Cibernetic Art Research Project CARP 7 by laszlo diabolus

CARP 7

diabolus

carp second life virtual art space

cybernetic art research project

CARP 7

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

CARP 7

diabolus artspace CARP 7

diabolus

second life virtual art space

carp 7 cybernetic art research project

CARP 7

Saying Thank You: First of all I would like to say to all of you that worked with us in CARP 7 a big big THANK YOU all. Thanks to Millamilla Noel and Divaolina Kirax, for the beautiful SL and RL socio-foto exhibitions in the CAMERA OBSCURA. Special thanks to Milla for the excellent video made for the videocaleidoscope. The EMOTICON was also a very interesting project where we can experiment with total new audiovisual effects and methodes. Many thanks goes to Josina Burgess, Millamilla Noel Evaluna Sperber and Caravaggio Bonetto for the beautiful visuals and also a big thank you to Al Hoffman for the great improvisations and concerts. In fact this is our laboratorium in what we can try out many new emotional audiovisual components. Many thanks to Sca Shilova, Josina Burgess and Caravaggio Bonetto for the Human Rights Festival installations in Benvolio sim. Many thanks to Ida Aabey, and Miulew Takahe for the collaboration in the Double skin mixed reality (Ida Aabeys ARENA project) installation in Benvolio sim. Many thanks to Nora Koltai, Josina Burgess, Caravaggio Bonetto and Istvรกn Orosz for the collaboration in the imagine gallery project. The creative Team has also spend much work in the CHANGE project. Medora Chevalier, Josina Burgess and me have wrote several textst with an important content. Of course was the lost of sims at NMC giving a problem and we couldnt build up 2 productions parallel to each other ( Metropolis and THE CHANGE). I finished a very important Publication Project: The Arena E-book, it is a authentic document of the Second Life Metaverse Art. Together with the other CARP documentation it gives a all over view of the most interesting International Phenomenem: Metaverse Art. a special THANK YOU goes

to Roxelo Babenko and arco Rosca for their help, collaboration and perfect organisation. http://artspace-diabolus.com/CARP/arena_1.pdf http://artspace-diabolus.com/CARP/arena_2.pdf website: diabolus.ning.com http://issuu.com/diabolus/docs/arena_1 http://issuu.com/diabolus/docs/arena_2 As a new Publication medium, also for the earlier E-books we will use issuu . The URL-s are: http://issuu.com/diabolus/docs/1_yes_entry http://issuu.com/diabolus/docs/2_dance http://issuu.com/diabolus/docs/3_automat http://issuu.com/diabolus/docs/arena_2 http://issuu.com/diabolus/docs/arena_1 http://issuu.com/diabolus/docs/carp-01 http://issuu.com/diabolus/docs/carp-02 http://issuu.com/diabolus/docs/carp-03 http://issuu.com/diabolus/docs/carp-04 http://issuu.com/diabolus/docs/carp-05 http://issuu.com/diabolus/docs/carp-06 Beside all this also 3 RL projects were created and organised in SL: Caravaggio Bonetto has realised 2 Projects for her study Architecure at the TU in VIENNA. With this project was tested what possibilities there are in the virtual world and RL education and how to use them. In December a very succesfull mixed reality experiment was organised with the collaboration of. Josina, Cara, Al Hofmann, Me and the RL Galerie-ARTITUDE in Budapest. The RINGS shows are ended even we still had great succes doing them. A big Thank You goes to our performer group: Junivers Stockholm, Medora Chevalier, Debbie Trilling, Klute Coppola , Sca Shilova, Efrantirise Morane, Milla Milla Noel, Blanche Argus, Any1 Gynoid, Josina Burgess and yes, the Yellow Submarine. We did set new benchmarks in the way

