to be collaborative and co-creative. You won’t have that in a vaccum. Colleagues and other artists are folks who can appreciate the technique and skills that went into the work and give me feedback and suggestions, so of course I value their input. Picture 1: sculpture by Deruub Pastorelli, Flower Exonar
Picture 3: Deruub Pastorelli, Flower Exonar
I was first trained as graphic designer and illustrator. I also studied and love sculpture. My sense of color, space, and 3D design has transferred over beautifully into the building tools available in SL. But I would say that my ability to envision and tell stories in a variety of media is probably my strongest skill. That ability was fostered in me by my grandmother (a wonderful storyteller) and nurtured by teachers, friends, and family throughout my childhood. Later, writing became my profession. I donâ€™t know that I use any tools or techniques that are unique to the metaverse other than the building tools and ability to manipulate my avatar, which are an integral part of Second Life. It nurtures me plain and simple. It has also given me a whole new vision for and approach to my work. Theme: The value of the future will be in the content not the technology. Content trumps technology. Technical trends....the more virtual worlds can integrate and make technical tools available within the world itself, the more user friendly and creative the environment will be. The simple answer is alone. However, it really depends on which stage of the creative process I am in. Initially, when I am asked to work on something, I have to go inside to listen to and feel what is percolating there. I just donâ€™t want input. Later, as I start to fine tune and or adjust to meet specific requirements I welcome input. Also, the story quest model is built to be collaborative, to develop on its own into something more and richer than just one person can create.
Picture 4:Deruub Pastorelli, Flower Exonar
Picture 10: Deruub Pastorelli, Flower Exonar
envelope but then again there is nothing new in this world (virtual or otherwise) so I won’t be surprised to find that its all been done before, in fact Gertie the dinosaur was created in the first half of the twentieth century, so maybe its just new to me. Yes and no.
Joff Fastnacht Artist
I just want to play in whatever world I am in, and where there are possibilities make them accessible to others. Thankfully it is fairly irrelevant. We all love to be loved but not at any expense. Its good not to work in a vacuum, but sometimes work can be its own reward whether anyone notices or not. If I worried too much about this I would have given up years ago. Everyone is free to have their own opinions but of course it is nice to feel appreciated by those who understand what it is you are trying to do. Unfortunately I do not always know myself what I am trying to do.
A Because it is relatively unstructured and un regulated. ts possible to work with people from all over the world.Its a very cheap and quick way of exploring things that would be very expensive in the real world. A certain degree of anonimaty My main specialism is in the performing arts but I can make a mess in fine arts as well. Blended reality projects. I have already done a few live real/virtual performance projects but hope to do more. See clips on blip.tv 13 Objects with avatar repertory theatre was a major effort for all concerned, 2 hours of very complex teston 13 bespoke sets. My mixed reality events feel to me to be pushing the
not sure about first part. I have a background in performance and in particular puppetry which feels very close to avatar manipulation. As mentioned before it is a place to try out ideas before spending real money to create things. I have done set design in world then built the real thing. I’ve managed to convince my university to pay for my playing. I’ve travelled the real world in my virtual researches I tend to do more ‘conventional’ work in sl, but this is primarily for me to learn enough and be proficiant enough to then work on NPIRL work.
Picture 1: immersive concert i, visual Artist Josina Burgess audio artist Kourosh Eusebio
Picture 2: Juria Yoshikawa
Josina Burgess Artist
What to choose? Its hard to choose where I am particular proud of : The “Faces of the Sky”where I created a “Universe” of planetlike sculptures all scripted and animated, the “Hyperform Universe” where you can fly in and experience a feeling of total freedom, the “New Horizon” where I use my own rl paintings as textures in a installation and found myself “inside” my own painting (what was also emotional), the “Fotoproject” where pictures I took from my Avatar flying inside sculptures I made, reworked in photoshop, placed back in SL, animated and scripted to react on approach and “wrapping” around the visitor, The avatars I made for METROPOLIS, the costumes and designing all kinds of extravagant dresses, and clothing, all gave me great joy to create them and most of all the reactions of the people on what I make. Then all the projects I worked on with the CARP (Cybernetic Art Reseach Projects) that I founded with Velazquez Bonetto: the WALL, the RINGS, METROPOLIS, the EMOTICON, V-JAZZ, all great new developed ways to entertain people and great ART as well.
This Metaverse gives me: The abillity to show my work not only in RL and in my own country, but also worldwide Learn more about techniques and tools, use them for new ways of art making. Discover talents in myself I never thought I had. The pioneering and experimenting process, being part of this ”Avant Garde” and free the road for next generations. This is the Worldwide “Stepping over Borders”possiblity to comunicate through Art. My Goal is to create new ways of Theatre-making, Installations and Sculptures that interact with people and connect Art and Science together.
All my creations are emotional, not formal, more or less abstract, but very clear in the underlaying message. I focus on making people happy when they see or enter my Art. Composition is important, colours and movements have to be in total balance. The viewer can experience what I mean very easily. I dont like complicated layers. My Intention is simple: Make people happy, give them a euforic feeling when they look at it or experience it. Let them “understand” what they see. I hope to achieve a bigger interest in Art on the Metaverse as well in Art in RL. I like to create a better understanding between audience and creater. Feedback is very important, after creating an artist
wants to show what he has made and then its usefull for the next piece to make. Did they understood what I was trying to tell? Did it go into their heart? What kind of emotions did they feel? Can I learn more? Also important: Suggestions about new techniques, another way of seeing things, I still can learn from the worst critics as long it is about my art. I also learned to use scripts and change them in such a way that they do what I want. Collaboration and working together with other artists and creaters. The building process of using prims is a technique I slowly learned and still is in progress. My skills of colourfeeling, composition and forms are usefull, but also my skill of bringing people together, form teams and manage that. Create space for others to feel comfortable in and being truly interested in what others make.
Picture 2: The Face of the Sky by josina Burgess, diabolusCARP 2009
Today I create more in SL then in RL, but I have some new ideas, how to use what I made in SL with different techniques in RL. Its still in my mind but sure get form in the coming months. Programming, scripting, animation, those are the magic words in SL. Without good scripts an artist cannot create installations or interactive sculptures, or make theatre. I like to work alone , but also in a team. In SL its a need (for me) to work together in collaboration with others, only this way big projects can come from the ground. As long we All have different skills we can bundle them together and make something fantastic. Important here is that Picture 1: The Face of the Sky by josina Burgess, diabolusCARP 2009
Picture 3: The Face of the Sky by josina Burgess, diabolusCARP 2009
every creater also gets the credits for his or her work. Being a painter in RL, I import also my RL paintings into SL and show them too on exhibitions. This way my RL work has a space to be seen by more and a bigger audience then in RL. Rather “unknown” artists can show their work and become less “unknown”. What I create in SL is another way of Art making, both the processes give joy and satisfaction, and Both Arts is “Me”.
Picture 4: The Face of the Sky by josina Burgess, diabolusCARP 2009
Picture 10: The Face of the Sky by josina Burgess, diabolus-CARP 2009
ever I feel on the day. It also provides the opportunity to work with and be inspired by a really broad range of other artists from across the globe. It broadens horizons, opens my eyes to possibilities, makes me new friends.
Juanita Deharo Artist
In real life, as a known artist with a following and expectations from my audience and fellow artists, I am fettered by commissions, curators, collectors, colleagues - all of whom want me to continue doing what I have always done. The virtual world lets me escape that. What’s interesting to me is that this is a new platform, a new media that let’s me work in a way I haven’t worked before. It’s experimental. It lets me create things I couldnt possibly create in real life. It lets me work on an idea without spending money on materials, without making a mess, without having to clean up after myself. It let’s me make work that can truly reach out to an audinece, that’s immersive, or small, or enigmatic, or quirky or what-
Interestingly, the topics/areas I want to communicate in Second life are pretty much the same as the ones I work with in real life. There’s a diverse range, but more and more I find myself working on the same themes in the real and virtual worlds. What I’d like to do is cross the boundaries between real and virtual more - to bring my work in virtual worlds into my mainstream practice and have it become part of my overall CV and recognition as an artist. I am also interested in bringing environmental themes into second Life - in trying some of my work with art in nature in virtual space. I don’t produce a lot, and I am generally happy with what I do produce because it is all part of an expression of where I am at the time, how my art is developing, and what is important to me at the time. Most of what I do in virtual worlds is done first for myself and is deleted or not shown. I am not so interested in selling or exhibiting as just using this as a medium. If I start to become too serious about it then I will have the same constrainst as in real life, but sometimes I do like to show my work here. I don’t think I have a particular style in Second Life - excpet to say I like to be sparing, and to make thoughtful work. Technical brilliance is fine and fun to play with, but art must have meaning for me, so my work is often simple in its execution but complex in its undertsanding.
I create because that is what I am - someone who always makes something, who tries to say something with visual messages. I just like to play with puting things together to express a thought, an argument, a feeling, an emotion, whatever. I create in this environment because I find it exciting and challenging. Something new and something easier at night after a few glasses of wine than going to my studio and trying to do real life things. And I very much enjoy the interaction with other artists and the chance to talk through ideas and concepts and criticise each other’s work. I am not sure who is ‘the public’. Most residents couldn’t care less and that doesn’t bother me at all. I create first for myself, and secondly for other artists and those who enjoy art. I like to think other artists, curators, art lovers enjoy and understand some of what I do. I don’t want or need to be a ‘popular’ artist and have a lot of fans, but I like it when people who understand art appreciate my work. I also now create in Second Life for my real life audience. It is more important to me to get feedback and reactions from friends, colleagues and fellow artists, those who appreciate art in all contexts. If everyone (the public?) started loving my work I would be a bit worried, asking where had I gone wrong. This is more important to me than what ‘the public’ thinks. This is true for me in real life as well as Second Life. A successful exhibition with everything sold is not rewarding unless people whose opinion you value have made the right comments. I am an experienced builder with a number of non-art businesses and doing commission builds for others. These skills make the process of making art more easy and give me insight into how things are done and made. In real life I have had a long career as a professional artist and I bring my sensibilities and maturity as an
artist who is confident in their work and comfortable with the creative processes and the mechanics of producing, marketing, explaining works of art, to my work in virtual worlds. In the short term it isolated me because my rl galleries, audience and colleagues felt abandoned and let down by my turning to a new medium. I am just now beginning to be recognised as a different kind of artist - to have people see that it is still me but in a new medium doing new work. Now, several years down the track, I see there is real interest in new media and galleries and colleagues who were critical and sceptical are now asking me to help them and are interested in what I am doing. I am now getting paid work in the real world relating to my work as a virtual artist. That’s a really broad question - too broad to answer, so I answer in terms of art. There is a need for virtual art to come of age - to stop being self congratulatory and hooked on every new technique without meaning. We must take our place as part of the continuum in art history, and that means opening up to serious critical debate and evaluation of virtual artworks. That means we must join the real art world. One of the skills I find most missing in Second Life is the ability to exhibit works properly. Curatorial and exhibition design skills are sometimes lacking here. Considered criticism is also lacking in many instances. Alone. I don’t like to collaborate. Making art is an intensly personal thing and I do it in my head in converstaions with myself. Anyone else in that conversation would be too many. In the virtual world I produce only work that could not exist elsewhere, but I sometimes include elements of real life works.
Picture 1: CARP exhibition in Metropolis metaversum Picture 2: CARP exhibition in Metropolis metaversum
Picture 4: vurtual sculpture by Nicolas Sack
Picture 4: virtual installation byJuria Yoshikawa
Picture 10: Sassun Seinbeck
doing live streamed music in shows, and also doing awareness work. I have been fortunate to be able to work with highly skilled people and groups and i hope to be able to do that also in the near future.
Junivers Stockholm Artist
There is so much being created all the time. Its not possible to experience all of it. I have been involved in some exciting projects. The Wall, The Rings has been extraordinary to work with, also “Follow the Light” - a light show, has been fun to do. The shows has been made by a group of international artist. The international interaction is something i especially like. I also did some live jamming using the software Ninjam and streamed it to SL. Thats was a great project to do. I try to put some soul in my music. It´s up to the audience to tell if i succeeded.
It was clear to me in the late 80s that media was going to change. At that time I made my first interactive multimedia. It was then clear to me that i wanted to be participating in the development. The new possibilities with a non linear communication was a challenge that i took on early. Virtual worlds is an exciting development that i embraced very easy. When i speak about virtual worlds I also speak about the international platform i think it is and about the art that is so special for Virtual Worlds - i actually say that i think that the most exciting art is now developing in virtual worlds - not iRL. The things i have been doing is what i want to keep on doing. Using virtual music instrument for live jamming with others, composing music for shows,
I want to help doing a better world. Thats a driving force in almost everything i do. I hope that i can get even more inspired by the people i work with and spread some inspiration myself. If i didn’t get any feedback i would probably not do any music at all - just play for myself. I mostly do instrumental music but in Sl i have been cooperating with some people.I had some help with lyrics by Josina Burgess and Medora Chevalier. The kind of feedback i appreciate most is the one that makes me understand that the audience understood :)) I REALLY hope that the artists i cooperate with did it because they think i have something to contribute. I would very much dislike if i got the feeling that they didn’t.
Picture 1: Particle Garden by Debbie Trilling, audio artist Juniverse Stockholm
I think imagination and “visionary thinking” are important tools for me in most things i do. The tools, also Metaverse ones, can be used in many ways. For me its important to test things and from testing find ways to use them - sometimes in ways that somewhat are unique. Playing live in SL has made me a bit more confident playing live iRL. Composing for big shows has been rewarding for me as a composer. They have been a challenge to do. I would say it helped me develop as a composer/musician. International collaboration and also NGO work are trends i think will develop more. I hope, and think, that there will be a wider group that are working for a better world. We have already seen how different kind of artists have been coming together to do “awareness shows”. Virtual worlds allows them to do new things in a new environment. I also think the trend with fast development of computer hardware will help us do a more high end performance - you could say “a more realistic virtual reality” :) We are getting there !
