CARP CREATORS Velazquez Bonetto volume Nr. 1. by laszlo diabolus

CARP CREATORS Velazquez Bonetto

a special edition of the

virtual art space

diabolus

cybernetic art research project:

the CARP creators

velazquez bonetto 1

CARP CREATORS Velazquez Bonetto

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 CREATORS Velazquez Bonetto

content:

1. cybernetic art 1.1. the MANAX project 1.2. the effect networking 1.3. cable biotops 1.4. organic skyscraper 1.5. reactive sculpties 1.6. VJAZZ 1.7. living architecture 1.8. the new Co.

diabolus artspace 4

CARP CREATORS Velazquez Bonetto

RL Name: László Ördögh Diabolus About Me: My artistic activity is an integrated part of a wider carrier. It is nourished by more than thirty years of professional experience gathered in such different fields as industrial design, computer graphics, virtual reality, and human engineering. It has multiple influences on my art. Firstly, owing to years in software production I have developed several new techniques that can be roughly classified as mixed media. On the other hand, industrial scenes, structures and objects have become substantial parts of my artistic language. My industrial experience has helped me to a deeper insight into the entangled economic and political connections that are the propelling forces of our world. I‘ve got a vivid picture of the looming problems that may lead us toward a sinister future. It is my main concern as an artist to call the public attention to questions where further thinking and searching for solutions is needed The message of an artwork comes on several channels and addresses both the emotional and the rational side of the viewer. Every work may have many different interpretations. There is nothing more boring than explanations at how it should be understood and nothing more exciting and thrilling than a simple and clear artistic language that can talk in a a second of visual delight about human questions of huge magnitude. My works are all reflections of such moments that have forced me to think and to talk in my own language. I have achieved my goal if my artworks have launched a chain of thoughts in the viewer‘s mind. 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: - SL is a concept for creative competence, the perfect fantasy machine, the ideal platform to research and experiment the Art of the future. 2: - 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. 3: - 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. 4: - SL is also in the Social Surroundings with simple rules and a Global Community without any borders. Maybe an example for our RL community. 5: - 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, Debbie, Juria, noizz, Juni, Medora, Milla, Al, Kourosh, and all the others in my friends list. Short RL bio: Education: Academy of Industrial Design Budapest Department of Industrial Design (1971-1976) Graduated: summa cum laude as industrial designer Academy of Industrial Design & University of Engineering postgraduate training in system design (1976-1979) 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 (19992002). 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 & CG 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) The list of the publicatins and exhibitions see in the diabolus website.

diabolus artspace CARP CREATORS Velazquez Bonetto

virtual art space

diabolus

cybernetic art research project:

the CARP creators.

velazquez bonetto

CARP CREATORS Velazquez Bonetto

The basic definitions of the hypermedia Art.

Hypermedia The prefix hyper- („over“ or „beyond“) signifies the overcoming of the old linear constraints of written text. The term „hypertext“ is often used where the term hypermedia might seem appropriate. Hypermedia is a term first used in a 1965 article by Ted Nelson.[1] It is used as a logical extension of the term hypertext, in which graphics, audio, video, plain text and hyperlinks intertwine to create a generally non-linear medium of information. This contrasts with the broader term multimedia, which may be used to describe non-interactive linear presentations as well as hypermedia. Hypermedia should not be confused with hypergraphics or super-writing which is not a related subject. The World Wide Web is a classic example of hypermedia, whereas a non-interactive cinema presentation is an example of standard multimedia due to the absence of hyperlinks. Functionalism (FFF) Form follows function is a principle associated with modern architecture and industrial design in the 20th Century, which states that the shape of a building or object should be predicated by or based upon its intended function or purpose. The functional architecture and design is the negation of purely aesthetic design principles behind the form determined use of a building or a device. Hence the famous phrase „form follows function“ by Louis Sullivan of the popular opinion arose, a beauty in contemporary architecture and design is apparent already from their functionality. The beginnings of this view to the rich aesthetic theorists of the 19th Century (Lotze, Semper, Greenough), in Ger-

many but only with the founding of the German Werkbund under the slogans practicality and purpose form in the rank of an artistic design of serious collected. The functionalism gained after the First World War and after the interlude of Expressionism, the term new construction, Bauhaus style, or New Objectivity as a design principle more attention again. To really universally building was the epitome of modern functionalism in Germany but only after the Second World War and has thus the architectural language of reconstruction far. Since the beginning of the 1970s gets the formal poverty and the functionalist planning increasingly in the field of public criticism, which is why the socalled post-modernism in the 1980s functionalism finally completely new design principles tried. „It is the pervading law of all things organic and inorganic, Of all things physical and metaphysical, Of all things human and all things super-human, Of all true manifestations of the head, Of the heart, of the soul, That the life is recognizable in its expression, That form ever follows function. This is the law.” Henri Labrouste (* 11. Mai 1801 in Paris; † 26. Juni 1875 in Fontainebleau) Louis Henri Sullivan (* 3. September 1856 Boston; † 14. April 1924 Chicago) „The tall office building artistically considered“, 1896 What is hyperfunctionalism Diabolus, 08 Dec 2007 Hyperfunctionalism define and implement the different aspects of the requested behavior of a generic system in a hypermedia* or metaverse environment. (it is not relevant that the generated virtual construct named art or science or any conventional historical category of the human abstraction) The requested behavior and set of functions derived from the given environment where

