Rinascimento Virtuale ARENA volume 1 by laszlo diabolus

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rinascimento virtuale 2008

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

Giorgio Vasari

(30 July 1511 – 27 June 1574) He was an Italian painter and architect, who is today famous for his biographies of Italian artists, considered the ideological foundation of art-historical writing. Vasari‘s Vite de‘ più eccellenti architetti, pittori, et scultori Italiani (1550-68, The Lives of the Artists) is perhaps the most important book on the history of art ever written. In this work Vasari made famous the term ‚Rinascita‘, or Renaissance.

diabolus artspace 4

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diabolus artspace arena 2008

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arena 1 edited by velazquez bonetto in collaboration with arco rosca & roxelo babenco a CARP 7 edition virtual artspace diabous

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roxelo babenco arco rosca

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rinascimento virtuale arena

velazquez bonetto

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The artists of the first ARENA book: 23-25 october 2008 Shellina Winkler Sholkide Auer 25. october 2008 2pm slt - CARP Event The WALL V2 Creative Director: Debbie Trilling (UK) Producer/architecture/scripting: Velazquez Bonetto (D) Wall design: Elfod Nemeth (UK) Animated Puppets: Duggy Bings (US) Additional song: Junivers Stockholm (S) & Josina Burgess (NL) Animation: Caravaggio Bonetto (A) Costume design: Caravaggio Bonetto (A), Josina Burgess (NL) Stills Photography: Adec Alexandria (UK) Actors and dancers: Josina Burgess (NL), Debbie Trilling (UK), Elfod Nemeth (UK), Klute Coppola (F), Southern Reptide (US), Velazquez Bonetto (D) 26. october 2008 2pm slt CARP Event The RINGS the metaverse protest opera

Creative director/builder/scripting: Velazquez Bonetto (D) Costumes: Josina Burgess (NL) Special effects: Debbie Trilling (UK), Elfod Nemeth (UK), junivers Stockholm (S) Velazquez Bonetto (D) Scenario design and graphics: Caravaggio Bonetto (A) Velazquez Bonetto (D), Camera direction: junivers Stockholm (S) Concept King of the World: Medora Chevalier (UK) junivers Stockholm (S) Narration, Script Editor, Choreography: Medora Chevalier (UK) Panorama Photography: Jan van der Woning (NL) Animations: Sca Shilova (NL) Actors and dancers: Blanche Argus (S), Josina Burgess (NL), Medora Chevalier (UK), Klute Coppola(F), Debbie Trilling(UK), Efrantirise Morane (I), MillaMilla Noel (I), Sca Shilova (NL), junivers Stockholm (S), Any1 Gynoid, & the yellow submarine 27. october 2008 1pm slt CARP Event Living Architecture metaverse audiovisual improvisation audio artist: nnoiz Papp visual artists:

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Caravaggio Bonetto Josina Burgess Velazquez Bonetto 27 - 29 october 2008 Therese Carfagno 31 october 02 november 2008 Selavy Oh 04-06 november 2008 Frieda Korda 06-08 november 2008 Chi5 Shenzou 08-10 november 2008 Eifachfilm Vacirca 11-13 november 2008 Sassun Steinbeck 12-14 november 2008 Stephen Venkam 16-18 november 2008 Lucian Iwish 19-22 november 2008 Haico Hax 19-22 november Ichtyo Broome

24-26 november 2008 MariTer Auer Giugiogia Auer 26 november 2008 Seconf Front Event Man Michinaga Fau Ferdinand 28-30 november 2008 Harper Bresford 29-31 november 2008 Sca Shilova 03-05 december 2008 ak Yip 05-07 december 2008 Caterina Davinio 06-08 december Patrick Moya 15-17 december Marco Manray

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shellina winkler 23 - 25. october 2008 I initially joined the SL community out of curiosity; I wanted to check the potential of education in the metaverse via self-training. After looking at other avatars‘ works I decided to put building first and the creation of works of art became my main goal. I attended some lessons of building at Second Learning – INDIRE Land thanks to precious Solkide’s advice I started putting together my first prims. Since then we started working together and exhibiting our works in many inworld museums and galleries. The great versatility of prims gave me the opportunity to try different forms and techniques. At the beginning I mainly created geometrical works; later, I experienced the creation of „prim-paintings“ by the application of objects on a board thought as a canvas, using textures in order to create visual effects. Afterwards I focused my attention on “monoprim” maximizing the potential of a single prim trying to obtaining from it, by using textures or merely colours, simple works in their complexity. Every single work sees its birth completely “inworld”. Creativity, passion and the love for shapes and colours generate a work with a meaning inside which is the result of my experiences lived in Second Life enriched, as well, by the fantasy which is the peculiarity of this world. Being an artist on Second Life is my main purpose. Creating „paintings“ and „sculptures“, being able to exhibit in some galleries and, the last but not the least, my friends’ appreciation of my work, all allowed me to understand what it feels like living as an artist. Since June 2008 a selection of my works can be seen at Italic’Art Gallery which I share with my colleague Solkide Auer. In my last phase I’ve been working on “Immersive” works and my taking part at the Burning Life 2008 has been a great chance to show them. As most of them can be seen in their interior they need big space to be lived at their best. Since summer 2008 I’ve periodically exhibited some of my works at Brooklyn is Watching, an American Gallery which has an interface in Real Life in New York City. Two of my works “PSYCHEDELIC DREAM” AND “SECOND STAR TO THE RIGHT” have been commented in two podcasts that the curators of the galleries, both virtual and real, weekly record.

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solkide auer 23 - 25. october 2008 Second Life has been and is for me a very important experience. The starting effect of curiosity for this metaverse soon turned into the wish of saying something trying to create a definite personality. Building gave me that chance, that is the ability to creating objects of any kind, from the simplest to the most complex. All that after attending some courses offered by the school of Building at Secondlearning. Later on, after exploring this metaverse far and wide, I realized I wanted to do something that would go beyond the usual rule of structures or classical framing; so I tried to express my ideas through different sculptures. I started creating geometrical shapes then I used more difficult techniques such as â&#x20AC;&#x17E;the shadeâ&#x20AC;&#x153;, which gives the possibility to manipulate a unique prim in a very complex way. As a result I obtained unexpected and different shapes quite unlike the ones anyone can find around. It is clear that Iâ&#x20AC;&#x2DC;ve been working hard to get this result trying to get the good ones a and long nights spent trying to understand how to frame at my best some works that could convey an emotion.... even the simplest, and that it could attract people to an idea I had in my mind or just to share my message with them. .

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the wall V2 25. october 2008 2pm slt The Cybernetic Art Research Project (CARP) presents in the NMC-campusWEST diabolus HYPERCUBE theatre Pink Floyd THE WALL V2 Mother, should I trust the government? http://slurl.com/secondlife/NMC%20Campus%20West/128/ 128/17 Creative Director: Debbie Trilling (UK) Producer: Velazquez Bonetto (D) Wall design: Elfod Nemeth (UK) Animated Puppets: Duggy Bings (US) Additional song: Junivers Stockholm (S) & Josina Burgess (NL) Animation: Caravaggio Bonetto (A) Costume design: Caravaggio Bonetto (A), Josina Burgess (NL) Stills Photography: Adec Alexandria (UK) Actors and dancers: : Josina Burgess (NL), Debbie Trilling (UK), Elfod Nemeth (UK), Klute Coppola (F), Southern Reptide (US), Velazquez Bonetto (D) with valuable contributions from: Scio Kamachi, Gypsy Paz, Lyndin Tzara, Celeste Moonlight, DJ Jens, and George W. Bush .