Picture 2: Juni in the THE WALL
Some parts of the work i need to do myself but i LOVE the collaboration. Im so happy that i´ve been able to work with so many great people. Many of them are within CARP. But I´m also in other cooperations Like Four Bridges, PeaceTrain, Better Worlds and many other NGO´s. In Imagine Festival I also had the opportunity to work with Yoko Ono. I did a live TV broadcasting for the opening of Imagine PeaceTower - a replica of the one from RL. My music has definitely changed and became wider including more styles. The ambient style comes quite a lot from being in SL. The visuals in SL has affected that development within me.
Picture 3: THE RINGS
Picture 4: Living Architecture by Velazquez Bonetto, Josina Burgess Caravaggio Bonetto audio Artist Junivers Stockholm
Picture 5: Living Architecture by Velazquez Bonetto, Josina Burgess Caravaggio Bonetto audio Artist Junivers Stockholm
like to help people to discover the interesting and educational aspects of this great mean. Working as a tutor for the Italian Community, I come across many people every day, but unfortunately very few of these show interest for creative, artistic and educational aspects of Second Life, and I would like to do my best to help in changing this aspect.
Lamosca Velde Artist
I get inspired by memories and fantasy at the same time, this is why some of my creations are reproductions of monuments or historical locations that have had major importance in my life and some creations are the pure product of my fantasy. My avatar’s appearance is one of these. I communicate in a spontaneous way, always, in the metaverse as well as in real life. My style is personal, creative, ironic, emotional, funny and relaxed. When I create in the metaverse, as well as in real life, I am expressing myself and my beeing, and I nevr even think of what will happen beyond that moment.
The Metaverse and Second Life in particular is interesting to me because it make “eveything possible”, it enables me to express my creativity in uncountable ways that would be impossible outside the Metaverse. Here I can build, create and experiment without worrying about our human physical limitations...it is all about Pixels...Pixels creatively drawn toghether by crativity... isn’t this Magic?! I tend to engage my time in the Metaverse with almost the same topics of my real life range. Art, creativity, building, human values and more. I am an explorer, I like to wander around Second Life searching for new “Creations” to visit, see and explore. I would like to improve and keep improving my building and creating skills in the Metaverse and I would
I would lie if I said that I didn’t find it pleasant when people admire my work and appreciate it, but in the process of creating this aspect is unimportant. Honestly it isn’t. I like to share my metaverse creativity with my life companion and, when possible I show my creations to my family and loved ones. I am happy when they show appreciacion. I appreciate communication with interesting, intelligent, creative and artistic people in general. However I do not feel the need to collect opinions about my work. I appreciate them when they are constructive, both as critiques as well as compliments, and spontaneous.
In the metaverse I use the build function of the program and help my work using sculpted prims, scripts and textures, no other special tools. Textures are mostly imported by me and as a skill from real life I brought my ability to use Photoshop (CS4) into my work in the metaverse. I am creating in real life when I am creating in the metaverse. Only the tool is different. The metaverse is a constantly changing and evolving tool...its Art evolves along with it.
Picture 2: CAARP concert hall benvolio by Velazquez Bonetto
Picture 3: Justice Gala virtual environment by DanCoyote Antonelli
I am a lone worker. I work alone, my life companion is by my side most of the time, and we talk about the work during the process, but my work is mine and I am very gelous of it. Only metaverse until now, but I sure will import real life work into it in the future, in order to â€œplayâ€? with it in the metaverse.
Picture 1: Justice Gala virtual environment
Picture 4: Justice Gala vitrual environment by DanCoyote Antonelli
Picture 5: Justice Gala cinetic sculpture by Adam Ramona
tems. I would slowly like to evolve a contemporary interactive opera in SL. “Lashes of Earth”, feels good to me, I connect with that installation at a spirtual,sensual and scientific level. I think it’s pulling a bunch of elements together in a seemless way, which is why it’s working for me.
Kolor Fall Artist
I’m perty much how I am ... my avatar isn’t that much different from my organic, it’s basically just me. I’m creating “tensional spaces”, which open up space in peoples mind solve problems. The major goal being with the art, that people will create useful products and communities by observing and creating in my spaces. It’s very important for me that “someone” gets a piece, not “everyone, but many of my tensional spaces are keyed, and are creating a tensional space for specific objects to be created or instantiated.
A My art starts in the physical world where I paint a tensional space, these paintings are uploaded as a basis for a virtual community to observe and create communal pieces. This communal emergence of art is difficult and costly to do in traditional mediums, while in the virtual systems complex emergent pieces are less costly to build. I focused on cycles of observation and creation, that unfolds at neural level, then a quantum level, then back to a neural level. The core topic i’m focused on is the evolution of life to quantum forms, to travel to the ocean floor, near planets and stars. I’m currently merging the art forms of organic music and painting with digital video and virtual stage sys-
The space that is opened up in peoples minds as they observe my art, is the reason for my art. I greatly enjoy my peers in second life, it’s almost a AA type of thing for artists ... communal artist support group (Artist support in the united states is almost non-existent for the people that are really out there). I have about 30 years of working in virtual reality, and 40 years experience with art. It opens up new area’s of thinking, which is invaluable to being creative. SL is too “closed in”, it needs to interface with the internet in a much more flexible manner. Technical improvements inside SL i think are secondary to getting
more people access to SL. I run two sim region, where i work with various artists, normally each artist works fairly independetly, but with a joint concept.
Picture 2: Living Architecture by Velazquez Bonetto audio artist Al Hofmann
Picture 3: Living Architecture by Velazquez Bonetto audio artist Al Hofmann
I do believe “electronic only” art is good for people who haven’t been creative for a long time, I often listen in to people that interact with my RL art at a gallery or something, and as they talk to thier children, they are referencing past experiences of child hood ... as if they have not had a creative art experience since they where children. I think people get the creativity beat out of them by schools, and places like SL allow a reemergence of creativity(my large rl painting, “Waking Up at Sunset” is about that concept, which I will eventually load up into VR and do a installation on).
Picture 1: THE WALL
Picture 4: Deruub Pastorelli opening in artspace diabolus
Picture 5: Justice Gala virtual environment DanCoyote Antonelli
I found myself in some creative streak and began to produce art works that whether or not Art ... I leave to others to define it. I like creating 3D sculpture with the native Second Life, â€˜s creative use of the particles, the Prime Paintings (simulation of paintings, but products in SL) and scripts.
Lion Igaly Artist
I founded the site SL-ART IT site of Italian artists in SL http://slartit.ning.com/ I chosen this as a platform to express myself for the great chance to give shape to imagination in a simple and intuitive manner. I try to convey a message that is important to me: everyone can if they so choose, to express their creativity in this virtual world, though in the real world they make the trades more different and distant from art. At this moment I organized exhibitions virtual grouping different artists. Also I create sculptures and art installations.
For the first time I came in Second Life in April 2007 and a that time one of the first problems I faced was then posed to the artists who tried their first timid steps in the metaverse to raise awareness of their works with the exhibitions. At that time the Italian art galleries in SL were few and little-known and identified many elements that could worthily talented exhibit their creations in a gallery. Thus was born the first pyramid, a building that I imagined as an ideal showcase for these artistic experiments. On 7 June 2007 by the first exhibition of the Pyramid on land rented for the purpose. On that occasion, I founded the Orion Tales art group that exposes permanently in the land of Indire. I then set up 2 other buildings for exhibitions of art in SL, the Diadem 1 and 2 and I have collaborated on several shows at other galleries SL. Subsequently, in 2008,
I like to experience every kind of expressive technique and in the future I pose no limits in this research. All creations well done. My passion for experimentation leads me to embrace many different styles and even create new ones, using for example the support of the particles. The intent is to communicate emotions, particular points of view, exploring the unknown of my imagination. If I can excite or amaze the public brings me half happy and half I was already given by the completion of work.
It is quite important to know the opinion of the public to improve, but not always possible to know it truly and sincerely. All are public when they look at my work. Building, scripting and particle are the techniques that I use in the metaverse. In RL I am a programmer and I know digital imaging. It relax me. I think the theatrical art is increasingly graft with immersive art installations, a new art form from the fusion of different visual arts. Picture 2: Justice Gala VJAZZ dom
Alone, but not always. I prefer productions linked to metaverse.
Picture 3: Justice Gala cinetic installation Juria Yoshikawa Picture 1: Justice Gala Break those Walls Velazquez Bonetto Josina Burgess, Caravaggio Bonetto, Junivers
Picture 4: Metropolis metaversum virtual environment by Velazquez Bonetto
Picture 5: MdM cyberlandia Les demoiselles dâ€™Avignon by Caravaggio bonetto
that are more and more enormous. I also began to use sounds in my SL creations. but what is sure is that I keep in the black and white
Loup Erin Artist
“Dream” I do not know if it is done well, but it’s my first creation of very large size (40X40X50) that I create from one of my musical composition, (for I am also a musician ), I play a lot on the sounds and visuals, for me it’s some kind of video clip of the music. I had many emotions when creating I do a lot of different style, my only rule is limited to black and white, before beginning a work, I already its final result in mind, it can be: formal, abstract, emotional or rational. and when I start, I put everything I own, emotion, passion, desire and determination .. - For my pleasure, I create in SL the same way as in RL, to cause emotion in the viewer, to convey a message. the desired impact is the same whe I want people resente something, if I can cause the Stendhal syndrome on some, I’m happy
- I think this world (SL) is interresting, because it is already populated by thousands of people that can reach many people, unlike a simptle website, the person is already present here and lots of structure welcomes artists - In RL I work only in black and white (painting, photography, sculpture ...) and also in SL, but in SL I can really give free rein to my imagination because the possibilities are immense and with little cost ^ ^ creation of visual, sound and light, I have no specific theme was broadcast, each of my creations has a different message has to pass, according to my mood and events of my life - the same as usual, but I am trying to create works
Yes it is important that you tell me, (I like) or (I hate), I always take into account the feelings of the viewer, that criticism is good or bad ... but I’m not going to harass the public about what they think -Rather important, I’m interested in any thought or say about my creations I use Photoshop, a lot of script, and now I’m interested in sound, all is created specially for my creation on Second Life, I imported some of my paintings RL, but Second Life allows me to create something different from the RL, without spending too much money
- Rather, my creation SL helps me in my creations RL, if I do something interresting on SL, I did my best to recreate in RL. -just one thing technical... make sculpty flexible! j’aime être seul quand je crée, mais parfois, j’aime faire des projets en collaboration. (actuellement je suis sur Un projet avec Zhora Maynard) I do both, as I said above, I have imported some creation RL, but I love creating from SL is a hobby
Picture 2: MdM Cyberlandia CARP exhibition Velazquez Bonetto
Picture 3: MdM Cyberlandia CARP exhibition Velazquez Bonetto
Picture 1: MdM Cyberlandia CARP exhibition Caravaggio Bonetto
Picture 4: MdM Cyberlandia CARP exhibition Velazquez Bonetto
Picture 5: MdM Cyberlandia CARP exhibition, Josina Burgess
for a novel, has survived multiple relocations and evolutions over the last two years. Large, small, formal, informal, and even “missing-in-action” have not compromised the loyalty of O’Chills’ clientele.
Magdaleine Rossini Artist
I remain transparent throughout The Metaverse and in all areas of social media, thus my communication is conversational and real-time. Because I emphasize interaction -- written, oral, or rendered -- my environments tend to be uncomplicated and artistically simple. I indulge my excitement by creating themed focal points that occasionally provoke new conversation, but often symbolize familiarity with RL -- with a “twist”. I rely a great deal more on color and texture than domination by highly realistic graphics. Hmm? “My” work is always a compilation of works -- a mix of my creations and words with those of other talented creators. I do not create for exhibition or adjudication, but for the pure pleasure of camaraderie.
As a writer and creator, I am free of RL perceptual constraints: the “white space” of paper or canvas. Metaversal creations can be contiguous and fluid or -- conversely -- compact and concrete. Incorporation of animation with word and graphic representations creates a heightened and unique experience for creators and users. Relaxation, connection, reassurance, risk, and hope are key to my work in all worlds. Creation of environments and experiences that promote quietude, reflection, and experimentation. Hands down, Zero O’Chills Bar & Grill. The project, begun in late-2007 as an “observation platform”
I love it, of course! To hear, “Wow, it’s really *nice* here!” is an amazing payoff:) Well, if they’re tired, their backs hurt, and they need to sit down with a good drink and conversation for a while, I’m around. The transparency in RL and the Metaverse draws on me to “be there”, to gather, and to integrate as much feedback as possible. And the coffee is always hot and the Scotch is free. Photoshop is my friend -- on every level of graphic creation. I am exploring machinima as well as several media broadcasting techniques to enhance the “written word” experiences. In my RL profession I use X-ray vision, bionic hearing, and lots of
graph paper to chart themes, patterns, trends, and symbols. The Metaverse is a fabulous sieve for exploring human needs and reactions, thus helping to craft useful solutions to life puzzles on a variety of realms. My eyes are 100% keener to my RL surrounds. The mathematical aspect of metaversal creations has improved my decorating skills tremendously! More subtly, the â€œrhythmâ€? of conversation has definitely improved my written fiction dialog as well as my non-fiction presentations.
Picture 2: MdM Cyberlandia CARP exhibition Velazquez Bonetto
Thematically, I must vote for tolerance. Without tolerance there will be less risk-taking in expression. Technically, providers must provide secure, reliable, and easily accessible, multi-lingual platforms -- especially important as enterprise, educational, and governmental entities enter in increased numbers. I play well with others:) I use a blend -- often creating a derivative of RL renderings that are graphically reworked to integrate with NPIRL works.
