Cybernetic Art Research Project Nr 5

diabolus

carp second life virtual art space

cybernetic art research project

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The metaverse symbol

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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 time-space-infrastructures. The miracle that we are experiencing today: the Cyberspace, the dematerialized virtual time-space, the worldwide webbed society. where we „surf around„ with lightspeed. An artist that is NOT using this virtual universe as a challenge and a goal doesnt deserve the name „Avantgarde“

This e-book dedicated to the pioneer of the Cybernetic Art

Nicolas Schöffer.

He was one of the most important artists of the second half of twentieth century. Father of Cybernetic Art, thus of so-called „interactivity“, he wanted to bring a prospective and non-backward-looking vision of Art, which could help mankind to develop itself with a good hold on true creative and liberating possibilities of our times.

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carp 5 diabolus second life virtual art space (benvolio)

carp 5 cybernetic art research project 2008.05.01- 2008.07.31 texts: josina burgess edited by velazquez bonetto & caravaggio bonetto created by the carp team: caravaggio bonetto velazquez bonetto josina burgess juria yoshikawa calimera lane debbie trilling junivers stockholm kourosh eusebio duggy bing elfod nemeth millamilla noel medora chevalier flower exonar deruub pastorelli al hoffmann blanche argus klute coppola efrantisire morane sca shilova

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

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

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

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

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

The Collaborative Improvisation (VJAZZ) sessions ap-

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

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

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

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

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

carp 5 tent and the meaning of the whole story and encourages to Think.

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

Velazquez Bonetto

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

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

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

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

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

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

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

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

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

Music and images await,ready to inspire and evolve.

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

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

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

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

The CARP 5 Team:

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

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

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

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

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

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

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carp 5 CARP 5 Global Wood performance (diabolus Benvolio) 2008 05. 08. Friday 1 PM SLT visual artist: Caravaggio Bonetto (A) poem: Josina Burgess (NL) audio artists: Juniverse Stockholm (S) scripting: Velazquez Bonetto (D)

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carp 5 CARP 5 1th. VJAZZ session (diabolus Benvolio VJAZZ DOM) 2008 05. 08. Friday 1.30 PM SLT - 4 PM SLT visual artists:

Josina Burgess, (NL) Calimera Lane (D) Velazquez Bonetto (D)

audio artists:

Kourosh Eusebio filestream (USA)

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carp 5 CARP 5 1th. Worldpeacejamming-VJAZZ session the 5 avatar live audiovisual improvisation (diabolus Benvolio 100 meter VJAZZ DOM) 2008 05. 16. Friday 1.30 PM SLT audio artists:

Way Sands (S) Al Hoffmann (NL) Junivers Stockholm (S) visual artists:

Josina Burgess (NL) Velazquez Bonetto (D) audio engineering:

Bibi Book (D)

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36 carp 5 Josina Burgess is an artist, a singer and a designer from Amsterdam. She saw a SL commercial on Dutch TV and entered the virtual world on 12 December 2006 from curiosity and eagerness to learn “what they did there with art”.

Her first motive to explore the new technological platform was her interest in art and later the possibility to build an international network to show her real life paintings. Josina had no prior knowledge of scripting but started learning fast. Her first project appeared shortly after her entering and was individual: Josina’s Wearable Art. It is a virtual shop for attractive and innovative avatar clothes, and the quality and uniqueness is ensured by using her real-life paintings as a texture. She started building up her virtual network by taking part in social clubs of interest and participating in SL exhibitions for fashion and art. At an exhibition in the virtual gallery Cetus where she exposed her art, she met Velasquez Bonetto, a Hungarian master programmer, architect, and engineer. Having sound prior knowledge and experience, Velasquez started teaching Josina how to build and create. Their first collaborative project Diabolus appeared as a virtual gallery for new technology and art, where through their creations the two partners could spread around brand name and reputation.

Their regular exhibitions brought them the interest of other artist-experimentators in SL and opened a sequence of collaborative projects with a rising number of participants.

The current network-based entrepreneurial venture Josina takes part in, is the CARP (Cybernetic Art Research Project), which unites a network of international professional artists, engineers, programmers, scientists, musicians and architects. The Wall is a sub-project of CARP, constituting a “fully automatic, scripted and animated performance” with dance and visual effects on Pink Floyd’s “The Wall” soundtrack. The idea is conveying a message in an innovational unique way and allowing for real- time networking and socialization of visitors. All raised money go to charity. The creators of The Wall are from Holland, the UK, the USA, and the Switzerland, and have not yet met in Real Life.

CARP network is constantly improving, innovating and experimenting, not only in terms of art and ideas, but in terms of implementation. They plan their next project The Ring to be a completely new innovational theatre using an A5 SIM and overcoming the laggings of the currently used A4 one. Other future projects include VJazz, or virtual real-time performance of Jazz musicians via the platform of Second Life.

Since revealing of information and constant improving of their creations is the philosophy of CARP, they are running a website, a blog and an electronic book to allow for

feedback and discussions. Moreover, they intend to teach broadly what they do in RL through a research project called Cybernetic Educational Research Project. A future research with Texas University is being currently discussed.

Josina Burgess has established a strong interconnection with Real and Virtual Life. Advertisement of her real life paintings through SL and a project for Global Justice in New York have accounted for real life profit. Her virtual partner Velazquez Bonetto, whom she has never personally met yet, is planning to visit her in Holland, thus merging the boundaries between RL and SL and opening the gate for future Real Life collaboration.

Summary: Prior knowledge: Prior knowledge affects both type and scope of innovation. Josina’ s being an artist and a designer in Real Life predicts that her first project is in the fashion industry. Her competitive advantage was that she used her real life paintings as textures, ensuring inimitability and uniqueness.

The lack of prior knowledge of the means of operation with the platform of Second Life was compensated by the highly valuable technical and experiential real-life knowledge, which shaped the innovative extent of her creations. With growing of her SL presence and gathering of more experience, Josina started experimenting with choreography and lyrics too, thus expanding the scope of her entrepreneurial acts and innovation.

Collaborative social networks: The case of Josina Burgess illustrates how the growing number and size of social networks can affect type and scope of user innovation. The more the number of networks and the number of people within a network are growing, the more the scope of innovation is increasing.

Josina started alone with separate entrepreneurial acts, within the scope of her previous knowledge and experience as an artist and designer. As her network expanded she was able to incorporate other people’s knowledge and resources into her projects, expanding the scope and the variety of innovations. From her partnership with Velasquez Bonetto in Diabolus to her collaborative social network in CARP, her projects grew bigger in scale and more complicated in terms of design and techniques.

Throughout this process she gathered significant knowledge, which as discussed above has a direct correlation with type and scope of innovation and entrepreneurship.

Networks seem to have in this case another interesting effect; they bring together other networks, by arousing awareness and procreative action among co-thinkers. “That is our philosophy”, she says: ”to share and collaborate”.

carp 5 Free transfer of information: Collaboration without free communication wouldn’t be possible. That is why in the philosophy of all the projects of Josina’s stand out visibility and openness, as well as willingness to inform and teach. The main channels of transmitting information are the project of CARP themselves, which serve as networking platforms from co-thinkers all over the world. CARP encourage user feedback through discussions in their website, their blog and their electronic book. They communicate actively their vision of “sharing and collaboration” via their Cybernetic Educational Research Project, which transmits knowledge and experience to young eager to learn residents. As far as the role of gatekeepers is concerned, Josina clearly describes her partner as such one: “ if I need something, I ask Velazquez”.

Scripting language: Scripting language was characterized as easy and fun, and creating in SL an excellent opportunity to learn building and designing. Real life painting textures, as well as Photoshop ones are transmitted, expanding the scope of the creations out of the means of Second Life. In CARP, however, they find the normal A4 SIMs too ”laggy” to support the graphics of their creations. The introduction of a new A5 SIM with the next project The Ring is a completely new technology to “make things easier”. It will significantly reduce the loading time and increase the quality, thus enhancing the opportunities for further improvements and experimentation.

Merging the boundaries with RL and SL: Josina found a real life market for her art through the platform of SL. Exposition of her paintings in SL proved to be an fast and easy, cost-effective and profitable way of marketing. There is no need of conventional advertizing anymore, she says, her art is now exposed internationally and speaks for itself. The project of CARP for Global Justice was shown on a screen in New York, taking Second Life art into the RL and spreading further the breath of the entrepreneurs’ projects.