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The Wall – Eine virtuelle Multimedia-Show Geschrieben von Giridevi Duranjaya Vorgeschichte 1979 erschien das Konzeptalbum The Wall von Pink Floyd, einer wegweisenden Rockgruppe, die neben Tangerine Dream, Santana, Jethro Tull u.a. besonders den Sound der 70er Jahre geprägt hat. Die Stilmittel bestanden v.a. in einem Mischen elektronisch erzeugter Klänge zu einer psychedelischen Soundtextur. Hier setzte auch die Stimme der Kritiker von The Wall an, denn die Entwicklung des spezifischen Pink Floyd Sounds zeigte keine Weiterentwicklung, vielmehr muss man wohl die inhaltliche Entwicklung zu einem Konzept der Darstellung innerpsychischer Zustände als Entwicklungsschritt betrachten. Es geht um einen identitätssuchenden Jugendlichen, der um sich herum einen emotionalen Wall (of Sound) errichtet hat, genervt und pathologisiert durch mütterliche Überfürsorge, Abwesenheit väterlicher Zuwendung und grausame Schulerlebnisse. Statt die letzte Konsequenz der inneren Emigration, den Suizid zu ziehen, wird der Protagonist zu einem gesellschaftlichen Mitläufer mit faschistischen Zügen. Er schafft es nicht, alle Emotionen zu unterdrücken und klagt sich selbst vor einem imaginären Gericht an. Das Urteil besteht in einem Zerstören der Mauer, die er als Schutz um sich herum errichtet hat. Dieser Inhalt wurde 1980/81 zunächst in gigantischen Bühnenshows in den USA/Großbritannien und Westdeutschland dargestellt. 1982 entstand ein Film, in dem reale und Zeichentrickpassagen vermischt sind. Eine Reanimation erfolgte nach dem Fall der Berliner Mauer 1989. Im Juli 1990 wurde The Wall symbolträchtig auf dem Potsdamer Platz mit bekannten Stars aus der Rockund Popszene neu inszeniert. Das CARP Projekt Seit April 2008 zog die erste virtuelle Variante als digitale Show im Grid von Second Life über 1200 Besucher in ihren Bann. Wegen des Zuspruchs im Juli neu aufgelegt, wird die Show zweimal die Woche, am Freitag und Sonntaga-

bend jeweils um 2 Uhr PST noch eine Weile aufgeführt. Den Zuschauer erwartet eine minutiös synchronisierte, farblich, symbolisch und technisch überaus expressive Show, die über den Computerscreen übertragen einem wirklich das Gefühl einer Live-Bühnenshow vermittelt. Man kann es als kleines Wunder ansehen, was das CARP-Team (Cybernetic Art Research Project) hier leistet. In einem Interview mit der Projektleiterin Debbie Trilling versuchte ich der Entstehungsgeschichte etwas auf den Grund zu gehen. Auf der nächsten Seite findet ihr einige Bilder und die freie Übersetzung aus dem Englischen (Interview und Übersetzung: Giridevi Duranjaya). Giridevi Duranjaya: Debbie, vielen Dank dafür, dass Du Dir Zeit nimmst für das Interview; ich weiß, dass Du eine sehr beschäftigte Person in SL bist. Aber ich denke auch, dass es für Besucher Eurer Show eine zusätzliche Erfahrungsebene sein kann, über den Entstehungsprozess und den Hintergrund dieses Projektes mehr zu hören. Nach meinen Informationen bist Du als Creative Director verantwortlich für das Gesamtkonzept und unsere Leser würde interessieren, woher Du Deine Ideen genommen hast, inwieweit die vorhergehenden Inszenierungen von The Wall eine Rolle gespielt haben und was Du zusammen mit dem Team diesen historischen Vorbildern neu hinzugefügt hast. Debbie Trilling: In der Inszenierung von The Wall bei Pink Floyd kommen etliche ironische Bilder zum Einsatz, vor allem die Riesenpuppen, die gekreuzten Hämmer und natürlich die Mauer selbst. Diese haben wir in unsere Produktion übernommen. Aber es war uns sehr wichtig, nicht nur eine Kopie zu schaffen, sondern eine individuelle und künstlerische Vision und Interpretation. Insofern haben wir viele neue Elemente hinzugefügt. Auch den Soundtrack haben wir neu zusammengestellt, manchmal sehr subtil und kaum wahrnehmbar, manchmal sehr offensichtlich. Ein ausgesprochener Pink Floyd-Fan wird manches wiedererkennen in unserer Show, aber auch ganz neue Dinge wahrnehmen. Wir haben uns generell sehr bewusst mit dem Geist und der Essenz des Originals auseinandergesetzt. Unser Motto vom ersten Tag der Produktion an war die Frage „Mother, should I trust the government?“ aus dem

arena 2008 Song „Mother“. Während die ursprüngliche Version als das individuelle psychologische Problem eines jungen Mannes verstanden werden kann, der depressiv wird und sich isoliert, überträgt unsere Version dies auf eine soziale und kulturelle Ebene; sie fragt nach den Einflüssen von äußeren Kräften auf Individualität und Kreativität. Ein weiterer Leitsatz außer dem oben erwähnten ist „Eine Regierung, die wenig regiert ist eine Regierung die am besten regiert“. Beide zusammen ergeben die Vision unserer Produktion. Sie hat viel mehr (anti-)politische Untertöne als die Originalversion. Giridevi Duranjaya: Die Vision ist eine Sache, eine andere jedoch ist die Realisation. Wie sehr warst Du beteiligt an der Umsetzung der Ideen in textuelle, kinetische, visuelle, sonische und performative Ausdrucksformen? Und wie hast Du die Leute gefunden, die fähig waren, die Ideen in mediale Aktionen zu übersetzen? Debbie Trilling: Die Wahl des Teams war vermutlich der wichtigste Faktor für den Erfolg unserer Produktion. Außer mir besteht das Kernteam aus folgenden Personen: • Velazquez Bonetto (Germany); auf ihn fiel die Wahl automatisch; er hat außergewöhnliche problemlösungsorientierte, technische und künstlerische Talente und kann großzügig mit seiner Zeit und seinen vielfältigen Begabungen umgehen, was man selten findet. Er hilft sehr, damit eine künstlerische Idee sich realisiert. • Elfod Nemeth (UK) wurde gebeten, die Mauer zu designen und zu scripten. Er hat eine unglaubliche Liebe zum Detail, sehr fortgeschrittene Scripting-Kenntnisse, aber auch beim Bauen und mit Texturen in SL kennt er sich gut aus und ist ehrgeizig, was Qualitätsstandards angeht; er ist ein Perfektionist und hat die Geduld und Fähigkeit mit jemandem solange zu arbeiten, bis ein Ziel auf höchstem Niveau erreicht ist. • Duggy Bing (US) war die einzige wirkliche Wahl für die Herstellung der animierten Puppen. Als RL und SL Künstler mit außergewöhnlichem Talent, was man an seinen extrem populären „Cartoonimals“ sehen kann, konnte er die Produktion mit seinem künstlerischen KnowHow anreichern.