CARP 7 of performing achievement. I thank you for all your hard work. Since months we are working on our new project : METROPOLIS. After the WALL and the RINGS the same team is working on this new production. We have again many innovations in the new production and we use the inventions of the WALL and the RINGS. The great outcome of METROPOLIS is, not only the Audiovisual spectacle but as always usual: the Philosophical message. We cannot forget those ones that gaved so many workinghours for preparing all: Special thanks to nnoiz Papp for the phantastic soundtrack what he specially made for the METROPOLIS production. Special thanks to Josina for the many many characters and costumes and for the many operational ideas. Special thanks to Debbie Trilling for the METROPOLIS video production. Many thanks to windyy Lane and Cara helping me in the concept and build of the METROPOLIS theatre architecture and in the scene design and build. Also big thank to windyy Lane for the many AV animations. A big thank goes to the METROPOLIS performer group: Debbie Trilling, Josina Burgess, Efrantirise Morane and Milla Milla Noel. A big thank goes to Sca Shilova for the new design and build of the Roboter And now about the CARP 8 projects we have for the near future: We have to finish 2 Theatre productions. That is our first goal for CARP 8. In the EMOTICON project is still a lot of potential and many new ideas. This also is working as a audiovisual experimental Laboratorium for us. Further we let surprise us with spantaneous new projects that come our way. As publication Project a Magazin will be developed with the title: HyperArt.

Peace, Love Vodka & Yellow Submarine, Vela

CARP 7

art space diabolus

the making of The CHANGE

“A dream you dream alone is a dream. A dream you dream together is reality.” (John Lennon)

CARP 7

The CHANGE the future vision opera (subject and philosophical content draft) the 3th part of the CARP trilogy (The WALL (past) The Rings (present) The CHANGE (future)) The true future vision has no example in the past „The ability to think about what will be is a basic condition for successful evolution of “humanoids“. With the development of cognitive competence, the brain learns to estimate its options for action – it changes from being a unity controlled by instinct to a complicated forecasting instrument. To argue with the future is part of the human nature. Early in the history of mankind came the wish to look ahead beyond our own action horizon and to be able to foresee developments which one cannot influence. Shamans, high priests and other mediators tried to make the people‘s future visible to steer their path smoothly. Some cultures failed in this attempt to reason. Others, which used forecasts as an impulse to ordered self evaluation and self regulation, succeeded.“ (Mathias Horx) We introduce ourselves to a vision of the future only as a hollywood-booster-movie apocalypse, consumption hell or absurd comic strip. Once we are there, however, she will turn out to be a quite normal place to love, marry, drive a car, working, or give birth to a child.............. .......... and this simple all-days future is our subject and content. The Lorenzetti code The Lorenzetti code (the future has the roots in the past) The fresco cycle on good and bad government by Ambrogio Lorenzetti in the Siena Palazzo Pubblico was created in the years 1338/40, while Siena was establishing itself on the Italian peninsula as an independent city republic. The thesis attempts on the one hand to position this fresco cycle in time and space, describing the historical and political environment with particular emphasis on the association between Siena‘s politics and urbanism, architecture and culture at the time. Included are the contemporary interactions between an artist such as Ambrogio Lorenzetti and his patrons, the Sienese government. On the other hand, the research status on the hitherto available interpretations of the fresco cycle is analyzed. Finally, the thesis offers a new Dantesque view of the city hall pictures: it is shown how in Ambrogio Lorenzetti‘s fresco cycle the purgatory process of Dante‘s Commedia is visually transposed to the terrestrial sphere of the Italian city states, and Dante‘s universal design reduced to the political domain of the fledgling Sienese territorial state. In particular, the three