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carp 5 CARP 5 Mothball Balckhole visual artists:

Juria Yoshikawa (J)

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carp 5 CARP 5 visual artist:

Juria Yoshikawa (J)

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carp 5 CARP 5 Particle show visual artist:

Calimera Lane (D)

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The WALL and the RINGS hypercube theatre architecture

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carp 5 CARP 5 NMC-DIABOLUS WALL THEATRE the ground floor visual artists: Flower Exonar (NL) Deruub Pastorelli (NL) architecture: Velazquez Bonetto (D)

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NMC-DIABOLUS WALL HYPERCUBE THEATRE DIABOLUS RINGS HYPERCUBE THEATRE the theatre platform (2008 Juni) architecture: Velazquez Bonetto (D)

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THE WALL V2 NMC-DIABOLUS HYPERCUBE THEATRE The CARP Wall Team: Creative Director: Debbie Trilling (UK) Producer: Velazquez Bonetto (Germany) Wall Design: Elfod Nemeth (UK) Animated Puppets: Duggy Bing (US) Animations: Caravaggio Bonetto (Austria) Original Music: Junivers Stockholm (Sweden) & Josina Burgess (Holland) Stills Photography: Adec Alexandria (UK) Dancing & Joyfulness: Klute Coppola (France), Southern Riptide (US) with valuable contributions from: Scio Kamanchi (US) Gypsy Paz (US) Lyddyn Tzara (US) Celeste Moonlight (US) DJ Jenns (UK) windyy Lane (US) George W Bush (US) and, of course, Pink Floyd’s incredible album ‘The Wall’ The CARP Team have especially updated and re-scripted near every element of the show for NMC, as well as adding entirely new effects and surprises.

“The Wall V-2” is now even bigger, more colourful and more visually stunning than ever before!

“Amazing. Not so much viewed as it is experienced” ~ Metaverse Messenger “All I can say is WOW. GREAT show” ~ Second Arts “Nothing short of spectacular. A complete immersion” ~ Looking Glass “This is Second Life at its best, a creative and experimental gathering of people from all over the planet. Impressive, touching and thoughtful, and particularly well organized” ~ MixedRealites “The Wall V-2” will be performed at twice-weekly at NMC Campus West: EVERY FRIDAY 2pm SLT EVERY SUNDAY 2pm SLT Access to the venue is via. the following SLURL: http://slurl.com/secondlife/ NMC%20Campus%20West/127/47/612/

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The WALL V2

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90 carp 5 Montag, 21. Juli 2008 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 Sonntagabend 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

carp 5 der Essenz des Originals auseinandergesetzt.

Unser Motto vom ersten Tag der Produktion an war die Frage „Mother, should I trust the government?“ aus dem 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

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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

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Giridevi Duranjaya:Wenn Du möchtest, kannst Du bitte auch den Lesern eine Vorstellung davon vermitteln, ob hinter 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 Mei-

nungen 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

carp 5 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 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

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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 making of the RINGS Lyrics/songs: Josina Burgess, Medora Chevaier, Junivers Stockholm Creative director/producer: Velazquez Bonetto Special effects: Debbie Trilling Costumes: Josina Burgess Scenario design and graphics: Velazquez Bonetto, Caravaggio Bonetto Actors: MillaMilla Noel, Josina Burgess, Medora Chevaier, Junivers Stockholm,

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carp 5 Velazquez and me discussed (like we do all the time) the Philosophy of H.J Krysmanski and his Power Structure Research.

We got the idea to do something with that subject , maybe build a performence around that. Velazquez wanted to develop a new theatre and new technology and started building his Hypercube, while I was thinking about storylines and how to visualize all that.

Velazquez and me talked about our idea with Junivers, maybe he could think with us and make some music to it...the great thing was that Juniverse also had thoughts about similar things and contacted Medora Chevalier, in rl working for a organisation caring about the homeless, she also had ideas and we started to discuss all in every monday meetings.

From there the 4 of us started to work, and really hard.

Velazquez (as usual) was the motor and started building in such a fast way that in a few days the idea for the theatre already changed in a real SL theatre with everyting in and on it, The RING was the name we used for the show to be andm Juniverse and me started to work on songs.

I wrote sonme lyricks, Juniverse composed and we were sending files from Sweden to Holand and vice versa. I sang in and Juni sang, the voices together sounded really good so we did some more. Juniverse composed the most wonderful music and also medora started writing lyricks. The RING was becoming sl reality and we decided to devide it in chapters with every time another subject about injustice. poverty, environment, greed, power, etc.

Every day the RING was in our minds, Velazquez developed a total new technology in steering and scripting, build a controler that is able to steer many things at the same time, moving prims and let them „live“ and record them.

Velazquez build big puppets and I stood beside him watching, learning and copying what he did so I could build a puppet too. Then he did let them move...it was fantastic!

Meanwhile other artists, scriptwriters, builders and dan-

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cers like Debbie Trilling, Flower Exonar, Sca Shilova, Milla Milla Noel, Blanche Argus, Efrantirise Morane, stepped in to help us make this new show work and become special.

The whole building and scripting of the theatre was totally Velazquez work, he was performing miracles.

We discussed about having some interaction with the audience and I got the idea that it would be so cool when the seats with the audience in it would fly up and into the stage and be like „in“ the whole experience. Velazquez made it happen and (of course) it worked. 360 degrees panorama‘s were used, emitters, a total city was build on the stage, trees grew and disapeared, objects moving all around, Vjazz on the stage, and we the „actors“ worked on the storyline.

I made several new costumes and we went searching for good animations and avatars like butterflies to make the show even more interesting. The more the RING grew the more enthousiastic we became. Miulew Takahe stepped in and made a cam system for us that is able to shoot closeups or different views and on the spot the audience sees what its showing.

In the state we are right now, rehearsals started and as far I can see this Metaverse Protest Show will be a huge step towards what is possible to create in SL and more then that we will be able to bring a message too.

Josina Burgess

100 carp 5 In order to understand why I was one of the four people that initiated The Ring I have to tell a background story about my SL music.

Josina Burgess. The Wall was a big success and the music collaboration with Josina was fun, easy and gave a good result. People liked the song.

I have been jamming and playing in SL since my very early days. It was always done with pure SL technology. Some instruments were playable for real and some were „loop instruments“. Often the jams were open for anybody to participate in, but there was also bands with rehearsals and giving concerts. (SL Art Ensemble and World peace jammers). Some of us also collaborated with individuals and other bands in SL. One of the bands was AOM (Avatar Orchestra Metaverse).

Now... The CARP team is a very productive team and as soon as The Wall was ready they wanted to start a new project. Josina and Velazquez asked me once again to write original music but this time for the whole show. They handed me the background theory of H.J.Krysmanski. It had a lot of similarities to my own thinking and I saw the chance to do things concerning the nonprofit and help organisations. I talked to my friend from the homeless organisation, Geni Figaro/Medora Chevalier, if this was a thing that could help them. After some short discussions we knew that this was a chance to so something for this kind of organisations and we decided to try and combine our ideas with Josinas and Velazquez ideas. They both agreed that we had very much the same views and decided to start the process. During the initial phase of the production things changed a bit, but the core of our idea was still there.

The network grew over time and resulted in many things.

One was that The Dove Rhode was given a piece of land at the Burning Life and there we had open jams. So... the network grew even more. One day Eden Toll came to a jam. She was a member of the CARP team. She liked what we were doing and asked me to join the CARP team for the coming up event called VJAZZ.I liked the idea. But it also meant that i had to start to stream. I had tried it but decided not to do it because it was to limited. I couldn‘t jam when i was using stream. But now i wanted to try again.

There was a big element of jamming in VJAZZ. Visual art was supposed to meet music in a improvisation. Eden introduced me to Josina Burgess and Velazquez Bonetto. They liked my improvisations and I started to collaborate also with them. Now other things than VJAZZ came up - like the Global justice event where we made a VJAZZ session.

Another big interest I had was about nonprofit and help organisations in SL. I had made a lot of research about them. I found places, met people and tried to understand the problems they had in SL. Amongst my SL friends I had one working in RL for homeless people. We started to discuss a lot, also with others from these organisations, about what changes that was needed. We understood that empty regions was one of the big problems for them and they needed help in order to bring their information to an audience. During this time The Wall was produced and i had been asked to write an original song to the lyrics from

We didn‘t reach the nonprofit and help organisations the way we wanted and needed.

We realised that the full potential of our project The Ring couldn‘t be reached within the time we wanted so we decided that we could try and reach that in version 2 of The Ring.For me personally the production of The Ring meant a lot. Its based on my music in collaboration with Josina Burgess and Medora Chevalier. That is of course a great thing for me, but finding people that had so much to say about the state of the world we live in, and what is needed to do in order to make a better world, was even greater. I‘m very happy for this. We all need to help and to start think about it and get more aware is one of the main goals with The Ring.

Even if people, in this case The Ring team, have some good causes, the production of a show has a lot of elements that are technical. Velazquez was/is our main scripter and builder and tried to listen to our ideas in order to do all the magic we asked for. I have been impressed of Velazquez many times and he didn‘t let me down this time

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My RL profession has been working with media, especially TV and live broadcasting. Therefore I had made a lot of research in SL about this field. I found some very nice equipment. One system that I liked a lot was made of Yumi Marakumi - the Bijo cam system. I introduced this system and the idea of using cameras in order to deliver cam views to the audience and recording videos of the show.