• Caravaggio Bonetto (Austria) übernahm die Verantwortung für die Animationen, die Choreographie und die Kostüme. Sie brachte ein künstlerisches Flair, Farbe und eine Gefühlstiefe in die Produktion, die wenige andere hätten in dieser Form umsetzen können. • Josina Burgess (Holland) and Junivers Stockholm (Sweden) steuerten ihr musikalisches Talent bei, um den letzten Song ‚Break those Walls‘, der am Schluss live performed wird, hinzuzufügen. Josina ist auch LeadDancer in der Show. Velazquez, Josina, Caravaggio und Junivers sind Mitglieder des Cybernetic Art Research Project (CARP) und wir haben uns alle dort kennengelernt. Aber auch weitere Personen leisten wichtige Beiträge, z.B. Adec Alexandria (UK), die die Photos für die anfängliche Photoshow zusammenstellte, Scio Kamanchi (US), der für die Hubschrauberszene während des Songs „Happiest Days of Our Lives“ und für die Militäruniformen während des Songs „Run like Hell“ verantwortlich zeichnet, Gypsy Paz (US) und Lyddyn Tzara (US), die das Glas in der Bettszene („One of my Turns“) zerbrechen und Klute Coppola (France) und Southern Riptide (US), die tänzerische Effekte und Freude in die Show bringen. Giridevi Duranjaya: Wie hast Du die Arbeit koordiniert? Wieviele Treffen waren nötig und wie oft wurde geübt? Debbie Trilling: Ganz ganz viele Treffen und Trainings waren nötig, um die zahllosen Elemente der Show zusammenzubringen. Wir üben immer noch regelmäßig, vier Monate nach der allerersten Aufführung. Für die Koordination bin ich im wesentlichen zuständig. Ich wusste, was ich mir für eine bestimmte Szene vorstellte und wer im Team das am besten ausführen kann. Ich beschrieb meine Idee skizzenartig und ließ dann das Teammitglied seine eigene Variante entwickeln. Alle Mitwirkenden sind erfahrene RL-Künstler und SL-Content-Creator; sie alle waren in der Lage aufgrund meiner Andeutungen eine einzigartige individuelle Lösung zu finden. Giridevi Duranjaya:Wenn Du möchtest, kannst Du bitte auch den Lesern eine Vorstellung davon vermitteln, ob hin-

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ter diesem Projekt eine RL-Firma steht oder wie das ganze finanziert wird. Debbie Trilling: Unsere Produktion „The Wall“ wird von der sich selbst finanzierenden CARP-Gruppe organisiert. Besitzer sind Velazquez Bonetto und Josina Burgess. CARP ist völlig unabhängig von irgendwelchen Einflüssen von außen und finanziert sich nicht aus externen Quellen. Die Produktionskosten werden von den Mitgliedern selbst getragen und alle Erlöse gehen an Hilfsorganisationen. Wir sind sehr dankbar, von NMC Campus eine Sim-Gegend zur Verfügung gestellt zu bekommen für die Aufführungen. Giridevi Duranjaya:Welches waren die größten technischen und organisatorischen Herausforderungen im Produktionsprozess? Debbie Trilling: Ohne Zweifel war die größte technische Herausforderung die Synchronisation der sieben Controller mit dem Soundstreaming nach SL. Dies kostete uns die meisten Nerven und Kopfschmerzen während der ersten Zeit. Doch haben wir inzwischen eine Menge Tricks und Techniken dazu gelernt und können nun ziemlich garantieren, dass an einem guten Tag innerhalb von SL die Synchronisation mit einer Abweichung von einer halben bis zu 2 Sekunden funktionieren wird. Das ist eine akzeptable Toleranz. An einem schlechten Tag gibt es wenig Chancen für uns, das zu reparieren, wenn es verloren gegangen ist. Manche Sachen in SL kann man einfach nicht kontrollieren. Aber das gibt es ja auch in RL und wenn es passiert, müssen wir damit leben, auch wenn es enttäuschend ist. Zum Glück kam das bisher sehr selten vor. Organisatorisch gab es keine erwähnenswerten Probleme. Als die Rollenverteilung klar war, war es nur eine Sache der Produktion der einzelnen Elemente und dann ihrer Zusammensetzung, schließlich noch die Koordination innerhalb einer Show. Meistens ging es sehr kooperativ zu; natürlich gab es auch die ein oder andere Reibung. Ich behielt mir stets das letzte Wort vor. Es gab z.B. unterschiedliche Meinungen über die Größe und Höhe der Mauer. Ich entschied letzten Endes immer zugunsten des visuellen Eindrucks. Insgesamt jedoch herrschte ein großer Teamgeist und jeder arbeitete daran sein Vision und die der anderen Wirklichkeit

werden zu lassen. Es ist eine schwierige Aufgabe, wenn man manchmal jemandem, der hart gearbeitet hat, eine Sache zurückgeben muss, um sie zu ändern oder umzuarbeiten; das machte mir manchmal Probleme; aber es muss natürlich sein, damit am Schluss alles zusammenpasst. Die Leute sind alle eigenständige und auch eigenwillige Künstlernaturen und so kamen natürlich auch manchmal hitzige Diskussionen auf. Hier war Josina stets eine sehr diplomatische und beruhigende Vermittlerin. Letztendlich kamen stets alle zu einer gemeinsamen Abstimmung. Eines der größten Probleme von seiten der Zuhörer sind die Facelights. Sie müssen unter allen Umständen ausgeschaltet werden, da sie sonst unsere Lichtkomposition auf der Bühne zerstören. Man sieht dann nur grau. Wir geben jeweils vor Beginn der Show eine entsprechende Ansage aus. Das ist ein Inworld-Problem, denn SL stellt nur 6 Lichtquellen (außer Sonne und Mond) zur Verfügung und diese werden vom Klienten nur innerhalb seiner nächsten Nähe gerendert. Wenn man also neben jemandem im Zuschauerraum sitzt, der eine Lichtquelle hat und die Bühnenlichtquellen damit einschränkt, kann es sein, dass man von der Show nichts sieht. Wenn ich jemanden im Zuschauerraum sehe, der Facelight eingeschaltet hat, dann macht mich das sehr wütend. Giridevi Duranjaya: Was hast Du für einen persönlichen Hintergrund für diese Arbeit? Bist Du Medien-Designerin oder etwas ähnliches? Debbie Trilling: Ich war Computerprogrammiererin bevor ich Software-Designerin und -Testerin wurde. Ich beherrsche etliche verschiedene Programmierungssprachen und habe viel Erfahrung mit allen möglichen Software-Programmen. Ich kann nicht malen oder mit dem Stift kreativ sein in RL, aber ich habe eine Begabung, neue Software sofort zu begreifen und damit in kürzester Zeit auf einem hohen Niveau zu arbeiten. Ich benutze den Computer, um kreativ und expressiv zu sein. Insofern würde ich mich „technischen Künstler“ nennen im Gegensatz zum „natürlichen Künstler“. Meine Kunst besteht eher aus Algorithmen und Pixeln, als aus Leinwand und Ölfarbe. SL kam zu mir als ob ich schon immer darauf gewartet hätte. Und ich hatte das Gefühl, das Medium gefunden zu haben, das zu mir

arena 2008 passt. Particle-Kunst in SL war mein erstes Kreativ-Erlebnis und damit stelle ich auch immer noch aus: http://slurl.com/ secondlife/Gypsy%20Falls/64/40/803/. Giridevi Duranjaya: Gibt es auch Kompetenzen, die Du Dir während des Produktionsprozesses von The Wall neu angeeignet hast? Debbie Trilling: Velazquez und ich erarbeiteten gemeinsam die Kontroller und Kommando-Parser welche die Show am Laufen halten. Wir haben das so automatisiert, dass wir nur auf Start drücken müssen und alles vollautomatisch abläuft. Es gibt sechs solcher Kontroller und einen zusätzlichen von Elfod, der für die sukzessive Stein-auf-SteinKonstruktion der Mauer zuständig ist und auch für deren Abbau und den finalen Kollaps. Alles wurde in der LindenScriptsprache geschrieben und alles zusammen genommen ist natürlich eine Arbeit wie diese mit den ständigen Verbesserungen auch eine gewisse Kompetenzerweiterung. Das ganze ist auf 160 Avis ausgelegt, auch an Tagen, an denen der Sim überfüllt ist. Giridevi Duranjaya: Weshalb hast Du speziell das Thema „The Wall“ ausgewählt? Ist das eine persönliche Vorliebe oder hat es auch etwas mit dem „Wändebauen“ in SL zu tun? Ich denke da auch an die roten Bannlinien, an die man stößt, die für die einen einen gewissen Schutz bedeuten, für die anderen aber ausgrenzend wirken. Debbie Trilling: Es war eher eine spontane Idee und Übereinkunft mit Velazquez, die uns kam, als wir über den Plänen zum Berliner SIM saßen. Wir legten eigentlich sofort mit dem Arbeiten los. Es dauerte eine knappe Woche, bis die Sache zu einer offiziellen CARP Produktion erklärt war und die Basiskonzeption stand, die auch heute noch das Projekt trägt. Ich denke, Velazquez und mich hat dabei vor allem sofort die Möglichkeit gereizt, das ganze als Show umzusetzen mit den entsprechenden Effekten und Scripts und somit dieses Projekt von den raffiniertesten und ausgeklügeltsten Techniken des SL-Scriptings profitieren zu lassen. Ich habe zwei Hauptkriterien für The Wall:

1. Alle Objekte, Skripte, Kostüme, Bilder usw. sollten ausschließlich für diese Show produziert sein und nicht irgendwo aus zweiter Hand gekauft. Alles sollte erstmalig sein und noch nirgendwo in Gebrauch. Das schafften wir zu 95%. Wir erhielten einige Tanzanimationen und Kampfposen als Spende und verwendeten sie natürlich. Genau dafür suchen wir aber im Moment auch nach einem talentierten Scripter für Animationen, der Lust hat, an zukünftigen CARP-Produktionen teil zu haben. 2. The Wall sollte neue Maßstäbe setzen für Live-Aufführungen in SL, einen neuen Standard für andere, um sich motivieren zu lassen, es nachzumachen und eventuell zu verbessern. Giridevi Duranjaya: Welche Projekte sind in der Zukunft geplant? Debbie Trilling: Ich plane im Moment zwei Solo-Projekte unter der Schirmherrschaft von CARP: • V-2 ~ Gravity‘s Rainbow. Das ist ein Edutainment-Projekt rund um die deutsche WW2 V-2 Rakete und Thomas Pynchon‘s Novelle „Gravity‘s Rainbow. Auch mein Sim in SL heißt so; hier zwei Webadressen: http://en.wikipedia.org/wiki/Gravity‘s_Rainbow http: //www.v2rocket.com/start/start.html • „Hubble in Particles“: Das ist ebenfalls ein Edutainment-Projekt um das Hubble Teleskop, das die Photos der Frühphase des Universums wiedergibt mithilfe von Second Life Partikeln. Die nächste große Team-Produktion wird sein „The Rings - The Metaverse Protest Musical“, wo ich als Special EffektKünstlerin mitarbeite. Das ist eine Produktion von Velazquez. Giridevi Duranjaya: Debbie Trilling, wir sind beeindruckt und bedanken uns für die ausführlichen Statements!

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the rings 26. october 2008 2pm slt The Cybernetic Art Research Project (CARP)presents in the NMCLab diabolus HYPERCUBE theatre THE RINGS the metaverse protest musical http://slurl.com/secondlife/NMC%20Labs/128/128/2 Lyrics: Josina Burgess (NL), Medora Chevalier (UK), junivers Stockholm(S) Music: junivers Stockholm (S), Josina Burgess (NL) Creative director/producer/builder/scripting: Velazquez Bonetto (D) Costumes: Josina Burgess (NL) Special effects: Debbie Trilling (UK), Elfod Nemeth (UK), junivers stockholm (S) Velazquez Bonetto (D) Scenario design and graphics: Caravaggio Bonetto (A) Velazquez Bonetto (D), Camera direction: junivers Stockholm (S) Concept King of the World: Medora Chevalier (UK) & Director junivers Stockholm (S) Narration, Script Editor, Choreography: Medora Chevalier (UK) Panorama Photography: Jan van der Woning (NL) Animations: Sca Shilova (NL) Actors and dancers: Blanche Argus (S), Josina Burgess (NL), Medora Chevalier (UK), Klute Coppola(F), Debbie Trilling(UK), Efrantirise Morane (I), MillaMilla Noel (I), Sca Shilova (NL), junivers Stockholm (S), Any1 Gynoid,& the yellow submarine The Carp team would also like to acknowledge the help ofLarry Pixel: NMC (US) Jazzoru Otoole: Sax (S) Bibi Book: Cams script (D) Yumi Murakami (J) .

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Not possible in the real life Friday, October 17, 2008 http://npirl.blogspot.com/2008/10/rings-homo-sapiensversion-20-protest.html Alpha Auer The RINGS is a work created in Second Life® by a multinational team within the Cybernetic Art Research Project (C.A.R.P). Josina Burgess, one of the minds behind the production tells that this has been developed through months of collaboration by a creative team drawn from Germany, the Netherlands, Sweden, Austria, Italy, France and the UK. Taking its principles from hyperfunctionalism as well as H.J.Krysmanski‘s Power Structure Research. This team has put together an impeccable musical production which utilizes cutting edge technologies such as collaborative worldwide song composition/ recording/ mixing techniques, automatic audiovisual timeline controlling systems, flying seat systems as well as a 4d live-cut camera system and puppet animation record/play system. Says Josina Burgess: „Every scene has a real concrete RL Inspiration, not a formal one but more the content of it. The title RINGS comes from the Power Structure Research. We used as a content base the description of H.J Krysmanski. In the themes we added a 5th ring. In this ring are the victims of the system. The form we used always has to do with the themes from then. But it was never the goal or the intention to use styles from what ever direction. Better to use fitting formats that helped to understand the content of the message. We call that Hyperfunctionalism... ... All together this 4 ring system shows and describes the worldwide experimentation to re-organize the ruling class; that without a strong state and under the conditions of regulation of economic, collective forms have to survive. The absolutely designated personnel of this „Ring castle“. In fact a few thousand in the outside ring, operates more

and more in a environment of absolute corruption: „The relation of corruption in the Antiques and in Modern times towards world-relations were named as falsifications. Corruptions (as a statement) cant play any role in the governance forms of today, because they themselves are the substance and the totality of the Empire. Corruption is the true performing of commands, without any relation or adequate subscription to the Demimonde (Hardt u. Negri 2002, 398).“ The Rings is an impeccable production, which would do any Real Life theatrical venture proud; taking the fundamental concepts of Real Life scenography and stage production into a virtual dimension particularly through the usage of the controlled camera system. Indeed for me there were immediate Real Life associations, one being the Laterna Magika from Prague. Thus I could not help but wonder how it‘s creators Alfréd Radok and Josef Svoboda would have used the technology in relation to the multilingual social milieu of the metaverse. The underlying premise of Laterna Magika was the seeking of a universal non-verbal theatrical language, which Radok and Svoboda considered to be of essence in view of the emergence of a global culture - and this as early as in the 1950‘s. Thus the entire lavishness of the stage constructions as well as the extensive usage of media elements were used to this end, i.e., they carried an inherent mission which went far beyond the pursuit of a merely spectacular visual display. Radok and Svoboda were in pursuit of developing a visual language of narrative, capable of expressing far more than the obvious: One of a level of sophistication and complexity that would render the spoken word obsolete in its ability to convey layers of meaning and narrative. So, I cannot help but wonder whether the theater producers of the metaverse might not give this consideration also: Today, in the metaverse we are indeed faced with a multi-lingual culture. The delightful neko designers whose devoted customer I am and whom I often try to engage in conversation are usually Japanese and not in good command of English. Another good example to this conundrum would be the colony of French Chris Marker aficionados that seems to have

arena 2008 grown in my neighbor sim Ouvroir, which houses the Chris Marker exhibit of the Gestaltungsmuseum, Zurich. Again, I find that, more often than not, communication in English with these new neighbors proves to be a problematic proposition. The visuals of the Ring are indeed beyond any reproach. The stage sets, the special effects, the usage of shape, texture and color satisfied even a stickler for perfection like myself. The animations that bring together the choreography are impressive and then most importantly the quality of the music is of such a level that I felt compelled to ask Josina Burgess additional questions with regard to its creation. Having voiced my admiration for the production of the Rings - and again, I am truly impressed with the high level of professionalism and perfection here, I nonetheless have questions: The all important one is the reliance upon the spoken word to the extent that the performance does. And yet another one is the usage of an enclosed auditorium: Since we are in an environment where as far as creativity is concerned the sky seems to be the limit, why not take this into the very skies of Second Life? Or under the water? Or indeed both? Wouldnâ&#x20AC;&#x2DC;t this also not go towards some truly unexpected, if not downright magical usages of the controlled camera system which contributes so hugely to the viewing experience of the Rings? This is a truly talented team of people that have put together a performance that is definitely a must see in Second Life. And in the end, I would love to see them move further into the development of a purely visually narrative language as well as into the realization of content material that is more in the nature of a free fall rather than one which materializes as the conveyance of a somewhat direct message. In short one that leaves more room for the associative, the ephemeral, the complex, the alluded. I have no doubt whatsoever that their combined creativity is more than amply equipped to accomplish even far more substantial feats than the mere realization of my hopes in this regard.