Picture 3: MdM Cyberlandia CARP exhibition Velazquez Bonetto
Picture 1: MdM Cyberlandia CARP exhibition Josina Burgess
Picture 4: MdM Cyberlandia CARP exhibition Velazquez Bonetto
Picture 5: Evaluna Sperber Emoticon 4
as a professional facilitator, I am very good at designing and implementing such processes.
Marly Milena Artist
My style as a person, Theraphist, Educator is informal. I have made a slide show at my venue to be able to introduce the types of projects I do. They can be visual, auditory, kinetic or a combination, but the main thing I try to get across is that they are a;ways interactive, usually collaborative, and focussed on process, not an end result. My main intention is to demonstrate that expressive media are powerfull tools for self-awareness and community building. I do it here because its fun and because I have more opportunities to reach people I would never reach otherwise. What is important is that whoever participates in my programms understands the difference between, for instance, making a picture simply for viewing and making a picture for self-exploration and insight.
The Metaverse is interesting for me because I have more oportunities to experiment with art processes combines with psychology and education in SL than I do, at this time, in RL. My topics are Self-awareness, community building, creative expression, experimenting with combining media as a personal growth process. In the near future I will do the same, but with various collaborators with different types of expertise As far as I know, I am the only one developing programs in which Art is used as a process for self-discovery rather than primarily as a development of product for exhibit or performance.
I am interested in each personâ€™s learning process when they do participate in my prigramms and what works well for them and might be refined. I enjoy finding kindred spirits For this question I would need to send you a notecard describing my projects, what I am doing here is en extention of my RL work as a groupleader, Gestalt and Jungian therapist, Multi-artist, Educator, Organisation Trainer and Consultant and Coach. However I am mostly retired in RL so this is my new playground. I am less technophobic than I used to be. SL is also a topic of conversation among circles of friends and colleagues, and a number of people have come in as a result. This makes it easier to hang out with people
who live a distance from me. More emphasis on an understanding of different cultural approaches to Art. A simplification of the technology so that one doesnâ€™t run into so many glitches and difficulties when groups of people gather to do something together. The development of emotional gesture and facial expression for avatars. A simplification of scripting for non-tech lay person.
Picture 2: MdM Cyberlandia CARP exhibition Velazquez Bonetto
My programs are collaborative, both in their development and their execultion and I also recognize my selfimposed limitations as a builder so that, for instance, I have designed a bunch of necklaces and then found someone else to make them. (This is seperate from the work I have been describing, just something I do to express my own creatiive spirit). Often, the initial idea comes from me and I find others who are interested in working with me. I have certainly imported some of my own self-portraits for one of my workshops, and others send me theirs as well. But this is not a main activity
Picture 3: Evaluna Speber Emoticon 4 Picture 1: rinascimento metaverso , Merlino Mayo
Picture 4: rinascimento metaverso Merlino Mayo
Picture 5: Virtual architecture MdM Cyberlandia by Velazquez Bonetto
programme as well as ideas. The audience reaction was fantastic. People were saying how they didn’t realise that virtual environments could be used in this way – using so many artistic forms to put across a challenging message.
Medora Chevalier Artist
My first connection to the power of Metaverse Arts came from taking part in long collective music jams on gamelan, hyper flutes and other hyper instruments. These were beautiful spontaneous events. It was amazing to me that people from many different countries were involved simultaneously in creating something beautiful. The Rings rock opera, a Carp production in 2008, was a really challenging and ambitious project which made a great impact on me. Its ambition was to change the world! It was so fulfilling being part: developing the concepts, working with a large team and using so many different art forms - design, music, dance, acting and metaverse art forms like scripting and visual effects. I was proud to contribute lyrics, narration and
Following on from this I’ve enjoyed contributing poetry, lyrics and choreography to many arts events, poetry slams and campaigns. Follow the Light is a special artistic pleasure, with junivers’ striking original music, Jannne’s beautiful particle fireworks and my contribution of costumes and choreography and a team of dancers from different countries. I love the audience reaction when all the visuals and the music come together. – It makes such a strong connection with people. For my own choice of art work to visit I will aim to find work that brings together sound and vision. It has to have a real impact, drawing me in as participant or taking me away into the Metaverse so I change my understanding of myself or my world (s). For me AuraKyo Insoo’s work is outstanding. I never miss one of her shows. They tackle the most difficult subjects – violence against women, war, struggling humankind – always with a clear vision, integrity and humanity One delight of the Metaverse is the unexpected invitations that arrive every day taking you at the press of a TP button to some new arts experience. A uniqueness of art in this environment is our ability to interact with it, walking and flying through it, touching it so it responds, hearing it breathe and change. Metaverse Art is a living character in our story. It has the power to make us gasp as we alt zoom out to see ourselves, tiny specks among falling spires, tiny insects flying among huge flower textures, lonely spirits climbing the galactic stairs to the celestial heaven of the pharaohs.
Metaverse artists always seem happy to discuss their work and its meaning. Though often I feel that art should have no explicit “meaning” – other than its impact on that person experiencing it and the creative expression of its creator. Deciding what you like in Metaverse work is, I find, more intuitive than in RL settings. These environments are less boundaried by conventional frameworks of meaning or taste. This liberates us to make a direct, intuitive and genuine response to each piece. One piece of Metaverse Art that changed my view about Art and /or Life was AuraKyo Insoo’s Viva la Vida. This showed me that Metaverse Art has the potential to exceed the impact of RL art if it is made with deep artistic sensitivity and ability to use the potentials of the environment. It was magical and I returned day after day to stay within it entranced. The only type of Metaverse Art I decidedly do not like is the work that shouts “Look at me, aren’t I clever” with my fancy skills. Who cares about what is being communicated if it comes down to ego? The differences between Art in RL and Metaverse Art are clearly around the mode of creation. But in the inner impact the differences are not so extreme. Immersiveness can occur in a great novel, film, symphony or sculpture. It is rarer to get the hug scale in RL that you find sometimes in SL. Anish Kapoor is one of the few who makes this impact in his work. The art that is created inside the Metaverse and is of it is special, although there is also some lovely RL artwork imported. My late friend Izikael Novi is one of the many RL artists who found a new global audience for work imported into the Metaverse.
The moment has come for RL to wake up and recognise that Metaverse Art is valid and has significant creative value and artistic impact. More and more artists, musicians, film makers are coming to this environment to play and discovering its potential. It’s only right that artists should be near each new frontier and light the way for everyone else.
Picture 1: Medora in the Werner Kurosawa exhibition opening
Picture 2: The RINGS homeless performed by Medora Chevalier (diabolus/CARP 2008)
Picture 3: Medora in the Dragon Emoticon (diabolus/CARP 2009)
Picture 4: Medora in the Junivers StockholmLiving Architecture performance (diabolus/CARP 2008)
metaverse art Youtubed Dido Interactive database interface
Mencius Watts Artist
As an intermedia artist, I actively investigate emerging technologies that inform my work in a variety of media including installation, video, virtual art, and interactive projects. I approach my work in new media from a perspective rooted in the traditions of painting, photography, and sculpture, with a particular interest in spatialized works that can immerse a viewer within an experience. In developing new concepts and forms, I draw on intersections between philosophy and science, as well as juxtapositions between built and natural constructs. I position my work to act as a mediator between tangible and implied space, creating a potential for the transformative nature of a composition. I pursue the realization of forms, sounds and images that afford interaction at its most fundamental level. As my work is interactive, I am always interested in participant feedback
New media extends the range of traditional processes by establishing a palette of time, motion, interactivity, and extensions of presence. I find that the ephemeral qualities of electronic and intermedia works, by their very nature, are inherently transformative. The significance of the tangible becomes fleeting, shifting emphasis from the object, and toward the experience. Transcendent, Liminal - poetic threshold moments spanning experience Hybrid reality, human computer interface, spatialized navigation, immersive poetic installations 4. Which of your creations in the Metaverse do you think are particularly well done or significant and why? Flickr Gettr
8. How important is it to you to get feedback and reactions from the public? Very important Peer review and critical feedback is quite important of course I work with an interdisciplinary team of artists, designers, architects, computer scientists, and composers to develop new forms in interactive forms I am an intermedia artist - working between media, between worlds - I collaborate and investigate new forms collectively Virtual worlds as portal for mediated experiences in info, data, media and physical realities
I value the synergy of collaboration and have worked closely with other artists and scientists on numerous projects. I am a career artist in electronic media since its emergence my work bridges both worlds
Picture 1: Evaluna Sperber Emoticon 4
Picture 2: Emoticon 4 by Evaluna Sperber
tures for events, sculptures, complete avatar building, basic scripting, graphic elaboration, recently video.
Merlino Mayo Artist
At the begin of my experience, the first day, looking at work some avatars into the public Sandbox, I found immediately the Metaverse as an intersting revolutionary medium. So I start to understand this new instrument, the building art and working with prims, colors, scripts and avatars creation, all this bring me to a new way of artistic expression. The Sandbox (the place where each avatar can freely create) is the best example way to understand how Art creation starts and comunicates with and between people all around the world, how the public 3d working space give us the chance to share our ideas, our oniric images that becomes Art. Prims are a new alphabet of an expressive universal human language. My fav areas are: photography, building of big struc-
My behavior bring me always to explore new tecniques and new mediums, I would like to learn better scripting to get more closer to the world of Processing Art which is still not completely aviable now into the metaverses. I’ll like to create more interaction between people and art sculptures, virtual art installations conceptually similar to natural life beings behaviour. Naturally I want to work on my usual areas to explore in the future tecnologic growing develop research. my most significant creations are probably the big structures as complex buildings and particularily the big art installation projects as for example: a) Into a bigger project with 2lifecast in ownership with the ‘Provincia di Milano’ RL and showed in Milano RL in the 16 april 2009, I realized many structures, buildings and auditoriums, and The reconstruction of an Escher’s paint “The Waterfall” in 3d with sounds, all built into an average space of 100x40x50meters, as a big and complex structure, with a perspective reconstruction of the Penrose Stairs impossible object, visible from one single point. It was really intersting for the study of geometries into art path, and to better understand what does mean “immersive” experience with sounds and perspective problems, as it was strictly necessary to use two avatars to built in and to correct the alignements over the limits of moving objects with the Metaverse’s client. b) The art installation “Magna Mather 2.0” winner for “Call for Creative 2.0” Art contest realized into the metaverse and into real life in Rome at the Ara Pacis “Ars in Ara”. A huge light structure 90x50x50 meters with interactive sounds, with strong symbolism and complex interpretation of an image of the web evolution. I found it really significant for the study and use
of the texture use as structures and the use of sounds modified and scripted to create a stronger expression and interaction with visitors. c) The Art installation “E.R.U.D.I.U.M.” for “The Imagine Festival” 9-11 oct 2009 at the final show in (CARP/Diabolus) with other artists works. It was intersting for the advanced study on new sounds, and for a study of similar random moving rotations scripted spheres and also a filtering view effect for the visitor. d) A big part of various singles “little” sculptures done from far 2007 and till 2009, as examples: Flower 2007, Futurist-Room 2008, Maya 2009, Ragnarok 2009, PopKorn 2009, ect. moving from a study of colors and sensitive experience into the metaverse and trying to reach the similar Nature develop of alive structures or random movements as flexy or physical prim rezzers, that help me to express the concept of negation of chaos existence as a sort of new digital “action painting”. e) Many Studies in photography inworld (snapshots) and multilayer compositions with different kinds of view mode as wireframe (structure), textures from RLife, lights, skyes, color balances, ect. to find a new way to weld or get closer, real life and virtual life, as the water of the lake that reflect the sky, the Alice’s Mirror. http://www.flickr.com/photos/onesecondlife/show/
Picture 2: imagine festival ERUDIUM by Merlino Mayo
I like to comunicate my thoughts with symbols, images and written descriptive path and creating new ways, new codes to increase my concept palette. My style tend to follow a digital abstract expressionism or a pixel cubism in the way to define images, symbols, with 3dimensional volumes that looks as a fading vision of the ideas world. But I found often that my way to work comes often as a ‘psychic automatism’, it happens when I do ‘experiments’ without any specific target into sandboxes, and at the end of work I can Picture 1: imagine festival ERUDIUM by Merlino Mayo
Picture 3: imagine festival ERUDIUM by Merlino Mayo
Picture 4: imagine festival ERUDIUM by Merlino Mayo
see complex interactions into sctructures created in a short time, but this needs a really particular mental stage as an action building. Otherwise formal aspect is also part of my creations maybe in the last steps as the end refine of a big work, or as a final result apparently accidental starts from the root of a concept. So its hard to define it, as a Surrealist result? An Abstract result? Or a Formal, a Hyperformal work? Maybe something in the middle. I try with my works to explain the concept that I refuse the existence of chaos as concept but I think it is an image of the cosmos (order) as evident from fractal geometry and the prophetic Pollock’s visions. So into my works a perfect cube collapse and deteriorate into hundreds of cubes, and otherwise a cloud of cubes comes to become a perfect simple volume. A high tower is near to fall, instable, pushed from gravity and wind forces. This is the Nature that I try to better understand in each work and to transmit as experience to others by new environment’s develop. I want to create emotional effect and a specific message as geometries does naturally. It is important especially on how public is able to understand or share the experience of my creations. I always listen to all visitor’s thoughts with great attention and curiosity. It could be important if I need to better understand if a work has reached my target, to trasmit a specific message or not. But I always listen to all reactions, to better understand the result of my comunication, and this is one of the most intersting result to observe. Picture 4:
This kind of reaction could be less important as taste reactions but more important to learn more about tecniques, so I respect a lot critics and I love those because I can learn from constructive suggestions from different colleagues. They knows the limits, and they can understand the way to solve a problem. Its hard to say what is special and what is not. I like to use ‘simple’ as possible scripts and primitives to create complex effects. Recently I am working on rezzing scripts with sounds scripts to help my works to react and to create random and not expected structures. From RL I bring my skills from architecture studies and graphic work skills, and informatic studies back in the years at school, with little thesis about A.I. and Fractals routines. My cultural background and general life experience, helps me always to better understand what I am doing and where I want to go. Any creative behaviour is really positive for the mind balance, so if you find a creative aspect to develop, into the Metaverse, it will help you also into RLife. That said, my experience into Metaverse helped me a lot to find technical doors that I never imagine opened or simply forgot in the past years, and I find a completion in other ways that I was following into RLife as the photography and somes painting works on unusual supports. I always thought that Metaverses and RLife are strictly connected, so its impossible to split one from the other, I guess that our Age is very uncertain and probably after the Oil crisis or a big war, the Consumism Economy will end, and Man will come back to the agricolture and to the life near the Nature and sharing life into smaller human groups. This is hard to imagine today, but despite apparences I am not a pessimist, I guess if the internet will survive to all these changes that are waiting for us, those will
changes a lot, maybe losting the actual global dimension as a Babel Tower Civilization, but developing a more sophisticated medium and interaction with our minds. But if we see something more near to us today, probably the next big changes will be performed from the creation of a Standard Exportable Avatar model (as like the actual email standard of comunication) able to change grid of many differents metaverses without losting: skills, feedback, experience, works, contacts. So we will see changes into the Metaverse that will be able to get truly linked to the Web, with no obstacles as actually we found, so with complete compatibilities with different languages, Java, C, Pearl, ect.. so Processing will changes a lot the Arts Develop and also the opening to the most common professional file formats as: *.pdf, .doc, .3ds, .dxf, .dwg, .html, .ppt, pds, archives databases, ect... will enhance a lot the links to the knowledge and sharing of Arts into and between Metaverseâ€™s grids of the future. The Web in the future will be included into metaverses as an old book, or a gas cloud, because it will be just one way to read news, databases, contacts, different tools and clients, ect. For the graphic definition develop probably a big revolution will happen when we will see the first real Artificial Intelligence and new graphic engines will be able to creates and handle powerfull software with Dinamic Fractal Textures, so a material texture will does no more exist as a static bitmap information made of matrix numbers, but will be a sort of music pentagram as a very simple fractal formula, a very short information but able to built an entire universe with a selfsimilarity and almost infinite perfect zooming details. Formula as this will be like seeds of inimaginable large dimension explorable worlds. The next and parallel step is the interaction with RLife world, so starting from the complex body Motion Capture (this already exist) with a simple webcam, in fu-
ture the face emotions recognizing from the machines, and maybe Olographic projector into RL so virtual Worlds will interact directly with RL. I prefer a lot to work with other artists, as for example the recent trend to do Rez-Meeting. This is a sort of that I said in the first answers, an evolution of the â€œSandboxâ€? dimension as new way to comunicate, new language, new alphabet with words made of colors, volumes, lights and shadows, ect. The sharing of a sort of collective oniric dimension. I dislike and I find hard to understand who simply import RL paints of photos and let this as it is into the Metaverse, without to interact with it, or without to modify it transforming into a new result, typical of the new medium. But if we are talking about the meet between RL and Virtual Life, live events, interactions, ect.. I agree and support it as possible each time I can do it. I think the comunication between these two worlds is the most intersting future peculiarity.