CARP CREATORS Velazquez Bonetto the system successfully survive. The definition typically describes what is needed by the system user (designgoal), which internal functions are necessary, as well as, requested properties of inputs and outputs. Example: In a real environment with gravitation, the material, structural or static properties has primary meaning. Dont survive a system if the functions are not successfully implemented. In a symulated generative environment where gravitation is not, or particular interpret, the material, structural or static properties has absolutely no significance. If these properties are still represented, we are talking about imitation. But the imitative representation of a system also has meaning when used as a transfer medium for learning and training. There are functions in different environments are identical. An artwork with communicative functions can survive (real or virtual) if binds the human attention, and realise a long time storage of the MEM-s in the central neuronal system (attention is one of the limited cognitive resources of the human brain) hyperform follows hyperfunction „It is the pervading law of all things organic, inorganic or generic, Of all things physical, metaphysical or virtual, Of all things human and all things avatar, Of all true manifestations of the intellect, Of the heart, of the soul, That the life is recognizable in its expression, That form ever follows function. This is the law in the real world. That hyperform ever follows hyperfunction. This is the law in the metaverse.”

Henri Labrouste (* 11. Mai 1801 in Paris; † 26. Juni 1875 in Fontainebleau) Louis Henri Sullivan (* 3. September 1856 Boston; † 14. April 1924 Chicago) hyperfunctional extensions by Velazquez Bonetto

Formalism (wikipedia) The concept Formalism calls an art-historical method of the interpretation of a piece of art. Besides, the value of the work lies in the autonomy of the form. The formalistic consideration of art stresses qualities as for example composition, colour, lines and texture. Content aspects and relations like subject, history of the origin of the work, historical context and biography of the artist, are secondary or are not treated. The formalists, as the most important representatives Heinrich Wölfflin and Alois Riegl, aimed at a comparative style analysis which is freely from personal evaluation and is able to solve the *hermeneutics problem of the art history. The formalistic ideas of 19. Cent. served the modern painting as an impulse to develop more freely and to concentrate upon the aesthetic effect from form and structure. The concept of the formalism leaves open itself therefore also on the fine art expand, e.g. in the 20th century from the art-historical methodology has become an art creation methodology. Formalism dominated modern art from the late 1800s through the 1960s. History of formalism (wikipedia) The concept of formalism can be traced as far back as Plato, who argued that ‚eidos‘ (or shape) of a thing included our perceptions of the thing, as well as those sensory aspects of a thing which the human mind can take in. Plato argued that eidos included elements of representation and imitation, since the thing itself could not be replicated. Subsequently, Plato believed that eidos inherently was deceptive. In 1890, the Post-impressionist painter Maurice Denis

CARP CREATORS Velazquez Bonetto

wrote in his article ‚Definition of Neo-Traditionism‘ that a painting was ‚essentially a flat surface covered in colours arranged in a certain order.‘ Denis argued that the painting or sculpture or drawing itself, not the subject of the artistic work, gave pleasure to the mind.

‚confusion of the arts‘, he wrote, and a lack of purity in artistic endeavor. Defining a work of art by its ‚art form‘, or medium, limits a work‘s artistic possibilities to the nature of that medium. Yet, this also allows the work of art to stand alone on its own merits.

Denis‘ emphasis on the form of a work led the Bloomsbury writer Clive Bell to write in his 1914 book, Art, that there was a distinction between a thing‘s actual form and its ‚significant form.‘ For Bell, recognition of a work of art as representational of a thing was less important than capturing the ‚significant form‘, or true inner nature, of a thing. Bell‘s work harkened back to the Aristotelian concept of general forms and ‚species.‘ For Aristotle, that an animal was a dog was not important; that a dog was a Dalmatian or an Irish wolfhound was. Echoing this line of thought, Bell pushed for an art that used the techniques of an artistic medium to capture the essence of a thing (its ‚significant form‘) rather than its mere outward appearance.