Here is a video by Gary Hazlitt and his Just Virtual Film of C.A.R.P.â&#x20AC;&#x2DC;s first musical production: The Wall, V-2 The all original score is the work of Junivers Stockholm (S) and Josina Burgess (NL), while the lyrics on which this is based too originate from Josina Burgess, together with Medora Chevalier (UK) and again Junivers Stockholm. Indeed looking at the credits list much of the creative momentum behind this work can be ascribed to Josina Burgess who has also been instrumental in the design of the sets and costumes and Junivers Stockholm who has also been effective in scripting and special effects, the script writing and direction to KoTW and camera directing. Velasquez Bonetto is the creative director/producer as well as the builder and scripter of the Rings. The songs are sung by Josina and Junivers working together from a distance by sending files over to each other from Holland to Sweden and vice versa. Other names involved in the creative effort are Debbie Trilling and Elfod Nemeth (both from the UK) for special effects, Caravaggio Bonetto (A) for scenario, building and graphics, Medora Chevalier (UK) for the concept of the King of the World song which she co-authored with Junivers Stcokholm, beyond which Medora was also the narrator, script and supervising editor to KoTW. Panorama photography has been undertaken by Jan van der Woning (NL), the animations by Sca Shilova (NL). The actors and dancers of the Ring are: Blanche Argus (S), Josina Burgess (NL), Medora Chevalier (UK), Klute Coppola (F), Efrantirise Morane (I), MillaMilla Noel (I), Junivers Stockholm (S), Sca Shilova (NL) and the sax was played by Jazzoru Otoole (S).

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living architecture 27. october 2008 1pm slt The Cybernetic Art Research Project (CARP) presents in the NMC-campusWEST living architecture

audio artist. nnoiz Papp visual artists: Caravaggio Bonetto Josina Burgess Velazquez Bonetto

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therese carfagno monday 27 - wednesday 29 october 2008 I came to Second Life in February 2007. I soon got a job as a journalist, and got to meet the most interesting artists in SL. Seeing so much creativity inspired me to start taking pictures myself. I find that taking pictures helps me the look at the world a little closer – and there are so many wonders to see in SL. I have no interest in calling myself an artist. I take snapshots. If I‘m happy with the picture because of the motive, the colours, the people in it or anything, i upload it to Flickr. That‘s it. And if someone else like what I do, that‘s even better.

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selavy oh friday 31 october - sunday 02 november 2008 rezzed 2/28/2007 Conceptual Artist The idea or concept is the most important aspect of the work. Color and texture are ends in themselves. Things that exist exist, and everything is on their side. The important thing is just this matter of timing ...

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frieda korda 04 november - 06 november 2008 Frieda Korda about herself: I started taking photos from the first day in SL. I use myself as an object, since Iâ&#x20AC;&#x2DC;m an artmodel in RL this is more or less an extension of that. Iâ&#x20AC;&#x2DC;m particularly interested in movement, expression and storytelling ... I only use photoshop to make the composition, I donâ&#x20AC;&#x2DC;t add effects, neither use any filters to create my works.

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Chi5 Shenzou 06 november - 08 november 2008 „Pixellust (Chi5).“ It is a three-dimensional „self“-portrait, rendered as a pixelated icon. Emulating the early days of digital art, each .5^3 meter prim is the equivalent of a pixel of color within an eight color palette, which is inspired by the standard 16 colors found on a VGA computer display. Attached is a zipfile containing screencaps of the work. I‘m a musician, and sometimes digital artist based in Brooklyn, New York. I am best known in Second Life for my contributions to group exhibitions in Odyssey, numerous architecture commissions--including the construction and design of the dual performance halls for the Das Klenes Field Recordings Festival in Berlin--and for my prominent role of „The Devil“ in Gazira Babeli‘s machinima film, „Gaz of the Desert.“

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eifachfilm vacirca 08 november - 10 november 2008 I studied Ecology, then I copied VHS cassettes, broke up with the study, yes mud ..a lot of mud.. We were the biggest in Switzerland. I was the man in the Studio, the Epic Centre, knew everybody also in cut, TV journalist, anchor man, wrote for the news, scanned Reuters, AP, then made pay per view assignments, Hollywood, Film Marketing, Theatre and Theatre video master. We were 3 times awarded for Theatre of the Year, yes because of the video’s and then Streaming Red Bull TV, UNO, docters, I really saw a lot and then SAP events, build a elite Club, got a burn out.. and now 444J I know hahaha, Don’t want to anymore, video is hell, all those wanting to make a carrier and grow into it come to me, whining, then they are all alone. I saw people.. unbelievable: Weapon merchants, porn producers, politicians, always being the one trustable to make their trash worthy. They adopt you because they know the moving image is of great power and I am the master there, not really belonging and hidden in the society so they even have more trust because I am like invisible and must be like not existing. I trust no one anymore I am d-oo-b-cc. Creative commons is my answer. When they don’t have a copyright they are screwed.I write galub, theatre video master and creative commons, something , and look at my site hahaha whatever.When I did the sad Bush, that was really crazy I tell you http: //eifachfilm.ch/projekte/bush/sadbush.htm

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arena 2008 Imaginary Money by http://d-oo-b.cc OPEN NOW The recent Financial Global climate is affecting us all in some way. From mortgage prices to investments, businesses fail and people loose their homes, jobs and lives as a result. The severe lack of forsight by those in control this has led to the potential crash of the neo-conservatives. We now see the wealth of the world in a different light. An uncertain future is all we have to look forward to. Europe was caught out by the financial crisis and did not see recession looming, the head of the Eurogroup of nations conceded today, amid estimates that the EU has plunged into a downturn. OCt 08 ‚Recession awaits us, and we didn‘t think that recession lay in waiting,‘ euro zone chairman Jean-Claude Juncker told members of the European Parliament in Brussels. Oct 08 ‚We were badly mistaken with the different sequences of this crisis,‘ said Juncker, who is also the premier and finance minister of Luxembourg. Oct 08 The European Commission in early November 2008 warned that the worst financial crisis for generations has driven the EU economy into recession and that economic growth would come close to a standstill next year. „Increasingly, the signs point to a deep and synchronised global recession that began last quarter and has gathered momentum,“ said Bruce Kasman, an economist at JPMorgan Chase in New York. November 08 The eurozone’s second-biggest economy will grow by just 0.2-0.5 percent next year instead of the 1 percent previously predicted, Economy and Finance Minister Christine Lagarde told the Senate. The minister said the growth forecast for next year 2009 was “the lowest ever by a government in France” but that it was realistic. “The international economic outlook has deteriorated much more than was expected, which will impact growth in Switzerland over the next several quarters,” the Swiss National Bank said in a statement in October 08 The sharp falls came after the Dow Jones index slid 5.05 percent on Wall Street November 7th 08 as investors braced for a gloomy economic ride after the euphoria of Obama’s election victory faded.