The team liked the idea and Velazques eventually found time to script his own system.

When i write this we have come a long way. We´re about to have open rehearsals and so far the ones that saw and heard the show have been very positive to it. The cam system is ready to be programmed and put in the time line.

This is about to be done now. We also wrote special manuscripts for 2 of the songs. After rehearsals of these, and programming the cam system, we are ready for the big audience. In our planning there also is things concerning the non profit and help organisations.

I think we all did something that can change how SL can help these organisations. So this is the beginning for a new platform, both in technology and the reason why to produce events in SL. I´m very happy to be in it !

There are many people to mention that has meant something to me -too many to be honest. But 2 people have had a special influence for me to be able to do all the things i´ve done lately. One is Bibi Book that helped me with the streaming and helped me get a streaming server. The other one is Barney Boomslang that gave me the streaming server.

Thanks a lot, and thanks all you that i didn´t mention.

Junivers Stockholm

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104 carp 5 My dear friends, You are truly becoming my friends as we come to know each other as individuals as we work hard, debate, discuss, argue, celebrate and laugh.

First, I am so proud to be with you in this work. The ambition is high and we are getting a long way. Already it is a work that will set a new benchmark in SL. Vela - you are a master craftsman of a whole new art form.

You are the maestro who turns dreams into beautiful representations using amazing new tools and finding completely new solutions to our outrageous ambitions :)))) I take my hat off to you!

Josi - you are passionate, visionary and so committed.

I love your voice with all its lights, shadows and colours.

Thank you for making us all look so stunning with your lovely costumes. I just feel so beautiful and strong as I fly as your angel or forest spirit.

Juni - wow that music! Do you really understand what a great work you have composed? Like all maestros you always have that dissatisfaction with your work. There is always another level to take it. Well, while you must keep climbing Mount Parnassus of course - do stop to draw a deep breath and see how far you have climbed, our talented friend! Your deep belief that music can draw together and bind people together to transform the world through our SL connections permeates the whole work. Now there is this great idea you have had to use the camera system in performance. For the first time in SL all the audience will get to see the drama properly. This is ground breaking. I am sure other will follow but it was your conception first.

And all my fellow nymphs, demons, angels, world destroyers, dancers with all the many talents you are bringing to this. Bravissimo! It‘s so great to work with you all. Thanks too for the challenges, critiques and ideas - they are what drives the Ring „deeper, darker, richer“ :)))) SL has been a place where there has been some great

entertainment in new forms, arts and arts experiment - but not yet Art - in the sense of something that speaks beyond its own time and can touch and change many lives. Do you know that we have a good chance to get there? We might fail - artists do - but we might succeed!

As we open up rehearsals we hear the audience response and feedback.

Now we start to understand the impact the work can have on other people. I hope they will give us critiques too to help us to strengthen it. It may mean some changes but it will make it greater.

So… I want to share a little bit about my RL self with you before going on to share my vision of the „back story“ to King of the World. Juni’s script adds to the lyrics I wrote and his great music but it is still changing and evolving as we test ideas. I want to challenge us all to push it up to be real drama. So people feel differently at the end. Here‘s why.

In RL I have always been a campaigner - for peace, for women‘s rights and, for a long time for arts and culture. During part of the 11 years I spent in that field I ran the national organisation for artists and arts organisations - theatres, galleries, concert halls, festivals, community arts. I made some changes I am proud of (ask me if you are interested). But the main thing I remember is that really great artists get the strongest artistic experience from working with people and communities who have been blocked „outside the gates of the city“ - helping tell the true stories of their experience so other people can see and feel it. We are on track to do that.

When this becomes „Art“ it crosses boundaries of age, class, race, nationality and time. Think of Shakespeare‘s King Lear in the storm seeing the poor people he never saw when he was in power „ Poor naked wretches (poor people)...that bide (suffer) the pelting (blows) of this pitiless storm, how shall your houseless heads and un-

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fed sides...defend you.. Oh I have taken too little care of this! Take physic (medicine), pomp (rich people).expose yourself to feel what wretches feel!“ King Lear Act I, Scene 4

So the homeless need to look like ordinary people but down on our luck, sad, injured but by the end helping the guy who has fallen down.

Now I run a national homelessness charity. Our campaign is to end homelessness, starting with rough sleeping..

We have persuaded the mayor of London, the European Parliament and the Government to aim to end street homelessness. We know people can get out. 20,000 people left the streets of London in the last 10 years. There are 300 left each night. In New York and Paris, Rome, Madrid there are thousands. This can change.

The audience has to recognise us as the victims of our damaging money obsessed culture. But at the end people like us. People who are decent and caring and who need a helping hand out. We‘re still searching out some great animations and poses.

Most people look at people sleeping on the streets as different - bums, no hopers, addicts, stupid dangerous. „Lower than a rat“. In fact they are you or I but unlucky. They were teachers, bankers, musicians, soldiers, businessmen or people whose childhood was hurt by losing their family or abuse. And the better news is that all around us in our society are perfectly normal people with jobs and families who were once those „bums“ other people despise. Some of them are my friends or work in senior jobs in my sector King of the World is about one man‘s journey to discover that. How one bad business deal leads so quickly into losing everything. Friends very quickly become ex friends.

Like many others he uses drink or drugs to hide the pain and the cold and make him feel better about himself.

The aim is to take the audience on that journey with him.

They start almost ignoring the homeless people sitting quiet on the stage. Maybe they laugh when the car almost runs one over. They focus on what the rich guy and his girl are doing. By the final verse they need to see the homeless as people who are, not comic, but like us, needing respect and understanding. In the end they are the ones who help the guy who has lost everything.

Everyone else continues to walk on by. We know it is the poor in communities who often show the most solidarity and help others if there is a disaster and lose everything.

Our first open performance upset someone. You know why? She suddenly saw what SL could be used for - real Art about real issues for humanity. And she was upset at how she‘d wasted her time before. Let‘s tap into people‘s emotions, their care for each other, and go change the world!

Medora Chevalier

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The lyrics of the RINGS

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We get what we deserve Music & lyrics: junivers Stockholm,

I see the writings on the wall.

I know this means we´re gonna fall The diabolus artspace presents The RINGS (Homo sapiens Version 2.0) protest musical Lyrics: Josina Burgess(NL), Medora Chevaier(UK), Junivers Stockholm(S) Music: Junivers Stockholm (S), Josina Burgess(NL) Creative director/producer/builder/scripting: Velazquez Bonetto(D) Special effects: Debbie Trilling (UK), Elfod Nemeth(UK) Costumes: Josina Burgess(NL) Scenario design and graphics: Velazquez Bonetto(D), Caravaggio Bonetto(A) Panorama Photography: Jan van der Woning(NL) Actors: MillaMilla Noel(I), Josina Burgess(NL), Medora Chevaier(UK), blanche Argus(S), Klute Coppola(F), Debbie Trilling (UK) Junivers Stockholm(S), Sca Shilova, Efrantirise Morane (I)

We get what we deserve, we get what we deserv.

108 carp 5 Medora Chevalier: narrator text THE RING ... BREAK THE WALLS Our story begins with the „innocents“ Our innocence.

We live our lives.

We believe we are free.

We believe we are innocent.

What do we know of reality?

What do we know of the circles we round?

We dance to the tunes others make?

In the centre is wealth beyond our wildest dreams In the outer darkness the poor, the hungrey, the homeless, the raped, the slaughtered If the power of the Ring is unbroken What will become of our beautiful world? .... WHAT WE DESERVE Our world is injured We cannot let it die We see it as something apart But feel it!

We are connected to all people, to all nature So why - why on earth Is it money we worship The root of war, the root of destruction? ... GLOBAL WOOD We feel so high on money!

It pours through our pockets and our hands!

We can do anything!

We are Kings!

Out of my way losers!

You bring it on yourselves!

I’m far more than okay But there - just 2 pay cheques away ...KING OF THE WORLD They build the walls to keep the privilege We like the walls - they keep our fears away!

Keep the poor the other side!

Keep the stranger the other side!

Keep the enemy the other side!

Do we keep the walls Do we sigh a deep sigh that they are there But do nothing?

Or do we BREAK them?

Giving up the old certainties We are alone on the rock We burn under the sun Our mouths dry Our skin taunt But what is that call behind us Can we turn and hear where it leads us? ...DESERT/FOREST SONG The source of strength is there We can draw it in We use focus it Feel our own strength But what to do The time is short Who are the voices who can guide us?

Where do they lead us?

Will we hear before it is too late? ...7 TO 12 It is NOT too late We are not alone We are together Nature itself is with us Life is strong When it is beautiful To save the future We must celebrate its life Breathe the air Feel the wind blow through us Dance on the breezes Draw in the strength Use it together There is HOPE ...ONE Imagine there’s no wars – can you?

Imagine all the people living life in peace – can we?