murals of the fresco cycle are described as modifications of Dante‘s Inferno, Purgatory and Earthly Paradise. Due to the reduction of Dante‘s universal design to the level of the Italian city state, special importance was attached in Siena to the republican concept in politics, which is also dealt with in the thesis. Lorenzetti code (Siena 1338) Vogliete gli occhi a rimirar costei, vo‘ che reggete, ch‘è qui figurata e per su‘ eciellenzia coronata, la qual sempr‘ a ciscun suo dritto rende. Guardate quanti ben‘ vengan da lei e come è dolce vita e riposata quella della città du‘ è servata questa virtù ke più d‘altra risprende. Ella guarda e difende chi lei onora e lor nurtrica e pascie; Da la suo lucie nascie el meritar color c‘operan bene e agl‘iniqui dar debite pene. (refren 2x) Pax Fortitudo Prudentia Sapientia Magnanimitas Temperantia Justitia Concordia Là dove sta legata la iustitia, nessuno al ben comun già mai s‘acorda né tira a dritta corda; però convien che tirannia sormonti, la qual, per adempir la sua nequitia, nullo voler né operar discorda dalla natura lorda de‘ vitii che con lei son qui congionti. Questa caccia color c‘al ben son pronti e chiama a sé ciascun c‘a male intende; questa sempre difende chi sforza o robba o chi odiasse pace, unde ogni terra sua inculta giace. (refren 2x) Tyramnides Crudelitas Proditio Fraus Furor Guerra Divisio e per effetto che dove è tirannia è gran sospetto, guerre, rapine, tradimenti e ‚nganni,

CARP 7 Prendansi signoria sopra di lei, e pongasi la mente e lo intelletto in tener sempre a iustizia suggietto ciascun, per ischifar sì scuri danni, abbattendo e‘ tiranni; e chi turbar la vuol sie per suo merto disciacciat‘ e diserto insieme con qualunque sia seguacie, fortificando lei per vostra pace. (refren 2x) Pax Fortitudo Prudentia Sapientia Magnanimitas Temperantia Justitia Concordia Questa santa virtù, là dove regge, induce ad unità gli animi molti, e questi, a cciò ricolti, un ben comun per lor signor si fanno. lo qual, per governar suo stato, elegge di non tener giamma‘ gli ochi rivolti da lo splendor de‘ volti de le virtù che ‚ntorno a llui si stanno. Per questo con triunfo a llui si danno censi, tributi e signorie di terre, per questo senza guerre seguita poi ogni civile effetto, utile, necessario e di diletto. The name of the game Josina Burgess/Velazquez Bonetto Panic is the word on Wall Street. and richness is only just a skin deep. Now banks are fighting for survival. And poorness that has now no rival. crisis leads to cancel trip Hey! Don‘t give up the sinking ship. Don‘t give up the sinking ship. Finance crises, panic, recession Its a black deadly obsession. economists have theories and also offer you their fees Administrations give the tip Hey! don‘t give up the sinking ship. Don‘t give up the sinking ship don‘t understand why we are in it.

Maybe its all just bankers bullshit. They have golden handshake contracts And these are all the well-known facts. A planet where the vips eats vip But! don‘t give up the sinking ship. don‘t give up the sinking ship. Stock exchange: the rich can‘t lose Indeed all that for them good news. easy to destroy, and done There‘s nothing new under the sun. Animal nature in a dip But! don‘t give up the sinking ship. don‘t give up the sinking ship. Future exchange: sell off your life And set it into overdrive Options that convey the right Any time of day or night. Only the money is the vip We don‘t give up the sinking ship. don‘t give up the sinking ship. no more exchanging will exist, the way to deal is just a list to dissapear and turn and change new things that has to be arranged we people are the ones that plan that „money“ was the better scam that money was the better scam now here we sit on what we’ve done and future is about to come to show us all we have mistaken all what we planned it has been taken we have to find a better way no more delay, no more delay no more delay, no more delay change is in our hands for now and in the future it will grow into a better world to live in not only taking but more givving to share and understand some more just act couse death is at the door change systems before its killing it just depends how much we are willing it just depends how much we are willing We don‘t give up. We don‘t give up.