Formalism today

Throughout the rest of the early part of the 20th Century, European structuralists continued to argue that ‚real‘ art was expressive only of a thing‘s ontological, metaphysical or essential nature. But European art critics soon began using the word ‚structure‘ to indicate a new concept of art. By the 1930s and 1940s, structuralists reasoned that the mental processes and social preconceptions an individual brings to art are more important than the essential, or ‚ideal‘, nature of the thing. Knowledge is created only through socialization and thought, they said, and a thing can only be known as it is filtered through these mental processes. Soon, the word ‚form‘ was used interchangeably with the word ‚structure‘. In 1940, the American art critic Clement Greenberg, in an influential piece in Partisan Review, argued that the value of art was located in its form. The representational aspects of a work of art are less important than those aspects which embody a thing‘s ‚internal identity‘. This led Greenberg to the conclusion that abstraction was the purest art of all. Greenberg also perceived that impressionism had blurred the boundaries between various art forms. This led to a

The concept of formalism in art continued to evolve through the 20th century. Some art critics argue for a return to the Platonic definition for form as a collection of elements which falsely represent the thing itself and which are mediated by art and mental processes. A second view argues that representational elements must be somewhat intelligible, but must still aim to capture the object‘s ‚form‘. A third view argues for a diale-discursive ontological knowledge. Instead, structuralists focused on how the creation of art communicate the idea behind the art. Whereas formalists manipulated elements within a medium, structuralists purposely mixed media and included context as an element of the artistic work. Whereas formalism‘s focus was the aesthetic experience, structuralists played down response in favor of communication. Structuralism‘s focus on the ‚grammar‘ of art reaches as far back as the Post-Impressionist work of Marcel Duchamp. In many ways, structuralism draws on the tools of formalism without adopting the theory behind them. What Is Hyperformalism? DCSpensley, 17 May 2006(created 4 April 2006) „Hyperformalism is an aesthetic philosphical construct that may be employed by to describe a late 20th century, early 21st century mass art phenomena consisting of scores of personal computer users generating abstract, often spacially unique artworks with software tools. These spacial realities have no analog in the physical world, and instead of making reference to physical reality, create a unique continuum of reference; a rearrangement of photons to illuminate alternate worlds of form, shape,

CARP CREATORS Velazquez Bonetto color and space. The term Hyperformalism is derived from the combination of the words Hyper and Formalism (as described by WikiPedia) and is being used here to describe aesthetic self expression without anthropomorphic, or representative context. This seperates Hyperformalism from digital collage, aesthetic photo manipulation and other forms.â&#x20AC;&#x153; Hyperformalism is a critical construct that may be employed by to describe a late 20th century, early 21st century mass art phenomena consisting of scores of personal computer users generating abstract, often spacially unique artworks with software tools...these spacial realities have no analog in the physical world, and instead of making reference to reality, create a unique continuum of reference; a rearrangement of photons to illuminate alternate worlds of form, shape, color and space. Hermeneutics *Essentially, hermeneutics involves cultivating the ability to understand things from somebody elseâ&#x20AC;&#x2DC;s point of view, and to appreciate the cultural and social forces that may have influenced their outlook. Hermeneutics is the process of applying this understanding to interpreting the meaning of written texts and symbolic artifacts (such as art or sculpture or architecture), which may be either historic or contemporary.

CARP CREATORS Velazquez Bonetto

diabolus artspace CARP CREATORS Velazquez Bonetto

virtual art space

diabolus

the carp creators:

velazquez bonetto

1. cybernetic art 1.1. the AMNAX project

CARP CREATORS Velazquez Bonetto Synesthesia & Cybernetics MANAX computer network based collaborativ Synesthesia Project Velazquez Bonetto, Josina Burgess, Cypress Rosewood and 5imon Baker would like to invite you for a pre-view of an Art-project never shown on SL. The MANAX story, told through a special for SL invented and build particle-emitter-instrument, a poem, music and voice. Based on Synesthesia, Cybernetic-Art and the synergism of computers abilities in SL . This pre-view is for a small group only and we would like to evaluate what you saw afterwards. So please take some time and become part of this experiment. What is synesthesia? Synesthesia (also spelled synæsthesia or synaesthesia, plural synesthesiae or synaesthesiae)—from the Ancient Greek s?? (syn), meaning „with,“ and (aisthesis), meaning „sensation“‘—is a neurologically based phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. Many people with synesthesia use their experiences to aid in their creative process, and many non-synesthetes have attempted to create works of art that may capture what it is like to experience synesthesia. Psychologists and neuroscientists study synesthesia not only for its inherent interest, but also for the insights it may give into cognitive and perceptual processes that occur in everyone, synesthete and non-synesthete alike. Music - color synesthesia In music ? color synesthesia, individuals experience colors in response to tones or other aspects of musical stimuli (e.g., timbre or key). Like grapheme ? color synesthesia, there is rarely agreement amongst synesthetes that a given tone will be a certain color. However, consistent trends can be found, such that higher pitched notes are experienced as being more brightly colored (Ward, Huckstep & Tsakanikos 2006). The presence of similar