Can we unite?

Can we act?

Its up to us Yes we can Together

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Josina Burgess: narrator text THE RINGS The story we are going to tell you is based on the philosophy of Krysmanski and many other great thinkers…Our world in fact is ruled by a few people…..the super-super rich….They stand in the inner Ring of the world and rule from there, they send out their orders to the other rings..the presidents..generals..militairy..administrations etc etc…at the almost last Ring there is us and the very last there is most of all the the people with almost no chances in life…the poor…..fugitives… the homeless….

We want to send out a message to you…We are stronger then we think…We can unite..we have a voice..we can call out and change the world…but what do we do?????

WHAT WE DESERVE We get what we deserve..because..we polute..destroy..consume and throw away…ignore..we do all of that to our world ..and our world..the beautiful planet we live on responses…we all see it happening around us…and we get what we deserve……

GLOBAL WOOD The world is like Global Wood..where money hangs on trees….the greed for more power, more money is of all times…it never stops, we all are in that race to get more and more, we think we help by giving money to good causes, and sometimes it helps really, but never enough, millions are send to countries suffering from disasters, many times that money ends in the wrong pockets…can we change that? How can we really help? Is it worth to search a little and find the real people that use our money honoustly and give the real help to the people in need…

KING OF THE WORLD The city….many of us live there…always in a hurry..always with our heads and minds focussed on the next step to take…busy with our own problems..our eyes closed to those ones living around us and dont have the possibilities we have ..victims of their own mistakes…but still victims…we walk by..we pass without giving them second look or just a smile..we ignore…

BREAK THE WALLS We listen to our rulers…our presidents and generals..do we take for granted what they say… can we think ourselves? Break the walls in our heads as well the walls in theirs? Can we find peace in a world where wars are all over and going on and going on…can we?.

DESERT/FORREST SONG We sometimes feel ourselves lost in a desert of lonelyness…we sometimes feel like there is no hope..but there is always hope…even in the darkest moments you can find it in what’s around you..can find a helping hand and accept that hand…every moment can become a turning point for you as well for others…there is strenght in everybody, find that strenght and you find hope..

7 TO 12 /GROWING OLD SONG We will grow older..and what world will we give to the generations after us?

What do we do to give them a world to live on in harmony? Are we going to make this world a great place for them to live on? We can..but do we will? Are we willing to take the steps needed to make this world a place of peace and harmony for our children and grandchildren? We are able to do that..when we unite…

BEAUTIFUL WORLD Oh this world…. our blue, beautiful planet is so wonderful…ther is beauty in nature and flowers.. in lakes and parks.. in animals and children….in love and in warmth…. The World has so much to offer….its our home… .we breath her air and feel her wind through our hair..we see her beauty and enjoy it….let it stay that way forever……

THIS WORLD It all about us…WE all together…Imagine how our world would be when we unite and stay together…Imagine there was no more war..Imagine there was food for all…Imagine we would live in peace and harmony….Imagine WE can do that all….

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The global Wood „A human being is part of a whole, called by us the „Universe,“ a partlimited in time and space. He experiences himself, his thoughts and feelings, as something separated from the rest--a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest us. Our task must be to free ourselves from this prison by widening our circles of compassion to embrace all living creatures and the whole of nature in its beauty.“ Albert Einstein The Global Wood. Lyrics by Josina Burgess There is a wood…a Global wood, where money hangs on treesIt generates a Global wealth for just a few to see Only a few.. a Happy few.. they closed an evil pact This small amount of Human Snakes.. that made this self-select Billions go to Afghanistan and millions to Atjeh The victims of old Pakistan, for the happy few a play A Game to get the money there, for nobody to find Just in Their pockets it will end ad suffering leaves behind It’s a global wood Global wood In - balance is the name The dance around the money tree For the happy few their game And Libra’s arms are not alike, the balance is not right The suffering of half the world causes hate and war and fight But the happy few , the Happy few, don’t care. Don’t feel. Don’t see They dance their dance of ignorance .. around the money tree It’s a global wood Global wood In – balance is the name The dance around the money tree For the happy few their game

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King of the World Music: Junivers Stockholm, Lyrics: Medora Chevalier, Additional lyrics: Junivers Stockholm

Chorus 1: Open your eyes Open your ears Open your mind to see the truth Open yourself to change it Chorus 2: Open your eyes Open your ears Open your heart to feel it Open yourself to share it King of the world, he walks on by King of the world doesn‘t see the homeless guy King of the world money gained, the evening‘s fun His mind is full of triumphs won King of the world, why should he care King of the world, its not him in dispare King of the world, he reached success, now he´s the best he knows how to invest

King of the world, one deal too far King of the world, No more family or car King of the world, His money gone, and friends go too Soon the drink is all that‘s true King of the world lower than a rat King of the world They don‘t know that King of the world When spirits drown him He‘s not down!

He‘s the King of the world King of the world lower than a rat King of the world They don‘t know that King of the world When spirits drown him He‘s not down!

He‘s the King of the world

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132 carp 5 King of the world Total time 3.40 (220)

Actors: All (juni, Josi, Medora, Vela, Deb, Milla, Blanche, Sca, Efran.)

Rich guy in city overcoat with Briefcase (rags underneath) (juni) GF smart suited, short skity high heels. (has a sports car - and mobil phone) (Deb) Evil looking big guy with truck loaded with weapon - parked and waiting.

(Vela - or?)

2 Homeless beggars in rags that annoice people (Josi, Medora and Milla or Blanche) 1 Hooker (Blanche) 1 smart looking guys making a deal with the hooker (Efran) 2 Police (Sca, milla)

Debs car and a truck are integrated to the scene. Before the scene starts Deb, juni are already in the cars. Debs car is hidden behind houses at the right of the stage.

The truck is parked in stage center back at the skyscrapes and the driver stands outside the truck smoking. The 2 guys and the hooker stands nearby the truck. 2 homeless are by the homeless cardboard houses. 1 homeless (Josi) are closer to the audience.

All actors TP to their place before the song starts and comes up with the sceneries.

SONG INTRO 0-8 Guy talks to hooker. 1 homeless by small cardboard houses walking towards the audience carrying a sing saying „hungry and homeless“ - kneels infront of the audience and begs. 1 homeless is in a cardboard house walking out of it.

OVERVIEW CAM - CENTER (0) (Cam1)

SONG INTRO 8 -15 Car drives across stage towards the truck - almost runs over a homeless.

Parks by the truck LOW ANGLE - HALF CLOSE CAM - CENTER (8) (Cam2)

SONG INTRO 15 - 34 Deb and juni comes to the truck. Jumps out of the car. Talks to

the truckdriver.

Truck driver shows weapon. (The hooker and the guy are in the view too).

Poseballs are used were its neccessary.

OVERVIEW HALFE CLOSE CAM - RIGHT (15) (Cam3) CLOSE UP - weapon (28) (Cam4)

REFRAIN 1 34 -1.05 1 homeless warming hands by fire (the back to audience).

1 still infront of the audience HALFE CLOSE CAM - audience and begger in background (34) (Cam5) CLOSE UP - beggar crying, 1 homeless in background by fire (49) (Cam6) OVERVIEW - audience, beggars back (57) (Cam7)

VERSE 1 1.05 - 1.38 other one.

The homeless infront of the audience walks back to the juni walks by the homeless cardboard boxes.

Homeless approaches him begging. He just walks right

into them and continues to the bank.

OVERVIEW CAM (same as in scene before - no changes) (Cam7) OVERVIEW CAM VERY WIDE (64) (Cam8) MID CLOSE CAM - juni walking towards homeless (1.11)(71)(Cam9) CLOSE CAM - juni walk right into homeless (1.16)(76) (Cam10) LOW ANGLE WIDE RANGE CAM juni walking towards bank (1.22)(82) (Cam11) CLOSE CAM from left - juni walks into bank (1.31) (91) (Cam12)

INSTRUMENTAL BRIDGE 1.38 - 1.54 The guy and the hooker starts dancing/kiss juni walks back with money.

OVER VIEW CAM (1.38)(98)(Cam13) MID CLOSE CAM - hooker and guys (1.42)(102)(Cam14) CLOSE UP - Hooker (1.46)(106) (Cam15) MID CLOSE - Hooker and guys (1.50)(110)(Cam16)

REFRAIN 2 1.54 - 2.25 juni shows money for truckdriver - hands him the money.

Deb gets crossed and walks away and stops (by poseballs) and starts argueing. Juni argues too and gets slapped MID CLOSE UP - juni shows the money - Deb walks away, juni after her (Cam17)(114)

carp 5 CLOSE UP CLOSE UP MID CLOSE

VERSE 2 possible) 2.25 - 3.00

Deb and juni argueing (125) (Cam 18) Deb and juni argueing (130) (Cam 19) Deb and juni argueing (135) (Cam 20)

City changes to cardborard city - 5-10 secs fade (if

Deb walks away. Makes a phone call. Policecar comes.