Picture 5: rinascimento metaverso ELEMENTUM byMerlino Mayo
Picture 6: rinascimento metaverso ELEMENTUM byMerlino Mayo
Picture 7: rinascimento metaverso ELEMENTUM byMerlino Mayo
Picture 8: rinascimento metaverso ELEMENTUM byMerlino Mayo
Picture 9: Magna Mater by Merlino Mayo
Picture 10: The Battle by Merlino Mayo
Picture 11: rinascimento metaverso Merlino Mayo
MillaMilla Noel Artist
my pictures often portray other artwork, because Second Life is an artificial world completely built by its own residents. Out of my hobby I made an instrument through which I can relate and express myself inside a very special dimension. Here I’ve refined my technique in using technical tools and I’ve worked on my conceptual objective. Often it feels like I’m using a scalpel able to dissect, remove or re-compose. A picture has often the ability to manifest something that otherwise will not exist, a hybrid between digital, conceptual and emotional realities that wouldn’t be otherwise formalized. I like to work on photography and art in general and on new ways of producing and exhibiting it not only inside the Metaverse.
Because the Metaverse is a place where I can experiment with my own creativity without any barrier and at a relatively low cost. Moreover it’s a place that allows meeting people from all over the world, from different age groups and socio-cultural backgrounds: this gives the chance to broaden one own’s cultural and artistic horizons. It’s definitely an instrument to search and discover my abilities. Themes, avatars makeovers, new identities - chromatic effects and brand new aesthetic references. To take photographs in Second Life to me means not only expressing what I see, but also communicating my viewpoint, born from the type of mixing and interacting that typically happen in social networks;
The picture “Alien Glow” that partially represents the people of the Metaverse: an avatar staring into the future. This picture is the winner of the Avatar Pics Competition. (that is the 1st crossworld avatar art contest, open to all virtual worlds and avatars, artworks created in Second Life, IMVU, World of Warcraft, Frenzoo) it has been displayed at the Koinup Art Gallery built for the Second Life 6th Birthday) and in RL into the Festival Art in Villa Fogliano – Latina. I’m a photographer, hence I let my images, colours, contrasts, and lights speak for me. My images represent an instant, a portrait of an individual or the expression of a collective feeling. But in each one I tell a short story. My work is mostly colours, emotions; sometimes it happens on the spur of the moment, like a snapshot, sometimes it is the execution of a carefully planned concept: the post-production of an idea. Art is created in SL because it’s a ductile and immediate medium to use in order to give substance to one’s
imagination. I try to solicit an emotion in the viewer. It’s very important. Art for me is a way of uniting people in a shared dimension. It’s interesting to discover that beside the emotion I express in my artwork, the public can see other images, other shades that often are new stimuli for me. Let’s say that a positive response from the public feeds my desire to create, experiment with new artworks. Feedback is always constructive and receiving a tip or a critique from a colleague is a stimulus to become better and improve oneself. Moreover the creative act can be a work of multiple hands, meaning that could be inspired by feedback from other artists. I mostly just use the SL client to take pictures (windlight settings, camera control, etc.) and I post-produce in RL with Photoshop or other graphic editing software to crop or other minor retouching. Photography is a passion of mine in RL also.
Picture 2: metaverse foto MillaMilla Noel
Personally it has helped my interest for the art world in all its manifestations. It also helped develop my big passion for photography. This translated into producing artworks exhibited also in RL (- “Rinascimento Virtuale” presso il Museo di Storia Naturale e Antropoligia di Firenze dal 21/10/08 al 7/01/09 - Futuroma Roma - Serata Futurista presso il Tempio di Adriano a Roma 27/01/09 http://www.youtube.com/watch?v=gxk5lcoJpNE&f eature=channel - “Open Garden interAction” durante il Festival delle Arti presso Villa Fogliano Latina 26/07/09 al 2/08/09). In SL everything is possible, thus themes can be whatPicture 1: metaverse foto MillaMilla Noel
Picture 3: metaverse foto MillaMilla Noel
ever our imagination can come up with. Obviously the strength of SL compared to other metaverses if the ability to build your own world around yourself. Both. As a photographer usually I work alone, but I have a strong connection to my group, “Carp Creator”, which I find very stimulating and full of energy. Together with its members we developed various artistic projects (see diabolus ning). I feel, more generally speaking, a connection also with the artistic community of SL at large. My habitat is the Metaverse: here I’ve developed as an artist. My aspiration is to be able to exhibit again my photography in RL.
Picture 4: metaverse foto MillaMilla Noel
Picture 5: metaverse foto MillaMilla Noel
Miso Susanowa Artist
I began in the metaverse in 1996, creating and helping to create and homestead many virtual worlds. It is a new reality and I wish to be on the frontier. The possibilities of form and shape and texture; the possibilities of immersive, interactive artworks; the essential communications nature of the medium; the ability to communicate in many modes. The multiverse itself; its growth, life and direction. ‘City (Los Angeles)’ - an immersive artwork that gives people a taste and reflection on the real life of Los Angeles, not the tv show-projected-as-Los Angeles. ‘Interactive’ - a multi-artist sim-wide adventure mystery exploring the nature of Second Life and of the multiverse itself. Interactive explores the collaborative nature of such spaces for connecting people, projects, ideas, groups, educators, teachers, artists and explor-
ers. You are what you make here. My style is both formal and very informal, netesque as it were. My personal communication tends towards the informal and emotional; my artistic towards the abstract, emotive and visceral, although some pieces have elaborate formal references. My images are both iconic and spiritual mostly; some pieces of course are concrete. I create art int he multiverse because my intention is that of any artist - communication. The multiverse allows for extended modes and forms of communication and is exciting to explore. I hope to achieve better communication of emotion, thought and the commonality of Man through the touchstone of artwork. The impact I am trying to make is on people. What is more important to me are the dialogues I get into regarding such works; what people think or feel about them, what experiences reflect from my piece to them; what possibilities open up to them from my work. VERY. Somewhat important; it is more important that i can reach and affect “the man on the street” with my work than other artists, because they already have the state of mind that I wish to communicate to other people. Of course, everyone wants to be admired by thier colleagues :) Having other artists comment on my pieces can be very interesting though; can help me spot things about a piece I did that I didn’t see, or suggest technique or imporvements in my ability to use techniques to convey a message, or if a message is not clear. Any tool and every tool available; each tool has its own peculiarities and style and can suggest interesting approaches unique to that tool. I brought to Second Life skills in Photoshop and 3D modeling as well as an extensive knowledge of net architecture and server functioning, on the computer
side, and skills in sculpting, painting and musicianship on the physical side. It is my sketchpad for physical-life artwork. It is also my recovery therapy. I had been blocked/not making artwork for 10 years before I came to SL.
Picture 2: particle sculpture by Josina Burgess
Open grids. Better architecture. The ability of people to recognize the true value of “bluesky” research and “sandbox” abilities of the artists and visionaries who struggle with the learning curve of the medium for the joy of it, to create something new and not only for profits. The ability for business and arts people to work TOGETHER and not have one run out the other, thereby turning the medium into a cheap 3D shopping mall and cybersex town. To keep the frontiers of this new universe open and not reduce it to a pale imitation of other mediums. To not let this medium wither and choke like it did 10 years ago from lack of interest and the commodification of this world. I work alone a lot. I have just begun collaborating with other artists. I fully plan to bring many of my pieces, as close as they can be done, out into physical-life. This is an integral part of my workplan here. There are cheap and abundant materials now that could be used to create most of the feeling and structure of many of my pieces. However, I do explore this medium itself for what it is, and create objects that truly might be “impossible in real life” because that is one of the intrinsic characteristics of this new medium.
Picture 3: ghost by Josina Burgess Picture 1: metaverse foto MillaMilla Noel
Picture 4: particle sculpture by Josina Burgess
Picture 5: CARP 2 architecture by Velazquez Bonetto
Myth Guyot Artist
We’ve started in sl with a goup project called “second art” in 2007 to place art in the public space of a the metaverse. Laksmi Giha und Myth Guyot i developed the project this project, based on the attempt to question the definition of reality from within Second Life. The boundaries between reality, fiction but also between a physical and virtual space are transient in Second Life. The Avatar allows people life in a parallel universe. The development of an identity is transported into a virtual space. Because experience and sensation is linked to physical reality, a merging of the virtual and the real takes place. Rausch and Grosch are interdisciplinary and multimedia artists who also raise the question of the avatars own independent existence.
“I’ll be your substitute...” combines Platons cave simili which is known as ‚the’ metaphor for western thought and life within the boundaries of‚ existence and appearance; being and illusion. It is the metaphor of the labyrinth, the ancient image for finding your identity. In the inside of the cave quotes related to the philosophical question of the essence of being float freely. The audio level contained atmospheric sounds which filled the cave acoustically. With the help of a text to speech program the history of the allegorical cave could be listened to. In this virtual cave, which is a mixture of deliberate architecture, temple and cave, the avatar is transported into a labyrinth. In the walls of this structure, the source code of the first Second Life viewer can be seen. This hampers visual orientation in the virtual space. The avatar itself is represented by code, hence it’s own essence is being ruled by code, it realizes that its own existence is created by source code. The user on the other hand is deprived of the illusion of identifying with the avatar. In this fashion the project exposes the very construction of what is perceived to be reality. The work unifies different models of perception with the cognitive level. Assuming this a layered model. The observer thus finds him or herself initially on a visual level of SL, the audio level that united avatar and user, and the real physical level. After that there are Meta levels of philosophical questions and code as its technological opposite. The top strata is formed by the cognitive level. We will show rl and sl art in our gallery at: 431art GALLERY, Adelebsen Isle (241, 5, 1201) The maze (431Art.org, Adelebsen Isle (256, 9, 196)). It’s dealing withe the prception of the AV and the user. We love to use typographic elements in our work
and as far as this concerned we think it’s pretty good shown in the maze. By showing our work - simple like that :) Giving the recipient the oportunety to refelct his environment and his point of view in concerns of perception. It is important. Well thats what feeds the artist - doesn’t it. Depends who’s thinking.... lol Just the basic. We started from zero in 2007. Picture 2: CARP 2 architecture by Velazquez Bonetto
It could be a layout tool for rl environments sometimes. Combining the rl and sl aspects. Depends on the topic or project. We will see wat the future will bring.....