“Now that the event is over, investors are sobering up and looking at the economic gloom,” said Mizuho Investors Securities broker Masatoshi Sato. Billionaire philanthropist George Soros conceded in OCtober 08 that US influence was waning: „It has already declined. For the past 25 years, we have been running a constant current account deficit. The Chinese and the oil-producing countries have been running a surplus. We have consumed more than we produced. While we have run up debt, they have acquired wealth with their savings. Increasingly, the Chinese will own a lot more of the world because they will be converting their dollar reserves and US government bonds into real assets.“ Japan By James Kirkup and Julian Ryall in Tokyo Last Updated: 4:00PM BST 16 Oct 2008 Telegraph.co.uk „To cope with the current crisis, further steps may be needed,“ Mr Aso told members of the Japanese parliament. „However, I still believe this package will be effective to a certain degree.“ Mr Aso‘s budget package will be mean direct financial support for farmers and fishermen paying higher fuel bills, and for Japanese consumers. The emergency budget is part of a wider 11.7-trillion-yen package announced in August. The Bank of Japan also made another 300 billion-yen of emergency loans to Japanese banks, hoping to unblock the Tokyo money markets. The central bank has been offering extra liquidity on an almost daily basis for a month. euro Author: CTK http://www.ceskenoviny.cz/news/index_ view.php?id=338324 Prague - The current situation on financial markets will affect the agenda of Czech EU presidency in the first half of 2009, deputy prime minister for EU affairs Alexandr Vondra said. The financial crisis has become a new priority of the European Union, Vondra said. „When you are making preparations for a football match, you sometimes base your tactics more on offensive while another time you are more defensive. It is evident that in the economic situation in which Europe will be finding itself next year, emphasis will be rather placed on the protection and defence of what has already been attained,“ Vondra said.

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arena 2008 Posted by Kevin Anderson Sunday October 12 2008 06.50 BST Homelessness, the economic crisis and voting Homelessness is on the rise in the US, and the newly homeless could find their votes challenged. In Reno Nevada, joblessness has jumped 60% and a tent city of 170 people grew. Reno is trying to shut down the tent city and move people to newly opened shelters. CBS News has reported tent cities in Seattle, Portland, Fresno, Columbus, and Chattanooga. There are also reports of encampments in Seattle, San Diego, and Columbus, Ohio, Santa Barbara and Fresno California. The wave of foreclosures, which in some areas of the country disproportionately affect black voters, could also come into play. The Republican Party of Macomb County Michigan, one of three counties that make up Detroit, is planning to use list of foreclosed homes to challenge people who try to vote using those addresses. Republicans claim that they are trying to prevent voter fraud. Homeless and voting rights advocates are trying to make sure that people don‘t lose their homes and their right to vote. USA As veteran curator of that realm of American national power upon which all others ultimately depend, Greenspan has inspired remarkable deference. He long ago tamed the legislature, to the point that, instead of exercising oversight over his tenure, Congress has ritually idolized rather than interrogated him. Greenspan‘s aura has extended even to presidents of the United States. Bill Clinton went so far as to ask Greenspan in 2000 if he would like to be appointed to a fourth term as chairman, or whether he‘d prefer to „go out now on top.“ The then 73-year-old replied: „Oh, no. This is the greatest job in the world. It‘s like eating peanuts. You keep doing it, keep doing it, and you never get tired.“ BY PETER HARTCHER American Interests www.the-american-interest.com Winter Issue “Those of us who have looked to the self-interest of lending institutions to protect shareholders’ equity, myself included, are in a state of shocked disbelief,” he told the House Committee on Oversight and Government Reform. Mr. Greenspan conceded: “Yes, I’ve found a flaw. I don’t know how significant or permanent it is. But I’ve been very distressed by that fact.”

Mr. Greenspan said that he had publicly warned about the “underpricing of risk” in 2005 but that he had never expected the crisis that began to sweep the entire financial system in 2007. “This crisis,” he told lawmakers, “has turned out to be much broader than anything I could have imagined. It has morphed from one gripped by liquidity restraints to one in which fears of insolvency are now paramount.” NEW YORK TIMES (US) Greenspan’s sins return to haunt us By David Blake Published: September 18 2008 18:39 | Last updated: September 18 2008 18:39 Back in 2002, when his reputation as “The Man Who Saved the World” was at its peak, Alan Greenspan, former chairman of the Federal Reserve, came to Britain to pick up his knighthood. His biggest fan, Gordon Brown, now the UK prime minister, had ensured that the citation said it was being awarded for promoting “economic stability”. Even as things went completely wild, Mr Greenspan dismissed those who warned that a new bubble was emerging. It was just a case of a little “froth” in a few areas. Later, after waiting until 2007, two years after he left office, he conceded that “froth” had been his euphemism for “bubble”. “All the froth bubbles add up to an aggregate bubble,” he told the Financial Times...... Mr Greenspan realises that something big has happened and describes it as a “once in a hundred years” event. But then, you do not get Alan Greenspans coming along every day. Finincial Times (UK) Copyright The Financial Times Limited 2008 Neoliberalism, White (Male) Privilege & the Current Financial Crisis by Jessie on Sep 30, 2008 at 11:29 am Make no mistake, all the available evidence suggests that the American political economy is headed for a major crash. Some are even speculating that this is the end of American economic dominance in the world’s financial market. But don’t be deceived by the blame-the-victim rationalizing that’s being floated now. Let’s be clear about what policies and which people are behind the current financial crisis: neoliberal policies and the overwhelmingly majority of economically privileged white men (photo from same link) who created, implemented and benefited from those policies. Neoliberalism refers to a set of policies that encourage

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“less government” and unfettered (and unregulated) capitalism. The key elements of neoliberalism include: 1) the rule of the market, 2) reducing government expenditures on social services, 3) deregulation, 4) privatization, and 5) gutting the notion of “the public good.” The end result of neoliberal policies is that while a handful of people get very, very rich, these policies simultaneously exacerbate the suffering of just about everyone else and increase domestic and international instability. So, what we’re seeing now is just the logical, perhaps inevitable, result of these policies.

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sasun steinbeck 11 november - 13 november 2008 Sasun Steinbeck is creator of a unique style of interactive art in Second Life, Morphing Sculpture. Using complex scripting techniques Sasunâ&#x20AC;&#x2DC;s sculptures are able to change shape, creating a dynamic sculpture that is always fascinating to watch. Rather than relying on a static set of shapes, Sasunâ&#x20AC;&#x2DC;s Morphing Sculpture can change into an infinite number of shapes that owners can enjoy for a lifetime. Sasun is also the creator and maintainer of the biggest registry of art galleries in Second Life at http://sl-artgalleries .blogpost.com,, fulfilling the need to help art lovers everywhere connect to the many excellent art galleries in Second Life. The list currently has over 550 confirmed galleries on it and is distributed via notecard and a custom designed Gallery Tour HUD at kiosks at all of the galleries on the list. The Kiosk.Net networked kiosk system used to distribute the list was also created by Sasun Steinbeck and is widely used by many residents as well as Linden Labs to distribute information, magazines, and objects across Second Life to their customers.