Police goes out of car. Deb points out juni.

Homeless watch it happen.

WIDE RANGE City changes, Deb walks away to new position (145) (Cam 21) MID CLOSE UP Deb makes a phonecall (155) (Cam 22) MID WIDE Policecar comes, drives up to Deb. Deb pointing out juni (165) (Cam 23)

VERSE 3 (same as 2) 3.00 - 3.30 Police walks up to juni. Juni pretends to be innocent. Police grabs juni and walks towards the police car.

MID WIDE Police walks up to juni () (Cam 23) swift poseballs?

CLOSE UP Police and juni talking (180) (Cam 24) CLOSE UP Police and juni talking (190) (Cam 25) MID CLOSE Police and juni talking (200) (Cam 26) MID WIDE Police walking away with juni () (Cam 27)

SONG ENDING 3.30 - 3.37 juni jumps into the mousetrap and clothes changes to rags.

MID CLOSE juni in mousetrap (210) (Cam 27)

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Break those WALLS Music: Junivers Stockholm, Lyrics: Josina Burgess, additional lyrics: Junivers Stockholm

They build Walls between countries They declare each other Bad They say: There is the enemy But the Walls are in their head…

There are Generals and there are Presidents And they all speak out to the crowd To convince just everybody That there´s a war that is allowed…

Look in your heart to see if there is a wall to break and let your mind be free just be real not another fake All these men, great and mighty Tell us “others” they are bad But what real is and what is certain Are the Walls right in their heads…

It is time to awaken It is time that it is said give us back what you have taken Break those Walls right in your head…

Break those Walls............

Break those Walls............

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The Forest Lyrics Medora Chevalier Music: Junivers Stockholm,

On the rock the child ‚s alone He looks at sand and sky and stone The heat burns deep through skin to bone No sound of life around him.

A far bird sings her gentle song The boy turns round and gazes long The forest stands there - dark and strong Its deep song calls out to him.

His bare feet feel the calling path His toes the dampness of the earth A place where small things move and birth The forest living draws him.

Deeper, darker, richer, cool A bubbling green life giving pool Deeper, darker, richer, cool He fills his body, floating, still Deeper, darker, richer, cool Soaks in the force around him.

Now he hears the life‘s forces soar Birds and insects, forest floor Invade his being, living loving He is not he but all.

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7 2 12 „Never doubt that a small group of thoughtful, committed citizens can change the world.

Indeed it is the only thing that ever has.“ Margaret Mead „If I have the belief that I can do it, I shall surely acquire the capacity to do it „ Mahatma Gandhi „Darkness cannot drive out darkness; only light can do that.

Hate cannot drive out hate; only love can do that. „ Martin Luther King „Education is the most powerful weapon, which you can use to change the world.“ Nelson Mandela „You give but little when you give of your possessions.

It is when you give of yourself that you truly give. „ Kahlil Gibran „We must have perseverance and above all confidence in ourselves.

We must believe that we are gifted for something and that this thing must be attained.“ Marie Curie

Lyrics & Music: Junivers Stockholm, Additional lyrics Medora Chevalier I thought I‘d lost my soul I was blinded, couldn‘t see my goal And then I found myself...

But now it‘s seven to twelve I‘ve got kids of my own And they have kids - that‘s the seed I‘ve sown.

What I leave - that‘s for them to tell...

But now it‘s seven to twelve And the winds of changes also reached me.

What a time to be the one that sees it clear.

I´ve got seven minutes to eternity That‘s the way it is That‘s the way it is - to grow old I feel like stopping Time.

Make the best of it and give what‘s mine!

Let eternity look out for itself...

But still it‘s seven to twelve I think I finally understood It‘s about love, peace and brotherhood.

Don‘t just imagine - come on, let‘s get it done!

Come on and lets get it done!

Though it‘s seven to twelve

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This World Lyrics Josina Burgess Music: Junivers Stockholm,

Am I awake or sleeping..

My brain gets over used Its like a nightmare deepen My mind is all convused, I walk around in circles My voice out of control My spirit reaches for miracles To drag me out this hole My heart goes out for everyone that feels the same, the same like me That wants this mess be cleared and gone Taking out the misery My heart goes out for everyone..

We live a life of emptiness We do not search the thruth We want a lot, but doing less And think that is enough The competition leads nowhere Our fights will have no end Injustice is all over there The rich will never bend

But when we will wake up some day and straight our backs our backs upright What when our voices scream the “Nee�

To those who want no light and turn them bright Could we together change that tide..

Could we unite and change the world And set it into light Could we together change that world And let the sun shine bright Its all about us waking up And stand up for our rights Together we could reach the top And put the world in lights Could we unite and send the word throughout the world and make it right Could we together change that world And make wars disappear and hold us tight Could we go out and spread the word I wonder if we would and could..

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carp 5 The WALL production in Havens paradise 2008 Mai

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carp 5 Kourosh Eusebio Concert in AURORA dom diabolus artspace 2008 06 17 Audio Artist: Kourosh Eusebio Visual Artist: Josina Burgess

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carp 5 Al Hoffmann Concert in the Al Hoffmann dom diabolus artspace 2008 06 23 Audio Artist: Al Hoffmann Visual Artist: Josina Burgess

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josina burgess Name: José den Burger. SL name: Josina Burgess José studied at the Famous Artists Schools of America and graduated in

illustration, advertisement,free painting and drawing. She studied under Ben Stahl, Al Parker, Jon Witcomb, Fred Ludekens, Peter Helck, got her papers in 1967 and then decided to become a ...........singer!

As a singer she worked successfully in the Netherlands especially in the 70ties (was the first female protestsinger) . She made several albums , was a member of the Knokke Songfestival Team and had her own radio and personality show on the Dutch Television. She worked with the well known Ted de Braak in all Dutch Theaters and was a guest in many radio and television shows. She traveled around the world and performed in the Intercontinental Hotels,Theatershows, on Cruiseships and in many International Television Shows. In Spain she was appearing for 4 years on Spanish television and in the years after that she became the leading lady of the well known close-harmony trio „The New Shepherds“ and after that of „Close Encounter“ and was leader of her own 7 mans band „September“. Made several albums again and performed on Dutch radio and television. During all these years of traveling she continued painting and drawing and was inspired by the countries she visited. The work has many facets, just like a human has many sides in his or her personality. Feelings and impressions, sometimes subtile, but also powerful and above all the use of bright colors are specific for her Art. Non-figurative, abstract as well as figurative paintings, explosions of color, gold and bronze, memories and feelings are telling their story.

In the end of 2006 I started Secondlife, after seeing something about it on the Dutch television. I was really interested to find out what happened there with Art. I Found that many galleries interested to exhibit my Art and started from there. But just showing images of my real life paintings was not enough and I started to search for new challenges. So I went into to making dresses using the images of my real paintings as textures on them and called them “Wearable Art”. It was an immediately success and after I met Velazques Bonetto I started to experiment more with different textures I made from images of projects in SL as well as images or designs I made specially for the dresses or other projects. From Velazques I learned how to use scripts and started to animate the dresses as well.

Going from there I went into building sculptures and installations using scripts in an ”Innocent” way and some times the effects were amazing. It has my total interest now and I love the new challenges and possibilities to create a total NEW ART that never existed before elsewhere. www.josina.eu