Picture 3: CARP 2 architecture by Velazquez Bonetto Picture 1: CARP 2 architecture by Velazquez Bonetto
Picture 4: CARP 2 architecture by Velazquez Bonetto
Picture 5: rinascimento metaverso MillaMilla Noel
Nicci Lane Artist
Expanding the media I currently persue in rl Environment, Human condition, Nature, Climate change same Alot of my work has had a broad acceptance in secondlife The subject matter of nature in general , its colours, moods and improtance to survival evokes many emotions Abstract, impressionism Awareness to current and future of the planet, and utilising SL gives me an oportunity to express and show globally. Impact to evoke thought and action beauty , life and associated problems are my main area of im-
portance, not me personally although it is nice to get recognition or comments based on single or collective works spontanious reactions are the best very, I came here to learn this medium and the wealth of talent and skill has made me a better artist Building, scripts, a cross blend of rl paintings and sl techniques Inspires me to push boundaries
Picture 1: Juria Yoshikawa
Picture 2: rinascimento metaverso MillaMilla Noel
way to create the work itself.
Patrick Millard Artist
Second Life struck me as an appropriate environment in which to exhibit my work because it is encapsulates the message I am trying to convey. Virtual and Augmented realities are in the same context of our future as the other big topics: robotics, artificial intelligence, nanotechnology, social networking + online culture, technological embodiment, cryonics + strategies for engineered negligible senescence, bio-technology and all transhumanist methodologies. The virtual world has become not just a platform for expressing the importance of idea over materiality but also a way to integrate the simulation environments into my portfolios. What began as an appropriate manner of exhibiting my Real Life (RL) artwork quickly turned into another
My Second Life interaction mainly consists of the exhibition of my RL artwork. Additionally, however, over time I have compiled a portfolio of images that tell my story from within the virtual world, which has resulted in the ‘Virtual Lens’ portfolio seen in this book. I have also performed my ‘Generative Behaviors’ work live in concert on occasion and am planning my first large scale building production this summer while in residence at Biosphere 2. This summer I will be artist in residence at Biosphere 2 (B2) in Oracle, AZ. While there I will be working on sound, photographic, and virtual portfolios that continue my work about organic and synthetic hybridizations. The virtual component will be my first large scale build in SL. I plan to construct a virtual Biosphere 2 for visitors to navigate much like they would if they were to visit the B2 facilities in RL. The virtual version will not only be the architectural structure but also contain many interactive texts outlining studies that are being done in the B2 laboratories. The goal of the virtual B2 will be to extend the mission of Biosphere 2 in a fun and exciting way to as many people as possible. The ‘Virtual Lens’ portfolio has been the most fun for me thus far. The story of the avatar seems to me to be a new way of creating personal narrative or for young people to story tell in a way that they relatve to. Sharing what is going on in these virtual worlds with those who have not arrived yet is a peculiar task. I find the reactions I receive vary greatly - from those of interest to those of absoulte fear and disgust. The bottom line is that the virtual worlds that our avatars live and build
in are continuing to become a larger part of the world as a whole - that is the hybridized world where RL and VR have merged. I have always seen my work as being presented similarly to science fiction. I make the portfolios in response to what I see happening in our digital culture on a daily basis. Whether it is a news story on implanting chips into the brain of a paraplegic so they can turn out the lights in the room just by thinking about it or a book Iâ€™ve just read about the way virtual worlds are impacting our real lives by altering religious, economical, and social institutions that until now have been concreted in culture I find my work to be very much a reflection of our near future.
Picture 1: exhibition in Museo del Metaverso
Picture 2: virtual environment by Arcana Jansma
Picture 3: sculpture by Velazquez Bonetto in Metropolis Metaversum
I have not “intentions”. I do it because i have fun doing. Then, of course, if i have positive feedback i’m happy! :) And I’m happy too when I learn something.
Penelope Parx Artist
welllll.... :) I was an artist all my (real ) life... Conditioned about that... Here I want not to think to it. As told then... I’m happy if have positive feedback. Sincerely... i like as logic positive... try dont care negative... and appreciated much, past time... some negative feedback done not in a bad way, that helped me tounderstand something of wrong. (“constructive”? is the word?) If they are friends... is more important. And, of course if they are persons I estimate, and they give me a positive feedback... i feel very happy :).
Because I can do there things I can not in RL and may be I always liked to do. SL is the first platform I tryed ... still I’m not able to use all, still I’m learning new things... Then, SL have a good community. Art/ publishing/ communication Art/ publishing/ communication “Silent music” ?? It is significant for me, because I feel to have done what I would liked to do... Formal, emotional... rationally done, concrete. :))
Well... I make sculpts RL/SL... that is more than realize it. I bring here in SL, i think, the skill to figure it in my mind first and the skill of the synthesis I have fun. Olodecks I worked always alone in RL. And work in group is one of the things I would liked to try here. So now I work in group too, and I appreciate it . Metaverse only.
Picture 1: Calimera Lane
Picture 2: VJAZZ, Josina Burgess, Velazquez Boneto
I am a breast cancer survivor and I will do a big build about this topic in the near future. I have a written piece about my experiences with cancer and the build will be based on this. I am really looking forward to working on it and sharing my experience with others.
Sabrina Nightfire Artist
Ever since I got my first computer, in the 1980s I have been interested in creating art with it. I am inspired by the creative posiblilities of the Metaverse and I enjoy learning new techniques to expand these posibilities. I am excited about creating art here. And I love being able to work with other artists from all over the world. I get so much joy from learning new things and creating here...it really helps me express myself. I like my art to be uplifting and smile inducing. Peace and Love was the subject of my Burning Life build this year and these are two recurring topics in my art. I like to convey messages that have a social conscious and things that encourage people to live fuller and better lives.
I think that Glyph Gravesâ€™ Strangers Also Dance is an amazing installation and I think it is magical. I also love Oberon Onmuraâ€™s Storm Cells and Targeter builds. There are so many others too....I could go on and on. I do a lot of abstract work...mostly based on my own emotions. I also create most of my art to delight myself first. I use many differnt avenues for my work: photography, painting, sounds, scripts, big builds, sculpture, sim design, clothes making, curation, etc. I also use emotion, rational thinking, concrete and spiritual images. I guess you could say that i explore all types of message communication. I try to create art that is like no other. I like to think up new ideas and execute them. First and foremost, in all my art...rl or Metaverse, i want to make myself happy. Just the act of creation brings me great joy. I also love sharing my creations with others. I also love being a pioneer in the infancy of virtual art. I do admit that I like it when others enjoy my work and I also love when it touches someone deeply. I love getting feedback from the public. I donâ€™t get too much of that, but when i do, i cherish it. It is nice that some of my peers love my work. I do enjoy that. Some do not....I guess that is what makes the world go around. The encouragement of other artists is important to me. I also like to encourage other artists. So often we see a creation and love it, but never tell the artist how we feel. I will tell an artist if i love
his or her work. I enjoy encouraging people to keep trying and growing. I believe that I use every tool and technique that is available at this point. In rl, i am a well trained photographer, a successful painter of murals and also a quilter and mixed media collage maker and I have worked extensively in video production. In the past, i have had worked for long periods of time with batik and clay. I have also worked with mosaic, jewelry, weaving, and many other media. Creating in the Metaverse gives me great joy and enriches my rl by making me happy.
Picture 2: inland sound installation Ux Hax, Maria Grot
I think that promotion of good relations among the peoples of the world is an important theme for the Metaverse since this is such a great vehicle for getting to know people from all over the world. I also think that interactive art and art combined with machinimia and are important trends. As technology progresses, we will have more and more tools at our disposal to work with. I look forward to when the Metaverse is a hologram that i can walk into:) I actually enjoy a balance of both. I am a very good collaborator...both as a leader and as a general worker. I work well with others, but i do run with scissors;P I definitely specialize in Metaverse only art...although from time to time, i do import rl pieces for display here....but, that is a rare occurence. I especially love to create three dimensonal art here, immersive pieces and interactive art. This is the virtual world....why try to recreate the real world here?
Picture 3: inland sound installation Ux Hax, Maria Grot Picture 1: inland sound installation Ux Hax, Maria Grot
Picture 4: inland sound installation Ux Hax, Maria Grot
Picture 5: inland sound installation Ux Hax, Maria Grot
Sandree Aubierre Artist
In 2007 I got attacked on my throat. A man tried to kill me. I lost my voice on different levels. I was on the point to kill myself or to kill him. I was desperate. This medium came on my way. I was curious and tried. And cried because somebody, something was a new tool for me to express myself, to heal a part and to transform the violence in something more constructive. And I found more what could feed and fill me up to be just me without being punished, being judged, being blamed and attacked. All what comes by and gives me wind to go on. To protect myself and my daughters. Sometimes a place near the sea can help. Sometimes a library, a meeting, a college, a gallery, a mountain top. To think, to relax, to invent, create, discuss, remember,
share. There is a full world behind words. If maybe one day I get the chance to tell my story on another way... Maybe the main topic for me is communication itselves. What is listening really about? And...beside these wars around, there is also magic everywhere and so much beauty. If this medium could scream I would beg the world to build instead of breaking all. Can’t we just love a bit more? Can’t we build another landscape in life? Because of the handicaps I have, I’m thinking of trying to become a cinematographer, using this world as a tool to speak, to create, to share, to inform, to let the life a bit more dancing. I would like to make educational programms if I get the chance, time, money and opportunities in life. Apparently the creation of my magic coffee tasted well for people who came on my way to taste it. The creation of a language which says more than just words did it also well. Maybe the best creation, without any pretention, was to find myself back again. Anything concerning other creations, ask others about that. I can’t give applause to myself. From the reactions I got, apparently most people enjoyed my company and it was my pleasure too. My style seems to be rare and changing constantly like the wind and weather does. It’s interesting and fascinating for me to see what we can do when we don’t use the brain (mine is poor) so much. The language of the hands seems to be much more honest and clear than the words which come out of our mouth. At least for me, so having lost my voice is in the same time also my luck. If it would not have happened, I would probably never have entered this world, full of dimensions, layers and possibilities, challenges for life. Depending the other avater in front of me and his/ her approach, I adapt my style. Sometimes I write in
poetry, sometimes I play with stories, it can happen by surprise that I kidnapp you to another planet for a magic coffee. It became the soup of Sandree, my personal style. Depending also the subject of course, from mathmatics untill a sip of wine on the top of a mountain or a dance in the sand. Endless styles and combinations. Feeded with sound, music, pictures, light, colours and..much, much more...I can recommand it to every one who dares a bit to make mistakes and to learn. And if you fall here, it’s easy to stand up again. Even suicide here is fun, you can do it over and over again, standing up from the death as new for another day to survive in the jungle of life.
Picture 2: Luce Lavall
There is no big intention for me here, or any other plan or strategy. I see it more as a support, a tool, a way to be, a certain food which is for me neccesary. I’m not busy with having any impact actually. If I need to make impact, than I can only say that because of this invention my daughters have still their mother. I’m incredibly gratefull for the support I got here to stay with them and fight for them. The diamonds of my life. We used sl a lot..
Picture 3: clockwork orange outfit Caravaggio Bonetto Picture 1: Junivers Stockholm
Picture 4: Caravaggio Bonetto clocworck orange club
Picture 5: Caravaggio Bonetto clocworck orange club
prims, to the discovery and the application of several techniques.
Shellina Winkler Artist
- I’ve never been an artist in Real Life even if I’ve always been fond of art and architecture. The Metaverse, through is tools, gave me the chance to experience a hidden attitude towards creation. I chose this platform by chance, when i first joined SL i never thought it could be a place so rich of suggestions and in particular so full of means able to stumulate creativity. Meeting so many people from all over the world, sharing and exchanging art experiences, are the things that most of all keep me wrapped and trapped inside this world. - As a builder and in particular as a sculpter since the beginning I’ve loved torturing prims, trying to obtain even a single piece of meaning from a singular prim. I’ve given great importance to the manipulation of
- I’ve been always working on sculptures and I experienced the creation of “Primpaintings” by the application of objects on a board thought as a canvas, using textures or simply colors in order to create visual effects. I then approached the immersive works, giving the chance to the observer to interact with the work. All the phases, I passed through during my staying in Second life, haven’t never been put apart, so that I will keep on creating art moved by feelings, sensations and passion. - I’ve been creating works for three years and they are too many. Each of them represents a moment, a frame of my virtual life. Some of them are pure technique, maybe to cold as a means of communication, some others are rich of emotions that are easily caught by a keen observer. I think that one of my best is “SECOND STAR TO THE RIGHT”, it’s well done in its shape, lights, colors and slow movement. At its first show more than 20 avatars sat on it sharing the same feelings I had while I created it. The last reason but not the least, I consider it a sort of bridge between Second Life and Real Life as I had the chance to have it showed (even if in pictures on some curtains) in a “real” museum in Florence – Italy. - As I tried several techniques I’ve been used different styles from formal to abstract, from rational to emotional, from concrete to spiritual. But I think an avatar can read your thoughts, if he/she’s got the ability, even from a single prim. As an artist I communicate every time I create something, but who always wants to be read? An artist speak, but only some passersby stop and listen! - I create for passion and I use this environment be-
cause I’ve never been an artist in real life, or at least I’ve never had the right means at my disposal to create what was inside my mind and SL gave me this great chance. - It sometimes happens that I ask for a comment on my work, especially if I put in it “too much”, not in prims or techniques, but of myself. What I love most is the way some people read my “primpaintings”. They look for hidden messages starting sometimes from their own experience to get to mine.
3 years the same platform working side by side, exchanging opinions, ideas, giving advice or criticizing our works according to our own style. In the last year we started collaborating putting all our experiences and knowledge in a unique work. Burning Life and the Istallation “Towards the Future” has surely been our best start and a great satisfaction for the result obtained. - Metaverse is my world and I’ll keep on working through this means, what I wish most is to export my works in RL.