CARP 7

THE DIVISION PARADOX Idea: Vealzquez Bonnetto. Lyrics: Josina Burgess

The Cave Medora Chevalier

spread weapons, people will turn wild and start to kill each other spread some believes, you will get lost, and noone seems to bother spread bread, you will be full but bread it will be gone spread gold, wake greed and gold is gold and that is never done spread money its a airballoon that flies in wind and thunder and dissapears into the storm that finally takes him under

The dark outside The cold outside The beast outside The fear outside

When you cave give to nature back, all that you have taken It will return into a space to live and thatâ&#x20AC;&#x2122;s forsaken When will you share your wisdom. The wiser we become, And When you spread your love it will come back as it belong When you will share just everything you have and clear your mess, It brings back to you inner peace and gives you happiness The future is a balance between nature, between man and knowledge is producing all the future yes it can create for all the people that will recognize it well that love is all there is and love is not an empty shell You cannot change the world without changing first yourself When you believe in dreams, your dream is like a ghost or elf When you share your dreams with others all together It can change everything and and it will really matter Let all that falsehood far behind just put it in a box Only think on what it true: the division paradox Only think on what is true: the division paradox Only think on what is true: the division paradox

Make the journey Make the journey Here we rest and laugh and love Firelight dancing high above We are warm together We are bright together We are human together We are fearless together Make the journey Make the journey Here we talk, debate and plan Wise old women, strong young man. Hear our drums are sounding Hear our voices calling Hear our feet are pounding Hear our spirits lifting Make the journey Make the journey See our hands are twining Deep in colours glow See our marks are shining Make our soul world show Make the journey Make the journey Come inside the cave Leave the dark outide Come inside humanity Leave the fear outside Make the journey Make the journey

CARP 7 The future flowing Medora Chevalier

Weapon cemetery Idea: Vealzquez Bonnetto. Lyrics: Josina Burgess

Looking at the evening sunlight Spy the shadows growing. High up on the mountain ranges Feel the sunset glowing. As we breathe the chilling air in Know above all knowing, Every time we draw a breath in That the future here is flowing. Every time we draw a breath in That the future here is flowing.

Why all the fighting, why killing each other, Why do they destroy someones garden and home? Is it because of the others religion, That they cant stand it, cant leave him alone? On television they say this is evil, And evil puts everyone in a deep hole, Evil is greedy , is hopeless, is empty, Evil just wants to eat everyones sole

So it is our choice to make here In our one brief flowering: Shall our dust dry fruitless, pointless, Shall our death be cowering? Shall we take the path where others mock us, Shall we take it take it knowing? Every time we draw a breath in See the future here is flowing. Feel your wings spread in the dark winds Feel their sweep, their power. Feel each feather take its own place Feel your spirit tower. Greater than the greatest tempest Smaller than the smallest atom Hereâ&#x20AC;&#x2DC;s the force deep in your being If you only reach to touch it Reach and touch and taste and love it Fly upon its shoulders. It is all you are and can be See the future flowing It is wildness still to think so We can lie here sleeping. Why should life be any other Than the life weâ&#x20AC;&#x2DC;re keeping? Yet we know our fingers reach out Reach out still in wonder If the dream is shining there If it is calling us If it is wonderful See the future here is glowing.

I long for a future where people are trusting each other again without anger or fear. War has no use it is only discusting, and doesnt solve anything that is well clear. Why is there war? Tell me what is the reason? Is it a solution for you or for me? Where is it good for? What is the illusion is everyone blind and can nobody see? War, follow orders, kill innocent children? Is that the illusion in what you believe? Is it the oil that the land is destroying, And making rich richer and others in grieve? On television they say this is evil. The oil and the diamonds, the copper and gold. The thieves among us they are counting their money. In jail are the little ones that did was was told I long for a future where people are willing to help out each other just as it should be. A future without all the wars and the killing, the murder for money and murder for fee. War uses your blood as the ink to print money and blood is the payment for every new gun. Guns to kill people and innocent children and making whole continents go on the run I believe in a life where is peace all around us. Where nobody tells us to break someones door. Because his religion and language is different And therfore to kill and leave dead on the floor. Or maybe the skin is again a good reason To abandon and hate and letting you fear. The fools and the crazy they follow the orders The big ones, the rulers? They dont shed a tear. I long for a future where doors are all open, no reason to close them theres nothing to hide. I long for a future with peace for all mankind and religion and language go side by side