carp 5 Name: Naomi Devil Lives and studies in: Budapest, Stuttgart, Wien E-mail: naomidevil@naomidevil.com www.naomidevil.com Studies: 2002-2003-2006: Sommerakademie für Bildende Kunst Salzburg 2004-2007: Akademie der bildenden Künste Wien, Kontextuelle Malerei: prof. Muntean/Rosenblum prof. Elke Krystufek prof. Angela Hans Schreil 2006-7: Technisches Universität Wien Architecture BA Solo exhibitions: 1.Gallery Tetõ: The Digital Oil, 2004,Budapest 2.Gallery Mucius, The PINKFERNO, 2005, Budapest 3.Gallery Nagyhàzy, Happy Birthday, 2005, Budapest 4.Galery Art Position, 2005, Wien 5.MOYA (Museum Of Young Art), Einzelaustellung Naomi Devil, 20052006, Wien 6.Gallery Mucius, DOWNLOAD::MEDIA, 2006, Budapest 7.Hungaryan Cultural Center Prague,SACE WARP, 2007, Prague 8.Gallery Bast-Art,Du bist was du siehst (You are what you se), Wien, 2007 9.The first SL solo exhibition 2007 Group exhibitions: 1.The closing exhibition of prof. Caroline Broadhead‘s class, 2002, Salzburg 2.The closing exhibition of prof. Rivka Rinn‘class, 2003, Salzburg 3.Gallery Vertigo: The Vertigo Chronicle, 2003-2004, Canada 4.Artshole / Vinopolis: Art In MIND Part 4, 2004,London 5.Gallery Zsidró: Zsuzsa Gesztelyi Nagy‘s, Márta Kucsora‘s, Naomi Devil‘s and Melitta Németh‘s paintings , 2004, Budapest 6.Mucius Gallery Coffee: 9 artists of Gallery Mucius, 2004, Budapest 7.Selfportait UK 14-19 2005 Touring exhibition: Sunderland Museum & Winter Gardens, Manchester Art Gallery, National Museum & Gallery Cardiff, Peterborough Digital Arts Museum & Gallery, The New Art Gallery Walsall, National Portrait Gallery London, London Underground 8.Gallery Mucius, Budapest, 2005 A könyv utóélete 9.Art Position 2005, Ottakringer Brauerei, Wien 10.II. Keruleti Alkotok Tarlata 2005, Budapest (Exhibition of the artists from the 2. district) 11.MOYA (Museum Of Young Art)- New Romantics- from 2005 AugustWien 12.IZD Tower Vienna- Devil, Garcia Pozo, 2005 13.With Adrien Kiss and Istvan Szanto, Akademie der Bildenden Künste Wien, Projektraum, 2005, Wien 14.Mucius & Diabolus Contemporary Fine Art Gallery (László Fehér, András Halász, András Koncz, Mucius, Naomi Devil, István Orosz), 2006, Budapest 15.Exhibition Room of Ernst Museum Budapest: Dorottya Galeria, Dorottya Open Show, 2006 JUne 6-10., Budapest 16.II. Keruleti Alkotok Tarlata 2006, Budapest (Exhibition of the artists from the 2. district) 17.Galerie Exner: Junge Sommer 2006, Wien 18.Art Fair KÖLN 2007 19.Öszi tárlat Köszeg 2007

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RL Name: László Ördögh Diabolus What motivates a designer, human engineer and virtual reality software developer to go to Second Life and getting involved in this incredible world? Playfulness, the happy Homo Ludens? Maybe that too. But I have much more serious motivations: 1: - What I enjoy in SL is the pioneer spirit that rules in this world. In my daily real life working with industrial virtual reality I am also pioneering. But in RL you cannot make everything what you could imagine in your fantasy. There the discussion goes about much money, resources, management, hierarchy, organisation, economical efficiency and so on, not really about things that really matter. SL is a dematerialised world with a high degree of abstraction to realize all possible and impossible associations . It’s the perfect playground, for thinking „Bioavatars“, to experiment with substantial subjects without the material consequences.

2: - I started in SL with the idea to build a Avatar Museum there, had to be there because SL is the Future and its useless to stay in the past being busy with that.

3: - The most valuable what I got from SL are the good friends I have there: Josina the best Muse ever and the most reliable Partner in all the adventures, Caravaggio, Jan, Juria, Noizz, Terri, Whyzzer, Manax and all the others in my friends list.

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

5: - SL is a concept for creative competence, the ideal platform to research and experiment art of the future.

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

Short RL bio: Research and development: Human Engineering Simulation, Industrial Avatars (1981-1988 OMFB IFTI) (1989-1998 IST GmbH. ) Human Symulation Technology Project DFKI German Research Center for Artiffical Intelligence (1999-2002). Senior Software Developer: Virtual Reality Industrial Avatars (ICIDO GmbH 2002-) Experience in: Industrial design, graphical design, corporate design, system design and organisation, software development and programming. Languages: C++, LSL Special skills: Traditional Art Technics Computer Graphics 3D Visualising & Special Effects+ Computer Aided Design CAD Engeneering Data Management (EDM) in Intranet and Internet environment. Advanced Information Technology (AIT) (Digital Mock-Up) Ergonomics Virtual Reality & Simulation Technology Design and manufacturing of medical appliances Design of comunication systems (2000-2001)

velazquez bonetto

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juria yoshikawa

After two decades of creative pursuits - ranging from conceptual art, installation, poetry, performance, computer art, animation, photography and digital design - Juria Yoshikawa (a.k.a. Lance Shields, Tokyo-based new media artist and designer) arrived in Second Life in the winter of 2007 looking for a new artistic spark. Rather than bringing in rl artwork, Juria is compelled to use mainly the elements that make up sl itself. A typical Juria Yoshikawa virtual artwork mixes kinetic objects, light sources, animated texture, ambient noise and av animations. She inevitably chooses scales larger than conventional gallery work because she is interested in people experiencing the work in a physical way - flying through them, riding on them and socializing within the art. To Juria virtual art is about freeing oneself up to create in ways she finds impossible in real life.

In my real life, I am Lance Shields, a new media artist, creative director, interactive designer and social media specialist. Graduating with a BFA in new media from San Francisco Art Institute in 1992, sculpture and installation are where I started my rl creative career but I became progressively more involved in the digital and interactive. I see Second Life as a return back to my artistic roots yet at the same time combines my newer interests in the phenomenology in the virtual world. Phenomenology is defined as “the reflective study of the essence of consciousness as experienced from the first-person point of view�. In my commercial life, I am a social media strategist a global company embrace social networking, blogging and Second Life.

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debbie trilling Debbie Trilling entered Second life in October 2006, and immediately began creating.

As a Technical Artist she combines the elegance of mathematics with the visual aesthetics of colour, movement and shape to produce work unique to Second Life.

Within the Second Life virtual metaverse Debbie has found the medium of Particles a perfect outlet to bring these visualizations to life, and her particle work has been acclaimed for its sophistication and imagination. ‚The Particle Garden‘, Debbie‘s installation for CARP2, combines traditional SL particle techniques with complex coding algorithms to produce never-before-seen visual effects breathtaking in their beauty.

Debbie also works with a number of Real-World science museums with a Second Life presence, including ‚Exploratorium - The Museum of Science, Art and Human Perception‘ and ‚Sploland - The Museum of Science, Art and Human Imperfection‘. On 30th Jan 2008 she will be creating the particle effects for a meteor collision with Mars scheduled for that date.

Debbie hails from Cambridge, England.

It rains a lot there.

TheEvil Chemistry: Who are you? carp 5

MANAX: I am me.

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TheEvil Chemistry: Why do you play sl?

calimera lane

MANAX: I get some sort of sick, twisted enjoyment out of using virtual reality to make myself more busy and neglecting to relax more than it would occour in rl.

TheEvil Chemistry: What do you do on sl?

MANAX: I usually get myself into a bunch of messes that I I build something.

Calimera Lane came to Second Life on May 6th, 2007. Having been used to textbased online representation only, she entered the grid to learn more about Jaron Lanier‘s concept of Virtual Reality. Her first 30 days she spent can‘t workand, mybeing way out of,mind, then I get banned few socializing a musical immersing herself intoathe livetimes, music scene that is there. She is interested in learning about online identity, the real and the virtual, selforganized creative collaboration.

then

In early April 2007 she was granted a piece of land for free in an island sim called Artemisia, „dedicated to serve the muse and the world of the mused“. In this extraordinary place--as all of its residents were there for free--she made herself familiar with the basics of content creation in MANAX: Justly, twice. The third time was because I orbited someone was trying mefree onLSL my[Linden land,Script because Second Life:who inworld building toolsto andgrief modding Language] scripts that were around.

First objects of hers being used in eject wouldn‘t work. Recently, my account broke, and i had to aswitch over to a fifth one. public space she built for Tone Uriza‘s Blues Heaven live music venue which were animated seats, lights and a bar: a blues café furniture set.

Since Jan 2008 she sells some of her objects at SLXchange.

TheEvil Chemistry: How many times have you been banned?

TheEvil Chemistry: Are you afraid of being banned?

MANAX: Not as much as I‘d expect myself to be.

TheEvil Chemistry: How do you get your ideas for your

Living online in an artistic environment that encourages selforganized creativity and collaboration, she has organized three RL Art exhibitions in the Gallery of Life at Artemisia: Aug 2007: Webster Payne, ‚Faces in Red, Yellow and Lapizlazuli‘; Nov 2007: Josina Burgess (José den Burger), ‚Colors of Life‘; buildsJan on2008: sl? Aenigma Radek (Martijn de Beur). ‚Works‘.

MANAX: I ask native leprechauns their opinions.

TheEvil Chemistry: What is your favorite thing to make in

Being dedicated to live music performed in Second Life she has organized four concerts at Artemisia‘s Treehouse live music venue: Jan 2008 Freestar Tammas, Jan 2008 Harper Messmer, Feb 2008 Jellyjellyjelly Benelli, sl?

Feb 2008 Tone Uriza.

Burgess in November 2007 put her in touch with the C.A.R.P MANAX: Weapons and vehicles have usually proven the mostJosina entertaining.

[Cybernetic Arts Research Project] team around Velazquez Bonetto [Lazlo

TheEvil Chemistry: What skills do you have in sl?

MANAX: Building, mostly. I‘m also a par scripter. I do TheEvil Chemistry: What are the favorite groups you are

Ördogh].