- It’s quite important to have a feedback of my work, even if it happens that really a few give their opinion after watching a work. I have to say, anyway, that in particular in the last period, sharing immersive and interactive works people have expressed their positive reactions even theatrically. - It’s important as what they might say may become a stimulus and a suggestion to improve what I’m doing. - I only use the tools of metaverse, that’s the build tools. Only few times I’ve created textures for my works. As far skills are concerned I only brought my imagination and my love for art. - Very little at the moment as my SL works cannot be easily showed in RL, as most of them are to be lived inworld. - In every field numerous avatars have expressed themselves, I’m not sure there’ s a theme or trend more or less important for the future of SL, because inworld anything can happens. It’s only up to our imagination and to our will of let art growing in this world. - I’ve been working alone for a long time, creating my own works. Solkide Auer and I have shared for almost
Picture 1: installation by shellina Winkler
Picture 2: installation shellina Winkler
Picture 3: sculpture by shellina Winkler
installation of complex objects. I think that my best works are Radiazioni and Crossballs, and among the Installations: Towards the Future, created with my collegue Shellina Winkler, as in all of them i have really worked with great concentration for having a good result of what was in my mind.
Solkide Auer Artist
Basically i am formal and i tend to say with my works “what you see is exactly what you think it is”. I seldom give room to not-rational ideas to the observer because i prefer a visitor attracted by the work and not carried away by flights of fancy. Sometime i have difficulties in explaining my works as it is so simple to understand them and simultaneously very complicate because the velocity of brain is higher than the words. I like that the public give their impression about my creations. I create for me but i create also for public that love to see my works and sometime talking about my works i receive inputs for more new works.
I’ve always loved the 3d worlds and for many years I’ve been a huge gamer and fan of simulators in general, then the curiosity ‘has prompted me to enter into secondlife and see how it was structured this metaverse. And I had the chance to discover things about myself that I didn’t know I had. By building I try to give shape to imaginary objects, from the simplest to the most complex forms, with a peculiar tendency towards geometry. I would like to try to create small movie with my works and, why not, create a little history around it. Fortunately i have created many works and diferent in their kind, starting from a simple piece to an entire
Many times i ear form public “Solkide i’m lost in your work” it’s a great compliment as so i know that the work is entered in the mind of the observer. Ah yes i like that other Artists tell me what they think of my works, it often happens to me to say something about theirs. I use exclusively the Build, i seldom use textures but just colours form the white to the black. Now i am more attracted in art in rl and i like to be informed about art. I think that in the future we will see many innovations with new opportunities for all the residents. The brand
new SL 2.0 viewer has already added an important function which is called “Shared Media” that give the chance to explore the web by editing a prim. I basically work alone but i sometimes work with my collegue Shellina Winkler for great installations and together we have created important works and if i am invited to co-work with other people, i like this. I will keep on creating works “not possible in RL and if I’ve imported something, it has been an impossible idea, as the 3Dworks, i made from Escher’s paintings, witness. The King of Impossible world’s paints perfectly suit.
Picture 2: installation by Solkide Auer & shellina Winkler
Picture 3: installation by Solkide Auer & shellina Winkler Picture 1: installation by Solkide Auer & shellina Winkler
Picture 4: installation by Solkide Auer & shellina Winkler
Picture 5: installation by Solkide Auer & shellina Winkler
Hmm . difficult to say I would say a mix between them all.
Sisi Biedermann Artist
I create art in this environment because its a dream come through, to explore and make art this much as I do here in SL. I know it could never be in the Real world, so its a big satisfaction for me to create art here. Im a creator, and want to make my buildings and figures and art as perfect and fantastic as possibly. A great satisfaction. I try to make other peple interested in exploring this environment t, and hereby find out what a terrific way of having fun it is. Well not very important, because Im happy to satisfy my own wishes, but I am truely happy when others invite me to exhibit or say nice things about my art. Its alway nice to get feedback, but it can be hard work to get people to come and watch
Its a fantastic opportunity to make different art. There are so many realy amazing places in SL that its a neverending seek out to find motives for my linse. And with the possibility to change the ligt as I like, ill never get tires of finding new motives. I make exhibitions and invite other artist and other interested to come and look. and also I am invited to other galleries to make exhibitions. I have just been on a â€œtourâ€? in a very interesting landscape, and I made a serial of pictures which I still miss to finish in photoshop. I have many fine pieces of different types both portraits and landscapes but also abstract art, I can enclose a few.
Not so important, but still a nice thing that make me happy and proud. I use the possibilities in the tools here in SL for my landscapes and portraits, and sometimes I use a program called Micrograph to make frames and adjustments, and also paintprogram I use and sometimes Photoshop. I have showed my pictures taken in SL for some photographerstudent in a school in RL, and they were amazed, and had never seen anything alike it. :o) - (a big day for me). I dont know, I think there will always be themes for me to find in here. and the creators is getting better and better all the time, and I hope I will to.
I mostly work alone, and I think its best for me. I photograph and paint in RL to and I exhibit all 3 things in SL galleries.
Picture 2: first camera obscura Marion Rickenbacker
Picture 3: first camera obscura Marion Rickenbacker Picture 1: first camera obscura Marion Rickenbacker
Picture 4: first camera obscura Marion Rickenbacker
Picture 5: first camera obscura Marion Rickenbacker
and/or collection, such as the Oyster Bay Aquarium, Crescent Moon Museum, Aho Museum, Ars Simulacra, Dreams...
Sun Thunders Artist
I have an opportunity to work in three dimensions, creating shapes and forms I couldn’t do in real life (because of various limitations), and watch them come to life in motion and color. I tend to create mostly abstract, prim-based sculptures that feature kinetic motion. I also take photos of SL landscape and scenery from time to time. I’d like to increase my skills in creating sculpty prims. I can make some rough shapes, but nothing spectacular. I’d also like to keep working on my scripting skills-they are slowly getting stronger. I am proud of many creations, but a few that come to mind are the ones that are/were part of a museum
I think that I mostly blend color, texture, and motion together in abstract ways to create thoughtful, mesmerizing, contemplative sculptures. I try to infuse my work with “structured chaos” that lends itself to an interesting, slowly changing view or experience. Your patience is rewarded if you take the time to watch my sculptures carefully. Besides the fame, glory, and untold wealth (kidding, kidding, and kidding), I am mostly here creating because I derive relaxation and enjoyment from it. I don’t really have the physical skills and resources to create this type of artwork in real life, so it was an unexpected and happy surprise to discover all that I could try and do in the virtual world. Maybe someday my virtual artwork will translate into new creative opportunities and applications for me in real life. I hope that people appreciate and enjoy my artwork for its creative value, and that it gives them momentary (or longer) peace, relaxation, and joy. I hope that they see how artwork adds to the richness of Second Life (and is a necessary part of its fabric, in my opinion). When someone takes the time to send a personal message about my artwork, I am most appreciative. Comments and compliments are reassuring and affirming, especially during those times when I wonder whether my virtual artwork has meaning and value among everything else out there. Making a personal connection to another human being on the planet through my artwork is quite uplifting. In this area, I’m more sensitive--I do fret over what
other artists may think about my work, especially since I’m not a formally trained artist. It’s always nice to receive kind and encouraging comments from other artists, but I am quite hesitant about asking for full-blown critiques. I don’t really want additional pressure and stress; I want to enjoy what I do more as a pastime and a hobby, rather than a job or a competition. I am always trying out new ways to twist and torture prims to see what unique shapes, patterns, and forms I can achieve. I enjoy experimenting with symmetry as well as controlled chaos. I like to maximize simplicity, rather than just consume huge numbers of prims. Particles and rich colors captivate me and soothe me. I think I subconsciously brought my real-life science and math skills into the metaverse when I first began creating sculptures. The math has definitely helped with scripting-it keeps my geometry and trigonometry from getting rusty. I can also build with precision pretty easily--the subtleties of the prim tools are logical and make sense to me because of my science/math background. It gives me a creative outlet, allows me to escape and disconnect from the stress of life, and lets me explore my previously hidden/undiscovered artistic side. Curiously enough, if it weren’t for SL, I probably would never have learned great tools such as Photoshop, Illustrator, SculptyPaint, Apophysis... As much as I love the “classical” prims, I am seeing that we are moving more and more toward sculpty-based prims. Textures have also gotten much more sophisticated and “realistic” since I first entered SL more than three years ago. I think the trends will be toward even more realism and complexity. People who can leverage those well (and who can script proficiently and efficiently) will continue to be the creative leaders. It’s really hard keeping up with the curve--so much to keep learning...
I do most of my work alone, but have collaborated with others on occasion. I enjoy the times that I have been part of a larger experience with other artists-coming together creates good, positive energy and builds community. My first inclination is to say that I specialize in only metaverse art, but in reality there is a flow across the virtual boundary, both in and out of SL. As time goes by, my artwork exhibits more of a blend of elements that cross back and forth between SL and RL. Textures, illustrations, fractals, and photos have multidimensional personalities that are not exclusively SL or RL, but a hybrid of the two.
Picture 1: Eden Toll
Picture 2: global wood by Caravaggio Bonetto
Picture 3: global wood by Caravaggio Bonetto
Velazquez Bonetto creative director artist
because...... -It is a Paradigm shift for understanding time-space continuum, -It has a special quality between the Real World and the Visionary World, -It means the basic Paradigm exchange in communication and collaboration , -We are fascinated by the new dematerializing display options, -We are fascinated by the possibillities of borderless vision transfer, These are the technical reasons ...and yes in spite of all, something remains a constant since 135000 years: the Joy of Creating. We must not
forget that behind every avatar there is a human being, with feelings, his ambition to have a better world and life, with his joy and fear, with his intellect. The Human brain is capable with its capacity for abstraction to view our world in a special way, to understand and change it. With the help of our Sensory we are capable to accumulate the world in a dematerialized form and to insert that into a succesfull surviving strategy. To that we have to mobilize the cognitive abilities of our brain, rebuild our dematerialized world in a spiritual world of thinking. In comunication with other people temporarily our thoughts have to be materialized again, the lesser we use material resources to communicate, the faster and more direct we can exchange ideas and thoughts with other people. The virtual worlds are part of this since the cultural revolution of the 21th century. Metaversum is a new kind of language. In a complex mechanism we are able our thoughts to display as visions and to communicate with other people in real and worldwide. I work since 30 years as a designer, content-creator and programmer on virtual worlds and virtual humans (avatars) that help to display visions as simulations in many Industrial areas and make our material future more comprehensible. For me it was always clear that the Virtual Reality as a Elite technology will transfer as a linked vision machine (http://issuu.com/diabolus/docs/avatar_history), metaverse technology is ready now to open and available for concepts, visions etc, worldwide-for all that possess a computer and internet access. Culture was in the past, in the present and in the future a primary surviving strategy. The possibilities to investigate this media was founded together with Josina Burgess and Caravaggio Bonetto on June 27th in the Diabolus Artspace and
the Cybernetic Art Research projects (CARP) Art space Diabolus CARP Team stand since its founding for Experimental Art on the most modern medium for Art. Our goal is: to produce technicaly and contentualy attempting and innovating ART with the possibilities of the worldwide web virtual media. In one word we call this: HyperArt (HAtr). The artistic creations we represent we name: Hyperfunktionalism. CARP Creators have created since then many innovations like: Virtual Architecture, Audio Art, Interactive Kinetic Art, complex Cybernetic Art, Worldwide collaborative Audiovisual Improvisation, Presentation Technics, Virtual Theatre, 4D cinema, Video, Collaborative Creations and Art-scripting. The CARP Team has published all their work, creations, creators and developments in the CARP e-book Series . (website: diabolus.ning.com) Basically for me is all what human a displaying theme. Regardless of the media. The range of topics reaches from subjective emotional themes till political protest actions and social future visions. I always try to ask the right questions, The key for a right answer is always to ask the right question and that is the greatest art. If I get the right answers in the area of Art, Science or whatever donâ€™t really matter. The metaverse structure is the ideal media to experiment with creative ideas without material consequences
Picture 2: THE RINGS the first 4d cynema by CARP
I am not searching for themes, the themes find me. You only have to walk around with your eyes open. The virtual worlds have become a natural part of the real world. For me a important goal is: To create a always vivid communication between reality and virtual reality. I donâ€™t think of formal and technical connections, like 2 camera images sending form here to there. I think in contextual connections. Use a new media for Picture 1: THE RINGS the first 4d cynema by CARP
Picture 3: the great WALL collaps by Elfod Nemeth