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stephen venkam 12 november - 14 november 2008

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lucian iwish 16 november - 18 november 2008

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haico hax 19 november - 22 november 2008 SAL - Second Artificial Life -An environment for artificial life, where flora and fauna gets born, lives, dies, fights, kills, gets sick, makes love and reproduces. (insert artistic and philosophical remarks about the nature and importance of this system here) CREATURES: - Creatures crawl around the island, they cannot fly and cannot swim so they avoid water, when they fall in, they drown and die.- Creatures can be male or female- Creatures are born without gender and cannot reproduce and are white in color and start walking around immediately- After a while they mature and become male or female and get their color (blue and pink)- When female meets a male creature then they mate and the female becomes pregnant (when male and female are mature and the female is not pregnant yet)- After a while she delivers a random amount of babies and becomes able to get pregnant again- The number of babies depends on the number of creatures close to the female: the more crowded it is around her, the less babies she gets.- The male impregnates any mature, non-pregnant female he meets. - The creature turns to a dark color when getting old and dies after a while of old age - Creatures can catch a virus, turn green, get infertile and spread the virus by touch to any other creature. They live just as long as healthy ones, only will not reproduce (again)- Infected creatures die after a certain time after the infection, because previously they lived just as long as they would being healty, but the result was in every cycle, the whole population would die out, all creatures would be

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infected or leave so few that they wouldnt survive neither.Old creatures get slower than young ones.- Male creatures fight eachother and when their ability to defend themselfs is high enough, they survive, otherwise they die.- Every creature has an aggression level and if it gets over 99% then the creature turns into a serial killer, it colors yellow, cannot reproduce, or get sick, but instead kills every creature it comes in contact with. It can only be killed by old age or by another serial killer. It actively chases other creatures around and kills them as it gets close enough.- When an apple is close to the creature, it will walk towards it and eat it, so then the apple is gone for the others. TREE: - It grows using a recursive algorithm where every branch spawns a number of branches, depending on the location in the tree, that are progressively thinner and smaller and point in different directions, until the branch reaches the leafs. - When a leaf is grown, sometimes an apple drops to the ground, which the creatures eat.

Cellular automaton (plural: cellular automata) is a discrete model studied in computability theory, mathematics, theoretical biology and microstructure modeling. It consists of a regular grid of cells, each in one of a finite number of states. The grid can be in any finite number of dimensions. Time is also discrete, and the state of a cell at time t is a function of the states of a finite number of cells (called its neighborhood) at time t - 1. These neighbors are a selection of cells relative to the specified cell, and do not change (though the cell itself may be in its neighborhood, it is not usually considered a neighbor). Every cell has the same rule for updating, based on the values in this neighbourhood. Each time the rules are applied to the whole grid a new generation is created. History Stanislaw Ulam, while working at the Los Alamos National Laboratory in the 1940s, studied the growth of crystals, using a simple lattice network as his model. At the same

time, John von Neumann, Ulam‘s colleague at Los Alamos, was working on the problem of self-replicating systems. Von Neumann‘s initial design was founded upon the notion of one robot building another robot. This design is known as the kinematic model. As he developed this design, von Neumann came to realize the great difficulty of building a self-replicating robot, and of the great cost in providing the robot with a „sea of parts“ from which to build its replicant. Ulam suggested that von Neumann develop his design around a mathematical abstraction, such as the one Ulam used to study crystal growth. Thus was born the first system of cellular automata. Like Ulam‘s lattice network, von Neumann‘s cellular automata are two-dimensional, with his self-replicator implemented algorithmically. The result was a universal copier and constructor working within a CA with a small neighborhood (only those cells that touch are neighbors; for von Neumann‘s cellular automata, only orthogonal cells), and with 29 states per cell. Von Neumann gave an existence proof that a particular pattern would make endless copies of itself within the given cellular universe. This design is known as the tessellation model, and is called a von Neumann universal constructor. In the 1970s a two-state, two-dimensional cellular automaton named Game of Life became very widely known, particularly among the early computing community. Invented by John Conway, and popularized by Martin Gardner in a Scientific American article, its rules are as follows: If a black cell has 2 or 3 black neighbors, it stays black. If a black cell has less than 2 or more than 3 black neighbors it becomes white. If a white cell has 3 black neighbors, it becomes black. Despite its simplicity, the system achieves an impressive diversity of behavior, fluctuating between apparent randomness and order. One of the most apparent features of the Game of Life is the frequent occurrence of gliders, arrangements of cells that essentially move themselves across the grid. It is possible to arrange the automaton so that the gliders interact to perform computations, and after much effort it has been shown that the Game of Life can emulate a universal Turing machine. Possibly because it was viewed as a largely recreational topic, little follow-up work was done outside of investigating the particularities of the Game of Life and a few related rules. In 1969, however, German computer pioneer Konrad Zuse

arena 2008 published his book Calculating Space, proposing that the physical laws of the universe are discrete by nature, and that the entire universe is just the output of a deterministic computation on a giant cellular automaton. This was the first book on what today is called digital physics. In 1983 Stephen Wolfram published the first of a series of papers systematically investigating a very basic but essentially unknown class of cellular automata, which he terms elementary cellular automata (see below). The unexpected complexity of the behavior of these simple rules led Wolfram to suspect that complexity in nature may be due to similar mechanisms. Additionally, during this period Wolfram formulated the concepts of intrinsic randomness and computational irreducibility, and suggested that rule 110 may be universalâ&#x20AC;&#x201D;a fact proved later with the help of Wolframâ&#x20AC;&#x2DC;s research assistant Matthew Cook in the 1990s. Wolfram left academia in the mid-late 1980s to create Mathematica, which he then used to extend his earlier results to a broad range of other simple, abstract systems. In 2002 he published his results in the 1280-page text A New Kind of Science, which extensively argued that the discoveries about cellular automata are not isolated facts but are robust and have significance for all disciplines of science. Despite much confusion in the press and academia, the book did not argue for a fundamental theory of physics based on cellular automata, and although it did describe a few specific physical models based on cellular automata, it also provided models based on qualitatively different abstract systems. In his 2005 book, The Lifebox, The Seashell and The Soul, Rudy Rucker expanded upon Wolframâ&#x20AC;&#x2DC;s theories toward a theory of Universal Automatism. This used cellular automata as a model to explain how simple rules can generate complex results. (Wikipedia)

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ichtyo broome 19 november - 22 november 2008 Colony Collapse Disorder (or CCD) is a phenomenon in which worker bees from a beehive or Western honey bee colony abruptly disappear. While such disappearances have occurred throughout the history of apiculture, the term Colony Collapse Disorder was first applied to a drastic rise in the number of disappearances of Western honey bee colonies in North America in late 2006.[1] Honey bees entering a beehive. European beekeepers observed similar phenomena in Belgium, France, the Netherlands, Greece, Italy, Portugal, andSpain,[2] and initial reports have also come in from Switzerland and Germany, albeit to a lesser degree.[3] Possible cases of CCD have also been reported in Taiwan since April 2007.[4] The cause or causes of the syndrome are not yet fully understood, although many authorities attribute the problem tobiotic factors such as: Varroa mites and insect diseases (i.e., pathogens[5] including Nosema apis and Israel acute paralysis virus[6][7]). Other proposed causes include environmental change-related stresses,[8] malnutrition andpesticides (e.g. neonicotinoids such as imidacloprid), and migratory beekeeping. More highly speculative possibilities have included both cell phone radiation and genetically modified (GM) crops with pest control characteristics,[9] [10]though experts point out no evidence exists for either assertion.

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MariTer e Giugiogia Auer 24 november - 26 november 2008 Albertini e Moioli (MariTer e Giugiogia Auer) Stefania Albertini e Giampiero Moioli lavorano a sculture e progetti a quattro mani dal 1992. Hanno studiato Scultura allâ Accademia di Belle Arti di Brera a Milano. Giampiero Moioli Ã¨ anche laureato in Architettura al Politecnico di Milano. Sono entrambi docenti di Scultura allâ Accademia di Brera a Milano. Lâ interesse per la terza dimensione intesa in modo fisico e tangibile si Ã¨ evoluto verso la progettualitÃ e il rapporto della scultura con lo spazio architettonico e urbano per arrivare alla scultura interattiva virtuale. Fra le recenti attivitÃ sono la personale nella sede del Castello Visconteo di Pavia, quella a Spaziotemporaneo a Milano, quella alla Baoqu Tang Modern Art Gallery, Hong Kong e la partecipazione al SIPA 2006 al Seoul Arts Center / Hangaram Art Museum, Seoul; la collocazione di tre monumentali sculture virtuali interattive nella Lifelog Island in Second Life e lâ intervento alla prima conferenza â La terza dimensione: arte contemporanea, mondi virtuali e social networkâ tenutasi alla Sala Conferenze dei Musei Civici di Pavia. Bibliografia: Albertini e Moioli, Lugano, 1994; La macchina per fare le bolle, la circumfolgore e altri congegni, Milano, 2008.