Within this context she heavily got amazed by the Vjazz sessions [Virtual Jazz--visual and acoustic improvisation performed live that is] she attended at Gallery Diabolus at Benvolio and soon began to create her own VJazz sets. custom charachters, too, her obviously.

In February 2008 she gave debut as VJazzer, using a script by Velazquez Bonetto that time. After that she has modded VJazz scripts she was given by friends as well as using her very own sets composed of simple in? inworld tools as the Linden Lab building menu and free scripts that were around. She gratefully thanks Yom Karas, Darek Deluca and Velazquez Bonetto for the inspiration they gave her and their patient help.

MANAX: Probably the ones I made, lol. The Robot Comedy Nipple., MEVco, and People Against Negative Gormabs On April 30th, 2008 she gave her solo debut as VJazzer at Artemisia Bay.

TheEvil Chemistry: Could you explain those groups to me?

TheEvil Chemistry: Who are you?

198 carp 5 MANAX: I am me.

diabolus art space

TheEvil Chemistry: Why do you play sl?

junivers stockholm

MANAX: I get some sort of sick, twisted enjoyment out of using virtual reality to make myself more busy and neglecting to relax more than it would occour in rl.

TheEvil Chemistry: What do you do on sl? email: junivers@gmail.com MANAX: I usually get myself into a bunch of messes that I can‘t work my way out of, then I get banned a few times, then website: http://www.myspace.com/sevenjunivers I build something. junivers stockholm is an avatar in SL. He has an operater and he influences juni a lot. The operator of junivers is born in the early 50th. His Tollstarted (RL Janine Miller-Fritz) influences with classical music, but over the years all things he TheEvil Chemistry: How many times have you been banned? Eden Artistic Summary: I am Technical Artist that works in mixed ever heard had some kind of wood, impact. Sometimes he loved it andfiber sometimes didnt. media (metal, pyrotechnics, neon, opticshemojunivers glass, operatorkinetics, loved music from the very start of his life. Before he saics, and visual poetry) MANAX: Justly, twice. The third time was because I orbited someone who was trying to grief me on my land, because learned how to stand up and walk Louis Armstrong stole his heart. Then Presley stole it and then he let Theand Beatles steal it. Enginereeing eject wouldn‘t work. Recently, my account broke, and i had toElvis switch over to a fifth one.

Education: Computer Science Hardware

TheEvil Chemistry: Are you afraid of being banned?

MANAX: Not as much as I‘d expect myself to be.

TheEvil Chemistry: How do you get your ideas for your

His life has been a journey in wich he saw many music styles being born.

Artist Statement The musical revolution and fusion between music styles is the thing that Ihad have lived inimpact Boise,onIdaho USA for the 30 years and the greatest him. The ultimate kinglast of collaboration, Miles worked in the hightogether tech industry formusic overstyles 18 years.

Davis, finally brought not only the but alsoLight the body, and ascultures. an art The form is born not music a common found mind electricity and soul of all new from thisone. time Ifinally brought some of the greatest musicians the of rock and pop music. this to be a great way tojazz integrate myinto love technology Its hard pick out but is Jaco Weather with myto love of some art. names My goal to Pastorious create artand that is au-Report would be theinteractive choice if only onecan couldbe betouched, mentioned handled that had everlasting tomated, and and buildsimpact on sl? the operator of junivers. playedonwith in a public arena. By doing so I believe I am

MANAX: I ask native leprechauns their opinions.

deliberately blurring the distinction between spectator and junivers stockholm was born in SL 21th november 2006. He is a guy that participant, thus redefining way we look at art. We find loves to learn things and push the the limits.

He found the hyperinstrument ourselves artstarted and the beauty of it the instruright after he as waspart bornof in the SL. He to jam and introduce ments for people he met. Together with some people he formed SL Art

About Second Life for the SL instruments. They had performances and composed TheEvil Chemistry: What is your favorite thing to make in sl? Ensemble

in SL and kept on inspire people to start and play withlife virtual I have found that my interests in second areinstruments the and to join same as the myjam realsessions. life pursuits. My focus for the last several also tried to jam skype and had some expiriencelocal from charithis years have been on on creating events to support MANAX: Weapons and vehicles have usually proven the mostjunivers entertaining. technique voice came to the first .look viewer of SL. the Since then voice ties and when non-profit foundations I have found opportuwas integrated in the jams that juni participated in. juni also played with nity to do so also in Second life, United Kingdom Cancer AOM and introduced the hyper instruments in the orchestra. The jams Research,, Breast Foundation, Uthango, Virtual TheEvil Chemistry: What skills do you have in sl? was somethingAmerican more and more people wanted to participate in so juni Africa andgroup Burningman\Burninglife are some of the event formed the world peace jammers. that from firework At thehave VJAZZbenefited performances junivers uses displays. stream for the first time and its MANAX: Building, mostly. I‘m also a par scripter. I do custom charachters, too, obviously. currently working alsoWhile his first solo performance in in SL.pyrotechnics in the RL as a

TheEvil Chemistry: What are the favorite groups you are in?

Burningman artist, I have found this real world application helpful while designing particles sculptures that utilize, scripting , music and animation in cyberspace. I look forward to pushing the limits of this technologies and developing some innovative designs with the Carp3 team.

MANAX: Probably the ones I made, lol. The Robot Comedy Nipple., MEVco, and People Against Negative Gormabs TheEvil Chemistry: Could you explain those groups to me?

TheEvil Chemistry: Who are you? carp 5

MANAX: I am me.

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TheEvil Chemistry: Why do you play sl?

junivers stockholm kourosh eusebio

Kourosh Eusebio (aka Kourosh Dini) istwisted a musician/artist working out in MANAX: I get some sort of sick, enjoyment of using virtual reality to make myself more busy and neglecting the medium of piano and synthesizer. The music he creates has been as relaxing and soothing, to relaxdescribed more than it would occouryetingripping rl. and hypnotic. Performed in a state of concentration, Kourosh invites the listener to participate in a meditative mind-state to reflect upon the nature of the mind’s natural ebbs flows.

TheEviland Chemistry: What do you do on sl?

His studies began at five years of age and progressed by way of indi-

vidualItutoring of the classical composers.

Influences this early MANAX: usually get myself into a bunch ofduring messes that I can‘t work my way out of, then I get banned a few times, then period of musical development included Chopin, Bach, Beethoven, and I build Rachmaninoff. something.He would also listen to and improvise around the music of the Beatles, Metallica, and Mike Patton. Later influences included Phish, Tool, Simon Posford, Bill Laswell, Pete Namlook, James Bernard, among TheEvilothers.

Chemistry: How many times have you been banned?

The pursuit of understanding the mind, language, and communication by

Eden Toll (RL Janine Miller-Fritz) Artistic Summary: I am Technical Artist that works in mixed media (metal, wood, pyrotechnics, neon, fiber optics mosaics, glass, kinetics, and visual poetry) someone who was trying to grief me on my land, because

way ofJustly, sounds, twice. symbols The and words in both his musicI as well MANAX: thirdis reflected time was because orbited as his real life occupation as a psychiatrist. His medical degree and residency in adult psychiatry were obtained through thebroke, Universityand of Illinois at toEducation: eject wouldn‘t work.

Recently, my account i had switch over to a fifth one. and Hardware Enginereeing Computer Science Chicago. He pursued further studies in child and adolescent psychiatry at the University of Chicago. Presently, he continues to work and learn at Institute for Psychoanalysis, and maintains a private practice seeing TheEviltheChemistry: Are you afraid of being banned? clients in therapy and medication management.

Artist Statement I have lived in Boise, Idaho USA for the last 30 years and worked in the high tech industry for over 18 years. Light and electricity as an art form is not a common one. I found He is presently self-publishing a book describing the benefits and poMANAX: Not as much as I‘d expect myself to be. this to be a great way to integrate my love of technology tential detriments of video games and virtual space called Video Game with my love of art. My goal is to create art that is auPlay and Addiction: A Guide for Parents. Kourosh also maintains a blog titled Mind, Music, and Technology reflecting his thoughts of this unique TheEvilintersection Chemistry: How do get your yourthese buildstomated, on sl? interactive and can be touched, handled and as he continues hisyou path of artistry andideas healingfor through played with in a public arena. By doing so I believe I am media. deliberately blurring the distinction between spectator and participant, thus redefining the way we look at art. We find MANAX: I done ask native their opinions.

He has score for leprechauns short films, both recorded and live and has colourselves as part of the art and the beauty of it laborated on work presented at the 4Arts Gallery, Landmark Art Gallery, the Fast Forward Film Festival and Chicago Indymedia. Music video/

collaborations SL’s Sitearm Madonna include the tracks TheEvilmachinima Chemistry: Whatwith is your favorite thing to make in sl? About Second Life I have found that my interests in second life are the “Beast” and “Impart.”