CARP 7

I want to dig graves for the weapons to barry, and on it i will put a big golden cross. Where is war good for? Tell me what is the reason? Loosing those weapons? It is no loss! HSv2 Education Medora Chevalier Sit down Be quiet Look here Concentrate! Still still Don‘t talk Watch me Concentrate! Outside the sky is grey Outside the street is grey The clouds and birds all grey Outside the future‘s grey. Sit down Be quiet Look here Concentrate! Still still Don‘t talk Watch me Concentrate! Outside my mind is wandering Outside I search for something For something lovely flying For something that‘s ALIVE!

Sit DOWN! No I stand tall Look HERE! It‘s not beautiful Sit STILL No I‘m dancing Watch ME Now I feel ALIVE!

Don‘t give up Medora Chevalier When you‘re feeling weak and lonely Don‘t give up When the world is hard and phoney Don‘t give up If you feel that change is needed There are others who will feel it Don‘t give up Don‘t give up Don‘t give up When you see our planet dying Don‘t give up If you hear the statesmen lying Don‘t give up Let our banners be unfurled Let‘s unite and save the world Don‘t give up Don‘t give up Don‘t give up

Sit down Be quiet Look here Concentrate! Still still Don‘t talk Watch me Concentrate!

If you see the people starving Don‘t give up If you hear the wealthy laughing Don‘t give up Against every cold warmonger There‘s a thousand fighting hunger Don‘t give up Don‘t give up Don‘t give up

There! What was it? There! Is that what colour is? There! Is that what music is? There! Is something that‘s ALIVE!

When you see them cold and homeless Don‘t give up When you hear them mocked as worthless Don‘t give up Reach your hand and see them true

CARP 7 Let their talents come shine through Don‘t give up Don‘t give up Don‘t give up When the partying is over Don‘t give up When you‘re home and with your lover Don‘t give up Make your own connections wider Act together, make things better! Don‘t give up Don‘t give up Don‘t give up Don‘t give up Don‘t give up Don‘t give up !!!

CARP 7

The Change video experiment Thoth Jantzen

CARP 7

art space diabolus

the making of The METROPOLIS

„Einen Mittler brauchen Hirn und Hände. Mittler zwischen Hirn und Händen muss das Herz sein.” Thea von Harbou, Fritz Lang

CARP 7

METROPOLIS story plot V_1.0 Virtuelle Raum: 100x100x200 meter Audiovisual Komponente: Überwiegend schwarz-weis Scenarios in ein Mischform. - 3D Nachbau von original Metropolis (bpw.Herzmaschiene) - Neue visuelle Elemente aus unsere Zeit aber auch monochrom. Soundtrack: cca 45 min. nur instrumental Musik (so verrückt wie irgent möglich) Schauspiel: wie bei der original nur Gestik und Pantomim. Spielraum: keine herkömliche Frontal-Theater Konzept sondern volle immersiv Kontrol, fliegende sitze und 4D live-cut Kamera system. Scene-Kontrol: Master Controler V_11.0 mit lokal Translation/Orientation Rollen: Maria und Marias roboter Dubel Joh Fredersen Freder Fredersen Rotwang Josaphat Arbeiter 11811 Grot scene 1 die Stadt In einer überdimensionierten und technisch entfesselten Stadt namens Metropolis leben die einzelnen Gesellschaftsschichten voneinander völlig getrennt. Die Oberschicht genießt paradiesische Lebensverhältnisse und gibt sich in einem „Yoshiwara“ genannten Amüsierviertel rauschhaften Vergnügungen hin. Im „Klub der Söhne“ lebt die junge Elite in absolutem Luxus, während die gewöhnlichen Arbeiter im Untergrund der Stadt hausen und in Zehnstundenschichten an überdimensionalen Maschinen schuften müssen. Das Hirn von Metropolis ist Joh Fredersen, der aus seiner Steuerungszentrale im „Neuen Turm Babel“ die Stadt steuert und überwacht. scene 2 Maria Sein Sohn Freder Fredersen trifft eines Tages auf Maria, eine geheimnisvolle Frau aus der Unterstadt, und verliebt sich in sie. Auf der Suche nach Maria erlebt er die Not der Arbeiter im Untergrund der Stadt und versucht erfolglos, seinen Vater von dessen hartherzigen und ausbeuterischen Regiment abzubringen. scene 3 11811