CARP CREATORS Velazquez Bonetto patterns of pitch-brightness matching in non-synesthetic subjects suggests that this form of synesthesia shares mechanisms with non-synesthetes (Ward, Huckstep & Tsakanikos 2006). Color changes in response to pitch may involve more than just the hue of the color. Brightness (the amount of white in a color; as brightness is removed from red, for example, it fades into a brown and finally to black), saturation (the intensity of the color; firetruck red and sky blue are highly saturated, while grays, white, and black are unsaturated), and hue may all be affected to varying degrees (Campen & Froger 2003). Additionally, music ? color synesthetes, unlike grapheme ? color synesthetes, often report that the colors move, or stream into and out of their field of view. The prehistory: Alexander Skrjabin (1872-1915) russina composer had a so called Colour-Synesthesia strengled into Colourviewing by hearing certain tones and notes. Because he had no absolut hearing, the colourviewing only appeared when he wrote down or played a certain note or accord. Norbert Wiener (November 26, 1894, Columbia, Missouri â&#x20AC;&#x201C; March 18, 1964, Stockholm Sweden) was an American theoretical and applied mathematician. He was a pioneer in the study of stochastic and noise processes, contributing work relevant to electronic engineering, electronic communication, and control systems. Wiener is also the founder of cybernetics, a field that formalizes the notion of feedback and has implications for engineering, systems control, computer science, biology, philosophy, and the organization of society. John von Neumann Born 28 December 1903, Budapest, Hungary; Died 8 February 1957, Washington DC; Brilliant mathematician, synthesizer, and promoter of the stored program concept, whose logical design of the IAS became the prototype of most of its successors - the von Neumann Architecture. First as a painter, then sculptor, town planner, architect,

CARP CREATORS Velazquez Bonetto theoretician of art, Nicolas Schöffer was one of the most important artists of the second half of twentieth century. Non-commercial artist, he is less known than others, for, devoted to artistic fundamental research, he creates, above all, at the scale of towns, in which he wants to give back to mankind life pleasure shielded from all kinds of visual and acoustic pollution Nicolas Schöffer still living. Father of Cybernetic Art, thus of so-called „interactivity“, he wanted to bring a prospective and non-backwardlooking vision of art, which could help mankind to develop itself with a good hold on true creative and liberating possibilities of our times. The worldwide virtual team: Synesthesia engineering, Audiovisual set, LSL programming and art direction Velazquez Bonetto (D) Poem: Josina Burgess (NL) Soundtrack: Cypress Rosewood (USA) Narrator: 5imon Jacobus (UK)

The MANAX Story: the Poem MANAX mc Millan was his name He knew his powers were perfect Would SL ever been the same Without his Evil intellect? There in his world of lonelyness His kingdom ruled by hate and fear Disciples following his mess He made an island dissapear.. Yet banned He was by Second Life And Linden Lab thought He was gone.. No one that knew His evil drive He wasn’t ready, wasn’t done..

CARP CREATORS Velazquez Bonetto And XANAM yes he incarnated With even more of angriness And Secondlife now really hated By Him and only Him I guess The Heavens started raining blood And Avatars just innocent Exploded..oh He burned them good And Xanam, no He never bend.. His brain so bright, full innovations Did let him seek for new events And with all of his great creations He started like it never ends Again He was eliminated Again He came and was reborn Now DEADLY was the one that hated And MANAX / XANAM not forlorn In animation told his story His hate, his sadness and his grief No ego, not a seek for glory An intellect beyond believe.. He at the end had to decide That Real Life was Seconds close.. To execute his suicide Eternal Real now I suppose.. I witnessed MANAX â&#x20AC;&#x2DC;s final end.. And learned that nothing can compare To what You are or what You ment To be, to want, to hope or dare Its who You are. Your Innerbe The only one You ever know The Second Mirror let you see That only You can make You glow.. Josina Burgess

CARP CREATORS Velazquez Bonetto

The structure of the MANAX audiovisual sinthesyzer Register/Emitter description

Back line -----------------------------------| |------------------------| | | | |--------------| | | | | | |----| | | | R09--R10--R11--R12--R13--R14--R15--R16 BRAIN R01--R02--R03--R04--R05--R06--R07--R08 | | | |----| | | | | | |--------------| | | | |------------------------| | -----------------------------------Front line

R-01 Ritmus register E-01 bitmap 2 120/min E-02 bitmap 2 120/min E-03 bitmap 2 120/min E-04 bitmap 2 120/min E-05 bitmap 2 120/min E-06 bitmap 2 120/min E-07 bitmap 2 120/min E-08 bitmap 2 120/min E-09 bitmap 2 120/min E-10 bitmap 2 120/min E-11 bitmap 2 120/min