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Second Front Man Michinaga & Fau Ferdinand

26 november 2008 Second Front is the pioneering performance art group in the online avatar-based VR world, Second Life. Founded in 2006, Second Front quickly grew to its current 8 member troupe that includes Jeremy Owen Turner (Vancouver), Doug Jarvis (Victoria), Tanya Skuce (Vancouver), Gazira Babeli (Italy), Penny Leong Browne (Vancouver), Patrick Lichty (Chicago), Liz Solo (St. Johns) and Scott Kildall (San Francisco). Taking their influences from numerous sources, including Dada, Fluxus, Futurist Syntesi, the Situationist International and contemporary performance artists like Laurie Anderson and Guillermo Gomez-Pena, Second Front creates theatres of the absurd that challenge notions of virtual embodiment, online performance and the formation of virtual narrative. Created in 2006, they have already performed extensively, including in Vancouver, Chicago, New York, and has been featured in publications including SLate, Eikon, Realtime Arts (Australia), The Avastar (published by Axel-Springer, Germany) and most recently in Exibart (Italy)

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Harper Bresford 28 november - 30 november 2008 digital photography (SL photography) http://www.flickr.com/photos/harperb/ with preference to architectural photographyor http://www.harperberesford.com/ Publications: Architectural Digest Edizione Italiana. „Abitare L‘Altrove.“ Text by Mario Gerosa. Photography by Jennifer Grace-Dawson/Harper Beresford. April, 2008. Engineering and Science. California Institute of Technology. Volume LXXI, Number 2, 2008. SLNN Next. SLNN.com. Fall 2008. Shows: 5 x REAL - 55 x SL. Bundesministerium für Wirtschaft undTechnologie (Federal Ministry of Economics and Technology), Berlin, Germany. September 18, 2008. 5 x REAL - 55 x SL. TowerVisions Bethanienturm, Plush South, Second Life. October 3, 2008-January 5, 2009. Rinascimento Virtuale Firenze. Museo Nazionale di Antropologia ed Etnolologia, Florence. October 21, 2008-January 7, 2009. In conjunction with the Festival della creatività. Commissions: DU Diederichs, Projektmanagement AG & Co. KG 2nd Reef. arcspace Bamboo Competition. TowerVisions Bethanienturm. Dynafleur, Princeton Sim.

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Sca Shilova 29 november - 31 november 2008 My RL disciplines have been very diverse, in particular 3D (digital and tactile), music & soundscapes, image (moving & still), animation & interactivity. A virtual world like SL brings all this together and more. I see SL as a sophisticated communication tool - living software - interactive art. In SL I can push the boundaries of artistic expression and perception - a natural breaking of codes and constructs, embracing the inherent absurdities and bugs. Evolution on a daily basis. My aim is that the origin of my creativity be playful.

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ak Yip 03 december - 05 december 2008 http://www.flickr.com/photos/akibalabo/ http://friendfeed.com/akibalabo http://twitter.com/akYip http://avatarwatch.blogspot.com/ http://blog.mindblizzard.com/labels/akYip.html http://www.facebook.com/people/Akira_ Gonaikawa/642536423 i was born in 1966 in Japan, and was doing sulpt modelering, scripting and making animations in Second Life. This installation which i called „1000 eyes“ was inspired by Jacque Attali‘s „A Brief History of the Future“. He said that in future we will be always under watch. Instead we will have to show much information about ourselves to prove we‘re good people , not kinda terrorists. Floating eyes symbolize the world under watch. Some peole think them as negative things, threats to privacy. However someone rather feel positive and enjoy leaving their informations as if it‘s kinda new social games or modern arts. Which one are you?

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Caterina Davinio 05 december - 07 december 2008 Tra i pionieri dell’arte digitale italiana e della computer poetry nel 1990, della net-poetry nel 1998. Il suo lavoro è stato presentato in molti paesi del mondo in oltre cento mostre, più volte alla Biennale di Venezia, dove ha esposto opere digitali, video e net-art in vari progetti collettivi dal 1997, collaborando anche come curatrice. Tra le altre mostre: Athens Biennial (2007), Biennales de Lion (1999 e International Kiosk 2007), Biennale of Sidney (Online Venue 2008), Biennale de Paris (2004). È attiva in numerosi campi dell’arte sperimentale, dal video alla computer art (quadri fissi e animazioni), alla video-performance, alla fotografia digitale. Autrice di poesia, poesia visiva digitale, saggi e articoli sull’arte dei nuovi media. Tra le pubblicazioni: Color color (romanzo, Campanotto, Pasian di Prato – UD, 1998); Tecno-Poesia e realtà virtuali (saggio, Sometti, Mantova, 2002). Sito Web: http://xoomer.alice.it/cprezi/ caterinadav.html

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patrick moya 06 december - 08 december 2008 Born in 1955 in France, Patrick MOYA study the Fine Arts at „Villa Arson“ in Nice, before working as a Fine-Art model (nude !) during ten years.After that, he never stop painting, sculpting, drawing, performing but always about/with his own name, MOYA, and his own image.Since 1985, he also create with a computer, first digital images then 3D movies. In 1995, he thinks up his little „moya“, mix of himself and Pinocchio, that he declines in „pseudo-naive“ paintings.Very famous in the south of the France (his gallery is the same than for artists of „Ecole de Nice“ Movement, Klein, Arman, César, Ben etc), he is often travelling for exhibitions in Paris, London, Italy, Europe, Asia, and sometimes USA.Creator of Dolly, the „mascotte“ of the famous teckno parties named Dolly Party, he has just finished (june 2007) his Chapel (a fresco about saint John the baptist, made on a basis of self-portraits), who is located in Clans, a little village nearby Nice. Today he owns an island at his name in the virtual world of Second Life, whose he is now one of the most dynamic performers, with the avatar‘s name of Moya Janus.On the Moya Island, you are entering in an island completely dedicated to Art, where all is made with real and virtual works of the french artist.

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marco manray 15 december - 17 december 2008 Marco Cadioli, artist and photographer in virtual worlds as Marco Manray. He started to travell and take photographs in the Net since 2003, after the publication of his „Internet Landscape“ Manifesto where he set up the concept of netphotography.www.internetlandscape.it In 2005 he published „ARENAEe a reportage from the war on line, shooting as „embedded“ reporter in Quake III, Enemy Territory and Counter Strike.www.internetlandscape .it/arenae In 2006 realize the 7 minutes video „Interview with the robot“ a video interview to an artificial intelligence, and partecipate to SuperNeen at Galleria Pack, Milano. From feb 2005 he is resident in Second Life as Marco Manray, an artist-photographer who documents the evolving of the metaverse with the stories and the images from his last project My First Second Life www.myfirstsecondlife.com His images from Second Life have been published by international magazine as Liberation (paris), El Pais (madrid), Repubblica (milan), Elle Decor (milan), Elle (madrid), Numerò Beauté (milan), AD Architectural Digest (milan), CasAmica Corriere della Sera (milan), Il sole24ore (milano) Exibition:MAXXI - Museo nazionale delle arti del XXI secolo“NetSpace: viaggio nell’arte della Rete” Paesaggi elettronici 2007 PEAM Pescara Electronic Artists Meeting 2006 SuperNeen, Galleria Pack, Milano 2006 Premio Michetti Pescara 2005 Sintesi Electronic Art Festival in Napoli 2004 BitArt Firenze 2004 graduated in Phisycs. After computer studies he begun working in 3-D computer animation since 1985 and he followed the principles step of the development of new media. He teach“Digital Media“ at „Accademia di Comunicazione“ in Milan, „Net art Laboratory“ at Accademia Santa Giulia, Brescia, „Tecniche di scrittura multimediale“ at Cattolica University in Brescia and in several Masters.He lives and works in Milan and Second Life

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