Gemeinsam mit dem von Fredersen entlassenen Josaphat und dem Arbeiter „11811“ plant er, eine Initiative zur Änderung der Verhältnisse in Metropolis zu beginnen. Doch „der Schmale“, ein Agent von Joh Fredersen, treibt „11811“ in die Unterstadt zurück und sperrt Josaphat in dessen Wohnung ein. scene 4 Underground Maria verkündet den Arbeitern in konspirativen, gottesdienstgleichen Sitzungen in den Katakomben der Stadt die baldige Ankunft eines „Mittlers“, der eine Brücke zwischen Hirn (Führungsschicht von Metropolis) und Händen (Arbeiterschaft) bauen wird. Joh Fredersen sieht durch den Einfluss Marias auf die Arbeiter die Gefahr einer Revolte und weist den Erfinder Rotwang an, einem Maschinen-Menschen das Antlitz Marias zu geben, damit dieser die Arbeiter beeinflusse. scene 5 Rotwang Fredersen und Rotwang verbindet eine besondere Beziehung. Einst hat Joh Fredersen dem Erfinder dessen geliebte Frau Hel genommen. Bei der Geburt von Freder war sie gestorben. Mit dem Maschinenmenschen will Rotwang sich nun seine Hel neu erschaffen. Aus Rache hintertreibt er Joh Fredersens Plan und bringt den Maschinenmenschen dazu, die Arbeiter in der Gestalt Marias zu einer Revolte aufzuhetzen. scene 6 Revolution Der Mob stürmt die unterirdischen Fabriken und zerstört dabei auch die für Metropolis lebenswichtige Herz-Maschine, woraufhin die Wohnquartiere der Arbeiter im Untergrund der Stadt überflutet werden. Der echten Maria gelingt es aber, zusammen mit Freder Fredersen und Josaphat, der sich inzwischen befreit hat, die Kinder der Arbeiter im letzten Moment vor dem Ertrinken zu retten und im „Klub der Söhne“ in Sicherheit zu bringen. scene 7 Der Herz-Maschine Grot, dem Werkmeister der Herz-Maschine, gelingt es, die revoltierenden Arbeiter zur Besinnung zu bringen. Sie erkennen die ausgelöste Katastrophe und wähnen ihre Kinder ertrunken. Nun wendet sich die Wut gegen die vermeintliche Anstifterin Maria. Der Maschinen-Mensch mit Marias Gestalt wird eingefangen und auf einem Scheiterhaufen vor der Kathedrale verbrannt. scene 8 Der Mittler Zeitgleich wird die echte Maria von Rotwang gejagt und aufs Dach der Kathedrale gehetzt. Der Erfinder ist wahnsinnig geworden und sieht in Maria seine Hel vor sich. Freder