real problem solving, generate future visions. In the area of Science, Technics and construction it is already a long time practice. In the area of Art, Culture, Politics and Social Life the first steps are taken. If a metaverse creation is a success is easy to measure from reactions of the audience. With attentives from the public like: - i love the colours and the textures, - nice visuals, - congratulation great exhibition I know its better to pack my stuff into my inventory and never rez it again. In such a case I know that what I have made has never touched someone and has no impact power When after a production like THE WALL, THE RINGS, EMOTICON, LIVING ARCHITECTURE or V-JAZZ these or similar texts appear on my screen: [15:01] Foscos Barbosa: bellissimoooooooo [15:01] Giulia Janus: fantastico! [15:01] iTony Pleides: APPLAUSE!!!! [15:01] Foscos Barbosa: braviiiiiiiiiii [15:01] Giulia Janus: braviiiiii [15:01] Elin Egoyan: amazing!!! [15:01] Aloisio Congrejo ruft: BRAVIIIIIIIIIIIIIIIIIIIIII [15:01] Henkie Barbosa: ..:::APPLAUSE:::.. [15:01] Giulia Janus: applause [15:01] Thirza Ember: wonderful [15:01] Myra Goodliffe: Great [15:01] Foscos Barbosa: fantastico [15:01] iTony Pleides: BRAVO!! [15:01] Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:01] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../) BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) Picture 4: THE RINGS the first 4d cynema by CARP
Picture 5: the Metropolis creator and performer group: Debbie Trilling, MillaMilla Noel, windyy Lane, nnoiz Papp, Efrantirise Morane, Sca Shilova Velazquez Bonetto and Josina Burgess
[15:01] [15:01] [15:01] [15:01] [15:01] [15:01] [15:01] [15:01] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:02] [15:03] [15:03]
MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) Thirza Ember: applause Eliza Wierwight: ~applauds~ wonderful ~smiles~ Sistagrlro Wei applauds! Giulia Janus ruft: BRAVIIIIIII Elin Egoyan: me bows her head humble to the creators Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Annabelle Fleury: .-’`’-. APPLAUSE APPLAUSE .-’`’-. MicheleR Wrigglesworth: APPLAUSE!!! MicheleR Wrigglesworth: Applause!! Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Tani Thor: FANTASTICOOO BRAVIIIIIIIII iTony Pleides: THANK YOU!!! Tani Thor ruft: BRAVIIIIIIIIIIIIIIIII Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Elin Egoyan: /applause Annabelle Fleury: Hoooo! Thirza Ember: braviii Tani Thor ruft: BRAVIIIIIIIIIIII Foscos Barbosa: bravissimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii Giulia Janus ruft: BRAVI Dubby Loon: fantastic MicheleR Wrigglesworth: ?(`’•.¸(`’•.¸ * ¸.•’´)¸.•’´)? MicheleR Wrigglesworth: «´•..?WOOHOOOOO!?..•`» MicheleR Wrigglesworth: ?(¸.•’´(¸.•’´ * `’•.¸)`’•.¸)? iTony Pleides: APPLAUSE Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Foscos Barbosa: braviiiiiiiiiiiiiii Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Elin Egoyan: CHAPEAU!!!! Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•* Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•* Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•* Tani Thor: braviii braviiiiiiii
Picture 6: The WALL production by CARP team
[15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:03] [15:04] [15:04] [15:04] [15:04] [15:04] [15:04] [15:04] [15:04] [15:04] [15:04] [15:04] [15:05] [15:05] [15:05] [15:04] [15:04] [15:04] [15:05] [15:05] [15:05] [15:05]
Aloisio Congrejo ruft: fantasticiiiii Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•* Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•* Tani Thor: BRAVIIIIIIIIIII Josina Burgess ruft: THANK YOU!!!! Velazquez Bonetto ruft: THANK YOU CARP TEAM FOR THE FANTASTIC PERFORMANCE MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) MicheleR Wrigglesworth: *•.¸(‘*•.¸ ? ¸.•*´)¸.•* MicheleR Wrigglesworth: ??? FANTASTIC ??? MicheleR Wrigglesworth: ¸.•*(¸.•*´ ? `*•.¸)`*•.¸ Annabelle Fleury: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Elin Egoyan: HOW DID YOU DO IT!!! Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Ariana Mirabella: Amazing!! Thank you... So talented!! Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Tani Thor: la cosa piu’ bella vista in sl....braviiiiiiiiiiii Myra Goodliffe: Absolutly Great !!!!!!! Foscos Barbosa: grandissima arte in sl Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Winston Ormega: wow !!!! MillaMilla Noel: grazie iTony Pleides: APPLAUSE! Giulia Janus: SI DAVVERO Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** Giulia Janus: UNA COSA FANTASTICA Foscos Barbosa: che bello Giulia Janus: si Tani Thor: BRAVISSIMIIIIII ..TANTO DI CAPPELLO PER IL LAVORO FANTASTICO..QUESTA E’ ARTE PURA.....BRAVIIIII Tani Thor: braviii grazieeeee dello spettacolooooo.....GRANDIIIIIIIIIIII Foscos Barbosa: sempre a questa ora giusto Giulia Janus: fantastico! Foscos Barbosa: bravissimi Vel Alchemi: APPLAUSE!!!! APPLAUSE!!!! APPLAUSE!!!! APPLAUSE!!!! Foscos Barbosa: bravi Rux Anatra: **********APLAUSE!!!************** Radiance Rosewood: yaaaaa woooooot EdDereDdE Laval: ?(`’•.¸(`’•.¸ * ¸.•’´)¸.•’´)? EdDereDdE Laval: «´•.¸¸.•HOOOOOOOOOO!•.¸¸.•`»
Picture 7: the living architecture, by Juniverse Stockholm, Caravaggio Bonetto, Josina Burgess and Velazquez Bonetto
[15:05] EdDereDdE Laval: ?(¸.•’´(¸.•’´ * `’•.¸)`’•.¸)? [15:05] MillaMilla Noel: grazie a tutti [15:05] EdDereDdE Laval: «´•.¸¸.• ?(`’•.¸(`’•.¸ * ¸.•’´)¸.•’´)? «´•.¸¸.•>> [15:05] EdDereDdE Laval: «´•.¸¸.ARTIST IS DOING AN AWESOME JOB •.¸¸.•`» [15:05] EdDereDdE Laval: «´•.¸¸.• PLEASE SHOW YOUR APPRECIATION! •.¸¸.•`» [15:05] EdDereDdE Laval: «´•.¸¸.• ?(¸.•’´(¸.•’´ * `’•.¸)`’•.¸)? •.¸¸.•`» [15:05] Tondy Treves: :::::::::::APPLAUSE:::::::::::::::::: [15:05] Betty Tureaud: great work . . [15:08] blanche Argus: . .. ...? ? _ ? ? ? ¦ ? ???? APPLAUSE!!!!???? ? ¦ ? ? ? ? ?... .. . [15:08] blanche Argus: ? ¦ ? ? ? _ ? ???? ? APPLAUSE!!!!? ???? ? _ ? ? ? ¦ ? [15:08] blanche Argus: . .. ...? ? _ ? ? ? ¦ ? ??? ?APPLAUSE!!!!???? ? ¦ ? ? ? ? ?... .. . [15:08] Olympia Fizzle: FANTASTICI!!!! . . [15:16] Imnotgoing Sideways: Thank you all very much for a very wonderful show. It was simply beautiful. I’m left speechless and breathless. You have truly created magic in Second Life™ (^_^) [15:16] Elynni Jewell: I can’t even imagine how much work has gone into this
.... 15 minutes standing ovation , Then I know the message has arrived in the emotional and rational level. The production hat the needed aesthetic impact power, the audience is enthusiastic whatever nationality, age, culture or language.
The possibillities in the metaverse are endless. I only use 1 rule: First the communication content. Then I choose the for me best fitting expressionform. HFFHF = Hyperform follows the Hyperfunction. That is the only rule of Hyperfunctionalism.
To follow a “style” is the certain sign of lack of imagination. From the other site it is in my opinion needed to have an artistic concept. What kind of expression I use depends on the content what I want to communicate. So it gives a close functional relationship between communicated content and expressions. For example: when it is about a audiovisual artwork that has musical components, I like to use hyperformal, emotional effects and expression forms. When it is about concrete rational messages I try to use easy to recognise, all popular icons, for all to use -understandable for everyone-forms.
The message of an artwork comes on several channels and addresses both the emotional and the rational side of the viewer. Every work may have many different interpretations. There is nothing more boring than explanations how it should be understood and nothing more exciting and thrilling than a simple and clear artistic language that can talk in a second of visual delight about human questions of huge magnitude. My works are all reflections of such moments that have forced me to think and to talk on my own language. I have achieved my goal if my metaverse creations have launched a chain of thoughts in the viewer’s mind.
Picture 8: the Metropolis 4d cynema production by the CARP team
Very important, I try to link the attention on important themes. Attention is a very limited resource of the human brain. It does matter what for this important resource is used for. It does matter if we surrender for commercial media. Do we allow to occupate our thinking of the world by Multi nationals or do we aim our attention towards important themes that influent our life, our social life, surroundings primarily. I donâ€™t think much of the sterile artistic masturbation. Lâ€™art pour lâ€™art is nonsense. Maybe in the 20th century it was a interesting beginning. Art for People is absolutely more interesting and Meaningful. For that it is extremely important what the public thinks and how they react Very important. We ask always for reflections of the audience and it is important to know if my communicative goal was succesful or not. The best is when the audience is so enthusiastic that they react from themselves without asking. Nothing is better then a spontaneous aesthetic emotion or a positive aesthetic judgement. Also very important. In Diabolus/CARP projects most of the time many different artists work together on a project. (soundtrack creator, content creators, text content creators, scripters, animators, machinematograper, art director, producer etc. very artist has its own style and way of thinking. Still all have to work together. Without hearing and listen what the others feel or think, what concepts they have , is not possible. A major production is based on the consensus of many different artists. Often we invite colleagues that are not participate in a production, just to ask for feedback. And also it is important how our work is described in publications. I use all and everything this technology offers, build space structures, textures, script writing, develop kinematics and more then that all what is installed on
my computer from photo manipulation, sound, video editor till 3D visualisation programs or sculpti programs. As a professional Graphic and Industry designer and VR software developer I use all the competencies I also use in RL and for me working and fun is the same. It is obviously that Metaverse art is very technical oriented. The artistic experiences and ideas are very important but not enough. You need more technical competency to raise an idea to a higher level. In RL I work daily with virtual reality and avatars. In SL i developed many ideas that today help in RL products. It starts as a idea, playing around with different possibilities. Then the ideas are coming of from what is born as Art can be used in industrial vision machines. Most of the time it helps to fit in a simulation method. SL frees from the daily work routine and simply helps to be free in the creating process. The trends for the metaverse are already visible, in fact there are 2 essential concepts. 1. Linden Lab is stuck in a rather restrictive system. When LL is not able to change its concept on many levels it will die like the dinosaurs. Secondlife is just still at this moment the only good and stable functioning metaverse system. 2. Open grid has a significant more open and flexible concept, but still with many operational problems. When the OSG developer community succeeds to stabilize this technically, this environment will have a significant better development potential. I am following the development on both platforms. I prefer to develop new artistic ideas or technics alone. For smaller objects or for architecture there is no need to work in bigger groups. I simply need the concentration for that. In such a case I use my alt or I work in a OSG at the Metropolis grid or in my local simulator.
Picture 9: the Metropolis muybridge workers by Josina Burgess and Velazquez Bonetto
Picture 10: The artspace diabous in Metropolis metaversum, virtual environment by vealzqoez Bonetto
There is a special way to work together, where new ideas arise, by brainstorming. With communication and wild trying out many different possibillities, the most interesting pieces of art or techniques were created. With Josina, Caravaggio and Debbie together we developed and implemented many new ideas. There are also very complex productions that without the collaboration of many avatars would not be possible to make. Here the many competencies need to be integrated in a production. This kind of creating needs a lot of communication from all participants, precise work and coordination. The participants often are in different continents, we never set a deadline for completion and still all comes together. I find all possibilities and technics to express great as long it has a meaningful function. Even RL art displaying in SL has a function; to discover and learn art pieces they otherwise never would see and would stay unknown. Artworks have the primary function to bring a message to the rational and emotional level. All these are possible to be shown in many forms. But yes I prefer primary immersive art, like everything that is not possible to create in RL.
Picture 11: The artspace diabous in Metropolis metaversum
Picture 12: The artspace diabous in Metropolis metaversum
Picture 13: The avatar museum in Metropolis metaversum by Velazquez Bonetto
I’m mostly involved in making 3d Arts in SL. There’s a great ignorance on RL art in Sl and an even greater ignorance of SL art in RL.
Werner Kurosawa aka. Werner Van Dermeersch
I try to make 3d structures not possible in Rl. Especially based on scale, gravity and generative 3D art. I’m trying to get SL art into RL gallery’s. Wich was done with this installation at Linz ART/ Architecture Festival in Austria. You could say they are abstract Dan Coyote calls them Hyperformal. Maybe they are Meta Neo Modern. The intention is to experiment on space/proportion and scale to try to understand what we perceive or what we don’t perceive at all. I do make my work out my own interest acting on what i think is important for the moment. Interest and reaction of public is always interesting but of no influence on what i make.
Studied arts & Architecture Architect since 1984 Teaching art at the faculty of Arts in Antwerp from 1989 till now http://wernervandermeersch.wordpress.com http://www.flickr.com/photos/werner_kurosawa http://www.youtube.com/user/2UC4ANTWERP http://www.champdaction.be With the first Gameengines in the 90ties already tought that it should be possible to have a kind of Metaverse to interact online with others in 3d space. First work with gameengine was done in 1994 Screens for Composer Serge Verstockt played by Cjhampdaction. Metaverse lets you make works possible not possible in real life. By Costs, Time, Gravity or Scripting in 3d.
Mainly on how people perceive abstract space wich is with no refference to RL space. How people mov or perceive this and react with or on it. Work has to be original and can sometimes be referring to actual situations going on. It may never be ignorent. The main skills i brought into sl are my skills as an architect and artist wich i was used to use in RL. The main topics i used to work on are mainly space, proportion and scale. Also the way on how we perceive things and how we can oriantate into an abstract space. Our mechanisms on Perception of how we think to see things is a main concern. The way on how we oriantate in space where’s “no” gravity or where man can fly seems to be of influence on my RL work. SL also gives the room to experiment with space and the reaction of people on it as a kind of laboratory. As a 3d sketchbook for RL and behond.
metaverse art I think SL is the first step for a 3D internet a 3D WWW. Wich will become more and more important. Thes e are just the first small steps into a giant infinite cyberspace. Most work i do is alone. collaborations is mostly on commission. Most things i make are NPIRL. RL pieces should stay in RL. RL mimycry or imitation should only help to learn people to coop with abstract space or as a scale refference. RL world is beautifull enough why shoud we imitate it. Metaverse should generate itâ€™s own esthetics NPIRL on a META level only possible in cyberspace. Snow Voronoi is an evolution in work wich is part of research in RL on generative space. now Voronoi is a selforganizing structure wich is constantly different, random and changing. Snow voronoi is as a huge structure like how snow crystals fall and tend to build up in there ever lasting uniqueness.