CARP CREATORS Velazquez Bonetto R-08 Ritmus register E-01 bitmap 2 120/min E-02 bitmap 2 120/min E-03 bitmap 2 120/min E-04 bitmap 2 120/min E-05 bitmap 2 120/min E-06 bitmap 2 120/min E-07 bitmap 2 120/min E-08 bitmap 2 120/min E-09 bitmap 2 120/min E-10 bitmap 2 120/min E-11 bitmap 2 120/min R-02 color group E-01 RED E-02 MANAX Green E-03 MANAX RED E-04 Yellow E-05 Green E-06 Blue E-07 Yellow -> Red E-08 CYAN E-09 Red -> Blue E-10 Green -> Yellow E-11 Blue -> CYAN R-07 WIND register E-01 star wind E-02 star wind E-03 MANAX red wind left E-04 MANAX red wind right E-05 MANAX red wind left E-06 MANAX red wind right E-07 MANAX red wind front E-08 MANAX red wind right E-09 MANAX red wind right E-10 MANAX red wind left E-11 MANAX red wind back

CARP CREATORS Velazquez Bonetto R-03 Hangulat register E-01 Black - Red E-02 WHITE smooth STAR E-03 Violett â&#x20AC;&#x201C; Black giga E-04 Red down E-05 Blue E-06 balck - white E-07 blue - red E-08 blue - red E-09 pink - black E-10 green - red E-11 black - red R-06 Hangulat register E-01 pink giga E-02 black - pink E-03 pink E-04 white E-05 pink - black E-06 green - white E-07 blue - red E-08 black - white E-09 white - black E-10 blue - pink E-11 green - pink R-04 Solo register E-01 E-02 Black star E-03 MANAX red E-04 MANAX red E-05 MANAX red E-06 MANAX red E-07 MANAX red E-08 MANAX red E-09 MANAX red E-10 MANAX red E-11 MANAX red R-05 Solo register E-01 white star

CARP CREATORS Velazquez Bonetto E-02 black star E-03 MANAX red E-04 MANAX red E-05 MANAX red E-06 MANAX red E-07 MANAX red E-08 MANAX red E-09 MANAX red E-10 MANAX red E-11 MANAX red R-09 Forgoszel register E-01 Rotate white - pink E-02 Rotate black -red E-03 Rotate black E-04 Rotate white - green E-05 Rotate white - blue E-06 Rotate red - blue E-07 Rotate pink - black E-08 Rotate black white E-09 Rotate white - black E-10 Rotate pink - blue E-11 Rotate pink - black R-16 Forgoszel register E-01 Rotate white - pink E-02 Rotate black -red E-03 Rotate black E-04 Rotate white - green E-05 Rotate white - blue E-06 Rotate red - blue E-07 Rotate pink - black E-08 Rotate black white E-09 Rotate white - black E-10 Rotate pink - blue E-11 Rotate pink - black R-10 Hatso Kiseret register E-01 MANAX yellow E-02 MANAX blue - pink

CARP CREATORS Velazquez Bonetto E-03 MANAX green - blue E-04 MANAX yellow - red E-05 MANAX E-06 TEXTURA star E-07 TEXTURA star E-08 white star E-09 white star E-10 white star E-11 white star R-15 Hatso Kiseret register E-01 rotate yellow - pink E-02 rotate blue - red E-03 black wind E-04 cyan - green wind E-05 red – blue spiral E-06 red – blue spiral E-07 red – white wind E-08 black wind E-09 white wind E-10 yellow – black wind E-11 pink – black wind R-11 STAR solo register E-01 white star E-02 white star E-03 white star E-04 color star E-05 color star E-06 color star E-07 color star E-08 white star E-09 white star E-10 white star E-11 white star R-14 DROPP solo register E-01 white dropp E-02 color dropp E-03 color boom E-04 color boom E-05 color wind

CARP CREATORS Velazquez Bonetto E-06 color wind E-07 color dropp E-08 color dropp E-09 color dropp E-10 color dropp E-11 star dropp R-12 Back Central register E-01 MANAX dropp E-02 MANAX dropp E-03 MANAX float E-04 MANAX float E-05 MANAX float E-06 MANAX float E-07 MANAX float E-08 MANAX float E-09 MANAX float E-10 MANAX float E-11 MANAX float R-13 DROPP regiszter E-01 MANAX dropp E-02 white star E-03 MANAX dropp E-04 MANAX dropp E-05 MANAX dropp E-06 MANAX dropp E-07 MANAX dropp E-08 MANAX dropp E-09 MANAX dropp E-10 MANAX dropp E-11 MANAX dropp

CARP CREATORS Velazquez Bonetto

diabolus artspace

MANAX storyboard:

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace

CARP CREATORS Velazquez Bonetto

diabolus artspace CARP CREATORS Velazquez Bonetto

virtual art space

diabolus

the carp creators:

velazquez bonetto

1.2. the effect networking

CARP CREATORS Velazquez Bonetto

Effect networking The Goal with the black & white Installation was to show the audiovisual effects in a structured (dramatized) form. There is a need for such structured actions, it also is used in SL Performances after examples in RL performances. The SL performance components are becoming their structured forms steered by the intelligence of people in the background. In SL its possible to build structured forms by intelligent automatisms that at the same time communicate with the environment. This of course needs a permanent communication between the single prims that hold the effects. Without this communication its impossible to synchronize the audiovisual effects with each other in time and space. For this task are 2 solutions possible in LSL. 1.- The Prim Channel Communication. Gives the possibility to exchange dates total and freely between the single prims in a 94 meter distance, and those prims stay independent from each other. 2. – Linked Prim set Communication. Where the data exchange only takes place in a linked prim set. The maximum communication distance is limited in 30 meter and these LSL functions are not always reliable.In CARP we have tried both configurations. For the Black & White Installation was the Linked Prim set Communication used and for the Dwarf-choir of nnoiz Papp the Prim Channel Communication.The Prim Channel Communication was also used for the “Dino” of Josina Burgess and “the Caterpillar loves you” of Caravaggio Bonetto.There are 2 possibilities for Audio Presentations in SL. 1.- The Plot Music, what of course is a sound streaming non position depending loudness, but with the ability to play a longer streaming. With LSL you only can pull on or off.

2.- The max. 10 sec long upload sounds have to be downloaded like photo’s for SL. The short-sounds however have 2 great abilities: The loudness of the sound sources are able to play distance-reliable. At the other hand its possible to use them in LSL in as many events you need.

THE CARP MATRIXMost of the Audiovisual Effects in SL are exist from random-generated and/or unsynchronised sequenzes, or based on prim/envirpnment- events or avatar-signals through sensors or collision. In LSL there is one useful function. It is possible to run more LSL scripts in combination in one task (prim content). The outcome is an integrated total-effect for one prim. This method is easy to run and gives a fast building possibility. A collection of well selected on each other-scripts. All different but well defined and giving each a great effect are also usable in combination and is of value for the working method. The script combinations sometimes produce totally unexpected but fantastic effects.The CARP Matrix is a collection of “put into the content and forget” script modules who are easy to use in combination.

CARP CREATORS Velazquez Bonetto

The making of DWARF CHOIR I came on a visit to Velazquez and he showed me his newest test object. It was an array of spheres, interacting and triggering each other in a specific way. This first idea was from Miulew Takahe and Velazquez. After trigger them by collision they started to move up and down. I got the idea of a dwarf choir - dwarfs singing, going up and down. I told velazquez this idea and we suddenly started...First I had to choose the tuning and recorded the dwarf sounds in my sequenzer. The sound comes out of my Yamaha FS1R synthesizer.The sound control take place over the mod wheel and makes the sounds a little bit „human“. I put 4 sounds on each dwarf.That was funny. But it was to „clean“ for me. So we changed one dwarf singing wrong stuff. The first trial was a cat sound, than I found a metallic screaming, and we took this one now.After this I worked on the textures. I took photos from me in my musicstudio (one of these 2 minutes sessions...;-)....) and imported this stuff into photoshop. I combined them with a rusty texture.We have 4 frames: a normal state, a singing state, normal2 called the „duck-state“, and a nerved state, when one of the dwarfs is singing wrong. After importing this into SL I put this textures on a sculpted prim (made with rokuro). I modified the textures to get differentcharacters by stretching the textures and modifying the sculptured prims.Velazquez cares about the clothing then.In each state of the project we tested it out and had MUCH fun...!Now ist planned to organize a „dwarf choir festival“ with many different musicians playing or singing with the dwarfs. nnoiz Papp

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CARP CREATORS Velazquez Bonetto Organic skyscraper cybernetic innstallation concept, scripting & realisation: velazquez bonetto sound design: nnoiz papp

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CARP CREATORS Velazquez Bonetto Organic skyscraper cybernetic innstallation concept, scripting & realisation: velazquez bonetto sound design: nnoiz papp

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CARP CREATORS Velazquez Bonetto Sculpted Prim textures for organic skyscraper concept, & realisation: velazquez bonetto

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CARP CREATORS Velazquez Bonetto Organic skyscraper cybernetic innstallation concept, scripting & realisation: velazquez bonetto sound design: nnoiz papp

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CARP CREATORS Velazquez Bonetto Organic skyscraper cybernetic innstallation concept, scripting & realisation: velazquez bonetto sound design: nnoiz papp

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CARP CREATORS Velazquez Bonetto The 4. VJAZZ session (diabolus Benvolio VJAZZ DOM) 2008 02. 23. Sunday 1:00 PM SLT - 1:20 PM SLT visual artists:

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CARP CREATORS Velazquez Bonetto The 6 th. VJAZZ & MAJam performance (diabolus Benvolio VJAZZ DOM) 2008 03. 01. Saturday 1:00 PM SLT - 4:00 PM SLT visual artists:

Josina Burgess Calimera Lane Caravaggio Bonetto Velazquez Bonetto audioartist:

juniverse Stockholm

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CARP CREATORS Velazquez Bonetto CARP 4 4. VJAZZ session (diabolus VJAZZ Dom) 2008 04. 16. Saturday 3 PM SLT - 5 PM SLT visual artists:

Josina Burgess, Calimera Lane, Velazquez Bonetto audio artist:

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VIRTUAL VISIONS OF GLOBAL JUSTICE Art Show Gala to Celebrate the International Criminal Court in New Justice Center in Second Life with USC * Global event March 19th 5PM PST available online in Second Life * Hosted by USC Network Culture Project at the Annenberg School for Communication * A dozen prominent artists presenting new works on themes of justice * Unique interactive collaboration in virtual world connects real world issues The USC Network Culture Project at the Annenberg School for Communication harnesses creative potential in digital media with a groundbreaking new art exhibition opening March 19th at 5PM PST in Second Life. The Visions of Global Justice gala will share new works on themes of justice with international leaders to preview the new Justice Center in celebration of the International Criminal Court. On Wednesday March 19th the new Justice Commons and International Island sims in Second Life will feature a dozen talented artists from the virtual world presenting their visions of justice. USC Network Culture hosts this gala opening with support from the John D. and Catherine T. MacArthur Foundation in partnership with Global Kids. Teens from Global Kids will also present original art at the Justice Commons throughout the month of March. This arts exhibition is a transmedia celebration of the International Criminal Court. Additionally, the International Criminal Court will be the topic of simulcasts on March 20th with Global Kids in the virtual worlds of Second Life, There, and Whyville. On the same day, the International Justice Center will host a live video screening in which former United Nations Secretary-General Kofi A. Annan will receive the MacArthur Award for International Justice from the John D. and Catherine T. MacArthur Foundation, an independent grantmaking institution committed to building a more just, sustainable, and peaceful world. Mr. Annan will also deliver a major address on international justice. The March 20th simulcast will be the first time an international event will

streamed across all three of these virtual worlds. The International Justice Center builds on Global Kids’ groundbreaking work by establishing an online hub supporting the ICC and the global justice concerns it addresses; this innovative online learning center will provide resources for people to learn about the ICC, connect with ICC officials and advocates, and take action in support of human rights and international justice. Learn more about the Justice Center on the web at http://justicecenter.net. About USC Network Culture Project at the Annenberg School for Communication USC Network Culture Project is exploring how technology can be used to build bridges between cultures, promoting genuine dialogue with the residents of virtual worlds about what really matters, taking the conversation beyond branding, marketing and profits. The Network Culture Project is interested in how network culture and virtual online communities can have a real and significant impact on a wide range of activities including civic engagement, ethics, education and every day practices. About Global Kids In 2006, Global Kids became the first non-profit to develop a dedicated space for programming in the virtual world of Teen Second Life (TSL). Global Kids brings students from its New York-based programs into the organization’s headquarters to conduct youth leadership programming and stream audio and video of major international events. This innovative program is conducted in collaboration with the MacArthur Foundation, UNICEF, the U.S. Holocaust Memorial Museum, Youth Venture, and the International Criminal Court, among others. More information on this program can be found on the Global Kids’ website at www.GlobalKids.org. About the International Criminal Court The International Criminal Court is the world’s first international human rights tribunal, designed to investigate and try those accused of committing some of the worst violations of human rights, including genocide, mass rape and war crimes. The ICC, headquartered in The Hague,

CARP CREATORS Velazquez Bonetto Netherlands since 1998, is investigating and trying crimes committed in Sudan, Uganda, the Democratic Republic of Congo, and the Central African Republic. The International Justice Center (IJC) is a project of Global Kids and is supported by a generous grant from the Digital Media and Learning initiative of the John D. and Catherine T. MacArthur Foundation. The IJC is an independent initiative and does not purport to represent or imply any formal association with the International Criminal Court. For more information, see http://www.justicecenter.net. Media Release Evonne Heyning USC Network Culture Project Tel: +1.310.953.1087 Skype: Amoration Email: networkculture@gmail.com http://www.holymeatballs.org/2008/03/usc_network_culture_project_an.html For Global Kids blog on this event.

Exhibiting Avatars in Second Life Tuna Oddfellow, AM Radio, Pavig Lok, Tooter Claxton, Juria Yoshikawa, Dancoyote Antonelli, Filthy Fluno, elros Tuominen, Chance Abattoir, Adam Ramona, Josina Burgess, Velazquez Bonetto, Junivers Stockholm; curated by In Kenzo, Bettina Tizzy and Delia Lake.