MANAX: Weapons and vehicles have usually proven the mostsame entertaining. as my real life pursuits. My focus for the last several Albums written and and produced include,have Turn ofusually the Year EP (2008), Live have been on creating events to support local chariMANAX: Weapons vehicles proven theatmostyears entertaining.

Red Rock (2007), Sky Lily (2007), Live at Bliss Garden (2007), Ontogeny ties and non-profit foundations . I have found the opportuTheEvil(2005), Chemistry: What skills do inyou have in sl?

Fidelio (2003), The Color of Tea Sunlight (1999), and The Beckonity to do so also in Second life, United Kingdom Cancer of Agora (1998).

Research,, American Breast Foundation, Uthango, Virtual TheEvilning Chemistry: What skills do you have in sl?

Africa and Burningman\Burninglife He performs music weekly as Kourosh Eusebio in the virtual world MANAX: Building, mostly.

I‘m also a par scripter.

I of do custom charachters, too, obviously. are some of the event that have benefited from firework displays.

Second Life.

MANAX: Building, mostly. I‘m also a par scripter. I do customWhile charachters, obviously. currently too, working in pyrotechnics in the RL as a TheEvilmmt@kouroshdini.com Chemistry: What are the favorite groups you are in? Burningman artist, I have found this real world application helpful while designing particles sculptures that utilize, TheEvilhttp://kouroshdini.com/ Chemistry: What are the favorite groups you are in? scripting , music and animation in cyberspace. I look forward to pushing theand limitsPeople of this Against technologies and develoMANAX: Probably the ones I made, lol. The Robot Comedy Nipple., MEVco, Negative Gormabs ping some innovative designs with the Carp3 team.

MANAX: Probably the ones I made, lol. The Robot Comedy Nipple., MEVco, and People Against Negative Gormabs TheEvil Chemistry: Could you explain those groups to me?

TheEvil Chemistry: Could you explain those groups to me?

MANAX: Well, MEVco is my buisness. It‘s the group of peope I go to and pay to get things made, that I couldn‘t do,

TheEvil Chemistry: Who are you?

200 carp 5 MANAX: I am me.

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TheEvil Chemistry: Why do you play sl?

duggy bing

MANAX: I get some sort of sick, twisted enjoyment out of using virtual reality to make myself more busy and neglecting to relax more than it would occour in rl.

TheEvil Chemistry: What do you do on sl?

Duggy Bing entered SL in February of 2007. An artist in RL, he quickly

MANAX: I usually get myself into a bunch of messes that I can‘t work myandway out of, then I getofbanned few times, then took to building animating a wild collection wacky andawhimsical animals, which can be found in his Cartoonimals shop on Comatose.

I build something.

TheEvil Chemistry: How many times have you been banned?

The puppets Duggy created for The Wall are based on characters created by cartoonist Gerald Scarfe for the feature film version.

MANAX: Justly, twice. The third time was because I orbited someone who was trying to grief me on my land, because eject wouldn‘t work. Recently, my account broke, and i had to switch over to a fifth one.

TheEvil Chemistry: Are you afraid of being banned?

MANAX: Not as much as I‘d expect myself to be.

TheEvil Chemistry: How do you get your ideas for your builds on sl?

MANAX: I ask native leprechauns their opinions.

TheEvil Chemistry: What is your favorite thing to make in sl?

MANAX: Weapons and vehicles have usually proven the most entertaining.

TheEvil Chemistry: What skills do you have in sl?

MANAX: Building, mostly. I‘m also a par scripter. I do custom charachters, too, obviously.

TheEvil Chemistry: What are the favorite groups you are in?

MANAX: Probably the ones I made, lol. The Robot Comedy Nipple., MEVco, and People Against Negative Gormabs TheEvil Chemistry: Could you explain those groups to me?

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elfod nemeth Elfod Nemeth entered Second Life in February 2007, attracted by it‘s potential for creation.He quickly became enamoured with the Steampunk community and is an active member of New Babbage, spending much of his time pondering the aesthetics of steam, machinery and tentacles.For The Wall project Elfod created the central element, the Wall itself - 20m x 60m and comprising 155 prims, the wall contains only 4 listeners yet precisely controls the laying of each brick on command and ultimately explodes the wall with every brick compelled to move individually.Regularly helping others with building projects, he most recently built a dynamically resizing shopping tower inspired

by Van Allen‘s Chrysler building. He is currently working on several personal projects, one of which is a sim build.Elfod hails from South Wales, where it rains more than Cambridge, but lives in London working as a Software Engineer for a media company. Don‘t ask him to sing however,just because he‘s Welsh doesn‘t mean he‘s any good.

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al hoffmann

Al Hofmann Live Musician Bio Card 1-1 Al Hofmann performs one-man-band midi guitar free style player. His music is heard regularly in Second Life and is available on CD from his website at www.isound.com/al_hofmann and www.willysparrow.com In the above mentioned websites you can also watch some live recorded videos in SL + RL. For more about Al Hofmann, read on!

About Al Hofmann: Willy Sparrow was born in Buenos Aires, (Argentina), in a family of musicians, and started to play the guitar at the age of eight.

At twenty he recorded his first album named Magic Band, released by I.O.N records. He has done session work with several well-known musicians in Buenos Aires.

Since arriving in Europe in the late 80‘s he has performed a lot of fusion and modern-jazz (among other styles) in Madrid, Barcelona, the Basque Country, not to mention his participation in various festivals: Gent, Oostende, Brussel, Lyon, Brighton, Hamburg, Ferrara, Ravenna, Sta. Sofia, New York, etc.

In Amsterdam, his home base, he played at the Bimhuis, Milky Way Multicultural Centrum, Tropen Museum (with ex-percussionist Osibisa Kofi Ayibor) and made a couple of programs for Marra TV and the Kunst channel. At the same time he produced music of his own and for other artists, using computer devices and Midi systems in his home studio.

At present he is gigging around performing material from his latest CD „The signs are everywhere“ in which he introduces his Midi guitar playing and multilayered system, where different instruments can be recorded in real time and played at the same time on the principal of accumulating musical phrases in a loop device.

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millamilla noel

MillaMilla Noel borns on the 3rd. June 2007.

Starts SL with a recreational approach, but soon discovers her creative possibilities and is hired by the Museo del Metaverso, where she gains Director status and discovers her natural talent for the art of photography.

MillaMilla Noel has attended many exhibitions and has her own stable showroom at Museo del Metaverso.

The value of her work has been ratified with a selection of 40 samples of her photographs that will be in displayed in RL „Rinascimento Virtuale“ with Mario Gerosa as curator, to be held in Firenze in the Natural History Museum, from Oct.21 till Jan 9, 2009.

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flower exonar So who is this dude?

I am a young man in my early 20s.

Expressing myself through weird drawings and paintings was always something that needed to be done. However i gave up on it for a while but now i continue to draw and paint. Most of the time i use acrylic paint on canvas, but sometimes also pastel, spraypaint or other materials.

I am also interested in expressing myself through sound.

I like to paint with sound the same way that i do with paint or some other medium. Most of my works are fully improvised. When i create music i want to take people on a strange journey through time and space, And lead them to places they did not know they existed. There are endless options and i like to explore every corner of sound itself.

I Love the use of virtual worls and software in general to create artsy stuff too. I use Ultra Fractal and Chaoscope for my fractal art. And paintshop pro for photos etc. Also i use Second Life for lots and lots of different things. Virtual Worlds is the future of art and i love to explore all the options that it gives me.

Also i am just a big fan of everything that is weird.

I like to create strange sculptures every now and then, but don‘t do that often. Beside all the creativity i am a person of love and light, i am a rainbow warrior, yet i am a swine. I used to go to rave partys, and travel alot in the days i did not have to work. Also i loved to play with fire poi and juggle a bit with balls. I still play poi, but not with fire anymore.

Most of the time i paint, build with SL or experiment with sound.

I am also still struggling with work and education, and i hope i will graduate this or next year.

May the force be with you all!

Love and Light,

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deruub pastorelli biography Deruub Pastorelli (Ruben de Haan / Ruby) In 2000 he moved to Rotterdam were he worked on several sound installations.

In 2005 he worked at noise releases using the name Ruby.

He made the recording „Amusie“, moving away from the breakcore to a more harsh sound and began to play in a more improvised way, which resulted in some outstanding concerts.

In 2007 he work at a project called Stapelstad where he had an expo of his paintings and some multimedia installations.

After that he got interested in the possibilitys of online worlds.

He did some noise acts in secondlife and started to explore the possibilities for installations.

Made installations at CARP, Banned and Ejected and „Lost In The Grid“ at Takkeherrie Garden.

Some centred themes in his works are consumerism, buyable identities and non-products.

Info: rubendehaan@hotmail.com (or IM Deruub Pastorelli) www.rubendehaan.nl

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efrantisire morane So

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blanche argus biography

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sca shilova So

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klute coppola biography

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copyrightt carp 5 team 2008

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