CARP 7 Fredersen rettet Maria und liefert sich einen finalen Kampf mit Rotwang. Unter dem Motto „Der Mittler zwischen Hirn und Händen muss das Herz sein“ versöhnen sich anschließend der Fabrikant Joh Fredersen und die Arbeiterschaft durch Freders Vermittlung. . METROPOLIS Story Plot Metropolis is set in the year 2027, in the extraordinary Gothic skyscrapers of a corporate city-state, the metropolis of the title. Society has been divided into two rigid groups: one of planners or thinkers, who live high above the earth in luxury, and another of workers who live underground toiling to sustain the lives of the privileged. The city is run by Johann ‚Joh‘ Fredersen (Alfred Abel). The beautiful and evangelical Maria (Brigitte Helm) takes up the cause of the workers. She advises the desperate workers not to start a revolution, and instead wait for the arrival of „The Mediator“, who will be the „heart“ between the „head“ – Fredersen the conceiver of the city – and the „hands“ – the people who labor to make it a reality. The Mediator, she says, will unite the two halves of society. The son of Fredersen, Freder (Gustav Fröhlich), becomes infatuated with Maria, and follows her down into the worker‘s underworld, where he experiences firsthand the toiling lifestyle of the workers, and observes the casual attitude of their employers about the workers well-being. He is disgusted after seeing an explosion at the „M-Machine“, when the employers bring in new workers to keep the machine running before taking care of the men wounded or killed in the accident. Shocked at the workers‘ living conditions, he joins Maria‘s cause. Meanwhile his father, Fredersen, consults with the scientist Rotwang (Rudolf Klein-Rogge), an old companion and rival. Fredersen learns that the papers found with some dead workers are plans of the catacombs beneath the city, and witnesses a speech by Maria. He also learns that Rotwang has built a robot, and wants to give it the appearance of Hel, his former lover who left him for Fredersen and died giving birth to Freder. Fredersen persuades him to give the robot Maria‘s appearance instead, as he wants to use the robot to tighten his control over the workers. Rotwang complies out of ulterior motives: he knows about Freder‘s and Maria‘s love, and plans to use the robot to deprive Fredersen of his son.

The real Maria is imprisoned in Rotwang‘s house, while the robot Maria is first showcased as an exotic dancer in the upper city‘s Yoshiwara nightclub, fomenting discord among the rich young men of the city. The robot then descends into the worker‘s city and encites the workers into a fullscale rebellion, during which the „Heart Machine“, the power station for the city, is destroyed. Neither Freder nor Grot, the foreman of the Heart Machine, can stop them. As the machine is destroyed, the city‘s reservoirs overflow, flooding the workers‘ underground city, which would have drowned their children, who were left behind in the riot, if not for the heroic rescue efforts of Freder and Maria. The workers do not know that their children have been saved, and when they realize the damage they have done and that their children are lost, they attack the upper city. Under the leadership of Grot, they chase the human Maria, whom they hold responsible for their riot. As they break into the city‘s entertainment district, they run into the Yoshiwara crowd and capture the robot Maria, while the human Maria manages to escape. The workers burn the captured Maria at the stake; Freder, believing this to be the human Maria, despairs, but then he and the workers realize that the burned Maria is in fact a robot. Meanwhile, the human Maria is chased by Rotwang along the battlements of the city‘s cathedral. Freder chases after Rotwang, resulting in a climactic scene in which Joh Fredersen watches in terror as his son struggles with Rotwang on the cathedral‘s roof. Rotwang falls to his death, and Maria and Freder return to the street, where Freder unites Fredersen (the „head“) and Grot (the „hands“), fulfilling his role as the „Mediator“ (the „heart“).

CARP 7

created by windyy Lane

CARP 7

created by windyy Lane

CARP 7

created by windyy Lane

CARP 7

art space diabolus

emoticon 1 the realtime collaborative audiovisual improvisation Caravaggio Bonetto Velazquez Bonetto

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emoticon 2 the realtime collaborative audiovisual improvisation Josina Burgess Velazquez Bonetto

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imagine the contemporary art gallery of Nora Koltai Istvรกn Orosz Josina Burgess Velazquez Bonetto Caravaggio Bonetto

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cypress in LA the concert of cypress rosewood in the Living Architecture Visual artists: Josina Burgess Velazquez Bonetto Caravaggio Bonetto

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Human Rights Festival The Global Players

installation by Josina Burgess Caravaggio Bonetto Velazquez Bonetto

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