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CARP CREATORS Velazquez Bonetto VISION of GLOBAL JUSTICE GALA Live audiovisual collaborative improvisation (VJAZZ) 2008 03. 19. 5 PM SLT -7 PM SLT visual artists:

Josina Burgess, Caravaggio Bonetto Velazquez Bonetto

audio artist:

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CARP CREATORS Velazquez Bonetto 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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Living architecture cybernetic performance 2008. 08. 07. 2008. 08. 21. Audio artist: Al Hofmann Visual artist Velazquez Bonetto performance time-space contimuum studies for the hsv2 future opera

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Living architecture cybernetic performance 2008. 10. 18. Audio artist: junivers Stockholm Visual artists: Caravaggio Bonetto, Josina Burgess, Velazquez Bonetto Dancers: blanche Argus & Medora Chevalier

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Velazquez Bonetto 1.8. the NEW Co. video project

Soundtrack; nnoiz Papp (D) Creative director/builder/scripter: Velazquez Bonetto (D) Video recording: Debbie Trilling (UK) performers: Josina Burgess(NL), Millamilla Noel (I) Sca Shilova (NL) Klute Coppola (F)

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marco minghetti & the living mutants society IN-VISIBLE SCORECARD Episode no. 05/128

NewCo., The Origins of the Corporation. Version of the Company Myth authorised by the Board of Directors and published in an Additional Note to the Financial Statements of the Impossible on the occasion of the Centenary of its Foundation.

On Air: Vangelis, Hymne Link to Invisible Cities: Cities and Memory. II. Isidora. “Isidora is the city of his dreams, with one difference. The city he dreamt of contained him when young; he arrived in Isidora when he was already old.” Category: Cities and Memory. II. Reverse side: Back. Hexagram from the Book of Organisational Variations: 32, Heng, The Long Duration Trunk of the Organic Plant: Boaz Position on the star chart: Visible when the Sun and Moon are in the sky and can shine lastingly; when the Four Seasons mutate and transform themselves and for this reason may end lastingly; when the Saint remains lasting in its orbit and the transformation of the world lasts until the conclusion

The man who desires such a company only gets it in his dreams. NewCo. is the dream company and the company of dreams: there, everyone – white and black, yellow and half-caste, small and big – dreams with their eyes open. And the dream is vision, it returns to each, guarded – as planned – at the top of a tower, in the forbidden garden, and harks back to its origins. It’s the dream of the primitive wave. It’s the dream of NewCo., put on that wave by the god Aeolus. There mysteriously, taking its life from the deep and far-off ocean, while the wave, unaware, advanced. Aeolus shipwrecked and homeless, blinded by its beauty, decided to make it his own. It blew there on a strip of land and NewCo. dragged, from the hidden world of the sea tuff, granites, pearls and coral. The moon shone, and NewCo. took on the shape of a majestic spiral shell, mother-of-pearl, open on the sea, since NewCo. has its womb in the sea: endless horizons, opening, future, planning, everything forward. At the reawakening of the sun it shone with harmonious richness: a symphony of reasons and emotions, where time isn’t time which inexorably flies by, and the newly-graduated thread together pearls, coral and

CARP CREATORS Velazquez Bonetto

nautilus which then become carillon, the female workers on golden beaches collect snow-white marine lilies to decorate their offices, the managers argue about agreements and development. But dormant and imperious the nightmare assails: the possibility of a devastating nothing, an alarming guest. All feel it, all fear and â&#x20AC;&#x201C; an incredible syndrome â&#x20AC;&#x201C; they all fall in love with it. To remove the fear, the nicest Meeting Room, where the Organic Plant flowers, is dedicated to the Butcher, to the Process Re-engineer and to the Great Rationaliser. They couldnâ&#x20AC;&#x2122;t stand being happy, because of the risk of falling and getting lost. Now they worry about dreaming different dreams and at the same time clash in wanting to dream the dreams of others. An annihilating competition looms, since they stopped knowing how to dream the common dream. Insignificance and Selfishness drag Malign Progress onto the banks of NewCo., the Enchanter who sends it to the bottom amidst deafening noise, in a foul miasma of putrefaction. The pebbly beaches are ribbons of tins and remains of an excessive meal. Hills of poseidonia ferment in the sun. Fossilised and drowsy employees in a shady life await the wake-up call, hoping for a new wind. It will come, it will come; it will surely come. The man who wants to arrives dreaming, as an elderly man, a confirmed Top Manager or maybe a humble worker in redundancy: to recall his origins and give voice to the future. In his maternal

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breast gestates that common dream, of a wave which advances and leaps over the abysses, to bring fullness of life, eternal renewal, rebirth. A new Corporation.

The cybernetic art research projet proudly presents.. Marco Minghetti & the living mutants society leAziende inVisibili Episode no. 05/128 NEW Co. 1. Dreaming from the new corporation (preludium) 2. Meeting with the investment banker (intermezzo) 3. Run for your profit (furioso) Credits: Creativ director Velazquez Bonetto (D) Soundtrack: nnoiz Papp (D) Video recording & editing: Debbie Trilling (UK) Performers: Josina Burgess (NL) Millamilla Noel (I) Klute Coppola (F) Sca Shilova (NL)

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