Picture 2: Voronoi by Werner Kurosawa
Every part of the structure is based on the Steiner tree problem and is generated randomly every 30 seconds 30 times. With the help of SL gravity and Physics they all togheter form a larger structure wich seems to follow laws of physics in nature and grows like how snow or soapbubles tend to build up ever changing but seemingly the same. These kind of structures are are called 3 Voronoi structures. Quotes on Self organisation / Steiner Tree / Voronoi from Wikipedia Self Organisation The most robust and unambiguous examples of selforganizing systems are from physics. Self-organization is also relevant in chemistry, where it has often been taken Picture 1: Voronoi by Werner Kurosawa
Picture 3: Voronoi by Werner Kurosawa
metaverse art as being synonymous with self-assembly. The concept of self-organization is central to the description of biological systems, from the subcellular to the ecosystem level. There are also cited examples of “self-organizing” behaviour found in the literature of many other disciplines, both in the natural sciences and the social sciences such as economics or anthropology. Self-organization has also been observed in mathematical systems such as cellular automata. Sometimes the notion of self-organization is conflated with that of the related concept of emergence. Properly defined, however, there may be instances of self-organization without emergence and emergence without self-organization, and it is clear from the literature that the phenomena are not the same. The link between emergence and self-organization remains an active research question. The idea that the dynamics of a system can tend by themselves to increase the inherent order of a system has a long history. One of the earliest statements of this idea was by the philosopher Descartes, in the fifth part of his Discourse on Method, where he presents it hypothetically. Descartes further elaborated on the idea at great length in his unpublished work The World. Originally, the term “self-organizing” was used by Immanuel Kant in his Critique of Judgment, where he argued that teleology is a meaningful concept only if there exists such an entity whose parts or “organs” are simultaneously ends and means. Such a system of organs must be able to behave as if it has a mind of its own, that is, it is capable of governing itself. The term “self-organizing” was introduced to contemporary science in 1947 by the psychiatrist and engineer W. Ross Ashby. It was taken up by the cyberneticians Heinz von Foerster, Gordon Pask, Stafford Beer and Norbert Wiener himself in the second edition of his “Cybernetics: or Control and Communication in the Animal and the Machine” (MIT Press 1961). http://en.wikipedia.org/wiki/Self-organization Steiner Tree Problem The Steiner tree problem, named after Jakob Steiner, is a problem in combinatorial optimization, which may be for-
metaverse art mulated in a number of settings, with the common part being that it is required to find the shortest interconnect for a given set of objects. The Steiner tree problem is superficially similar to the minimum spanning tree problem: given a set V of points (vertices), interconnect them by a network (graph) of shortest length, where the length is the sum of the lengths of all edges. The difference between the Steiner tree problem and the minimum spanning tree problem is that, in the Steiner tree problem, extra intermediate vertices and edges may be added to the graph in order to reduce the length of the spanning tree. These new vertices introduced to decrease the total length of connection are known as Steiner points or Steiner vertices. It has been proved that the resulting connection is a tree, known as the Steiner tree. There may be several Steiner trees for a given set of initial vertices. http://en.wikipedia.org/wiki/Steiner_tree_problem Voronoi In mathematics, a Voronoi diagram is a special kind of decomposition of a metric space determined by distances to a specified discrete set of objects in the space, e.g., by a discrete set of points. It is named after Georgy Voronoi, also called a Voronoi tessellation, a Voronoi decomposition, or a Dirichlet tessellation (Lejeune Dirichlet), In the simplest case, we are given a set of points S in the plane, which are the Voronoi sites. Each site s has a Voronoi cell, also called a Dirichlet cell, V(s) consisting of all points closer to s than to any other site. The segments of the Voronoi diagram are all the points in the plane that are equidistant to the two nearest sites. The Voronoi nodes are the points equidistant to three (or more) sites. http://en.wikipedia.org/wiki/Voronoi_diagram
Picture 4: Voronoi by Werner Kurosawa
Picture 4,5,6,7: Voronoi by Werner Kurosawa
Picture 8,9,10,11: Voronoi by Werner Kurosawa
Picture 12: Voronoi by Werner Kurosawa
Wirxli Flimflam Artist
RL Name: Jeremy Owen Turner Blog: http://wirxliflimflam.blogspot.com RL Bio: Jeremy Owen Turner (b. 1974, Victoria, BC, Canada) is a virtual worlds performance artist and composer living in Vancouver. He has been performing in real-time environments since 1996 and in virtual worlds specifically since 2002. One of his avatar performance art groups was with Alberto Guedea and was known as “The Gates” (2002-2005). This group used Digitalspace Traveler as their chosen metaverse medium. Turner also performed in an internet punk group using Skype and MSN Messenger. with Guedea called “The Hotmails (THM)” from 2005-2006. In 2003, he co-produced “AVATARA” with Donato Mancini and
Patrick “Flick” Harrison - which is considered to be the very first machinima documentary shot entirely “inworld”. In Second Life, he was a co-founder of Second Front (2006-2008) and a music composer for the Avatar Orchestra Metaverse (2007-2008). Turner is interested in the transcendence of biological limitations via “Posthumanism” as well as the ontological transformation from “self” to “other”. Turner performs in many virtual world environments and plans to perform in augmented reality and nanotechnologically mediated environments in the near and far future. Well, the metaverse has fascinated me for some time...I really got into the idea when I read Bruce Damer’s book “Avatars” in 1998 or so. I have been involved in virtual worlds performance since 2002 and have participated in virtual worlds as a resident since 2001... In fact, I have performed online (in an AOL chat room) since 1996. I even signed up for Second Life’s beta in late 2002 although I did not get in due to the limitations of my computer that I was using at the time. I mention all of this to provide some historical context behind my ongoing fascination and engagement with the Metaverse. There are many reasons why I am drawn to this medium...I like idea of being able to transform into multiple identities - all of which express different aspects/facets of my total personality. I am reminded that my biological self is just one avatar among many possible ones. I am also drawn to Eastern (Vedic) philosophy so I am very much drawn to the concept that all reality is somewhat “virtual” - so I like how “art” and “life” are very close together in mediums such as Second Life. Right from the beginning, I felt that avatar performance was the most “authentic” form of art-making in the metaverse due to the ways in which “life” and “art” explicitly blur together through the cyclical act of real-
time performance. In real life, there are many more inhibitions to performing since there can be severe social and physical consequences when getting people to challenge their own sense of reality. In Second Life, one can create interventions that creates a hypermediated awareness of their avatar and their positioning within the metaverse. As art, I like to catalyze this awareness of the avatar body and its cultural relationship to a world that is both radically different AND similar to the “real” world. This depends on which avatar I assume. I have many avatar ALTs to express different aspects of myself as well as certain themes. Some of my ALTs are not even artists - this gives me an opportunity to explore the Metaverse outside of the artistic discourse and enjoy it for what it is (or could be). As Wirxli, my role is to remediate the “Real Life” (RL) performance art-historical discourse into Second Life (SL). This means assuming the “shamanic trickster”, “clown” or “joker” archetype, to some degree. As Wirxli, I also explore the themes of celebrity excess and the self-mythologizing of the artist-as-genius. I think in the future, I will also explore automated agents/bots as well as the personification of non-anthropomorphic “alien” avatars.
Picture 2: MdM arena performance
As Wirxli, I am pretty much exploring all I want to explore. I am starting to realize how one-dimensional a character Wirxli really is. I feel that in order to grow as an artist and as a complete person, I should experience the Metaverse using other ALT identities...this will likely include the creation of new personalities. I usually explore what the themes are within a given virtual world and/or metaverse and determine a series of themes from that. My RL self is personally interested in: Transcendence/Mysticism, Extropianism/PosthuPicture 1: Wirxli in action MdM arena 2009
Picture 3: MdM arena performance
manism, the occult, Minimalism/Maximalism and related topics. As Wirxli, I create performances and not persistent “creations”, per se. Anything that persists is only the documentation. I do not seem to have created any kind of virtual object with some sort of legacy behind it. The closest thing I have “created” was a luxury sportscar that was co-designed with Sugar Seville but almost no one has seen it. I am my own worst critic and always believe in retrospect, that my own artistic output is not as valuable as avatars. I actually am much more interested in other avatar artists than myself and sometimes wish I did what they were doing that what I ended up doing. I believe forming Second Front and becoming the first resident on Odyssey Island are probably the most significant activities I have undertaken within Second Life. I am also happy to have composed some largeensemble compositions for the Avatar Orchestra Metaverse. I am unsure of the long-term significance there except that the “new music” (i.e. “contemporary classical music”) discourse was able to continue flourishing within the Metaverse - but, other composers of the AOM have done the same thing. I am also proud to have spent more time snorting pixellated cocaine than conducting proper intereviews within SL. If I am proud of anything, it is my appearances in the media - especially, “The AVASTAR”. I communicate my throughts primarily through IM and text-chat - as well as communicate visually through Non-Verbal Communication (avatar body language).. sometimes, I use the voice channel for private conversations but that can compromise my avatar’s genderambiguity. Picture 4: MdM arena performance
As Wirxli, my performances/compositions are very post-modern. Part of the reason for this is to accurately reflect back the post-modern nature of Second Life. In terms of the degrees of aesthetic formality being explicitly referenced, this depends on the theme of the performance/composition. In my “real life”, I am VERY much interested in extreme formalism and abstraction. Part of my undergraduate work was about Mininalism and my current MA thesis is titled “NeoModernist Visual Design of Avatars in Second Life”. I admire avatar artists here who use hyperformalism and abstraction. I am actually contemplating a Greenbergian critique of avatar design within SL. I hope to one day make an ALT whose appearance and personality is totally non-anthropormorphic, alien, abstract and minimal. I have not yet succeeded yet but I am getting closer to that idea. I think I answered some of this above. As Wirxli, I want people to be aware of the cultural, ontological and virtual presence of the avatar body. I also want to blur the line between “audience” and “artist”, while at the same time - asserting my unique identity as an avatar “artist”. Ultimately, I want to remind people that the lines between “performance” and “lifestyle” are also blurred. I want to engage in activities that I would be too shy to enact in “real life” (RL). Sometimes, I produce artifacts as “performance residue” but this is simply to remind people of my avatar and not so much about the unique properties of the object itself. As Wirxli, it is extremely important. Wirxli’s whole identity and sense of self-worth insecurely revolves around the opinions of peers. This mirrors my “real life” insecurity as an artist and creator. Similar to Warhol, Wirxli relies on the media at large to define who he/ she is as a persona. I have other ALTs though that care less about what the public thinks. I even have one ALT
that prefers to experience SL in solitude. As Wirxli, I am more sensitive to feedback/reactions from my peers and friends than I am from the general public in SL. This is because my peers and friends understand the context from which I create my work and define myself. I would never do anything to intentionally alienate either my friends nor my peers. Ooops, I answered this already ;-) I guess the feedback from Artists/Colleagues/Peers is so important to me, I was eager to answer it in the first question. Having said that, I am not as interested in the opinions of artists who rely on importing traditional plastic art expression into SL...Not that I want to alienate them necessarily but they are working within a different context than me so their opinions are less valuable for the ways in which I wish to improve myself and my art. I do however, have many friends within SL who come from a plastic arts context and I never intend to alienate them either but this is more for friendship, rather than for artistic reasons. I perform using whatever is available to me or what friends give to me. I have no special talent for content-creation outside of sound-making although I would like to customize agents/bots using LSL (Linden Scrtipting Language) one of these days. From RL, I guess my music composition background is what I import into the Avatar Orchestra Metaverse. I am an electro-acoustic composer and have made a few hundred albums over the past decade...most of which have never been released. I am just mentioning this to indicate that I can create custom sounds and import them into SL with relative ease. I guess I also import my RL social skills into SL although one might argue that it is through the metaverse, that I improved my RL social skills..it is a feedback loop. It reminds me of the virtuality present in our own so-
called “reality”. Being in the Metaverse also reminds me of the potential agency I have in any world that could allow me to impact and perhaps even transform it in a significant way. Being in SL has even helped lower my inhibitions slightly in RL. As a result, I feel much more confident when I engage in social situations with others. Creating performances/compositions as a “Virtual Worlds Artist” also helps give siginificance to my life as an artist working within a very historically-specific milieu. As a result, I feel like I am part of a larger arthistorical continuum. The Metaverse needs to eventually find a way to completely blur with the “real” one while maintaining its sense of transcendence and ontological transformation of both the “self” and the “other”. I think once Nanotechnology can make virtual objects, agents and avatars “real”, then we will have the next phase of artistic evolution ready to work with. In this sense, I think concepts such as “Posthumanism” and the “alien other” will become that much more important - possibly even redundant. This would depend on which avatar I decide to be but I am usually more comfortable collaborating with others as I like the social nature of the Metaverse and sometimes, I can define myself further with the “other” as a companion. In addition, I like to work with others that have complimentary skill-sets to mine - especially when it comes to realizing more ambitious large-scale projects. With minor exceptions, I pretty much exclusively specialize in Metaverse only art (“NPIRL”). I have been this way for quite awhile and plan to be so until the worlds blur into one completely magical realm where the virtual becomes “real”.
Picture 5: The Wirxli Flimflam memorial in benvolio
Published on May 19, 2010
A publication of the Artspace Diabolus Cybernetic Art Research Project (CARP) 2010 copyrights: Artspace Diabolus Cybernetic Art Research Pro...