CARP CREATORS Velazquez Bonetto volume Nr. 2. 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 2

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:

2. virtual theatre, 4D cinema 2.1. the WALL 2.2. the RINGS 2.3. METROPOLIS 2.4. the CHANGE 2.5. emoticon

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 2.

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

2. virtual theatre, 4D cinema 2.1. the WALL

CARP CREATORS Velazquez Bonetto

Break those WALLS lyrics by Josina Burgess 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............

CARP CREATORS Velazquez Bonetto

diabolus art space

Pink Floyd

The SL Wall Mother, should I trust the government? On July 21 1990, nine months after the dismantlement of the Berlin Wall, Roger Waters and an all-star cast performed „The Wall“ at Potzdamer Platz in Berlin. The performance was watched by a live audience of 250,000 and half-billion people on TV. And now, the Cybernetic Art Research Project (CARP) bring „The Wall“ to SL...

Creativ director: Debbie Trilling Producer: Velazquez Bonetto Choreography and dancing: Caravaggio Bonetto, Debbie Trilling Elfod Nemeth, Klute Coppola Arena design and build: Velazquez Bonetto Wall design and build: Elfod Nemeth Puppets: Duggy Bing Special effects: Debbie Trilling and Velazquez Bonetto Costume design: Caravaggio Bonetto, Josina Burgess Scripting: Debbie Trilling Elfod Nemeth Velazquez Bonetto Song: Josina Burgess, Juniverse Stockholm

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto The making of the WALL The Special Effect Design: Debbie Trilling, Josina Burgess, Velazquez Bonetto

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto The making of the WALL The Scripting: Elfod Nemeth, Debbie Trilling, Velazquez Bonetto

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto The WALL First Part:

In the Flesh The Thin Ice The Happiest Days of Our Lives Mother Dirty Women Young Lust One of My Turns Another Brick in the Wall Goodbye Is There Anybody Out There? Run Like Hell The Trial Outside the Wall Second Part: Break those Walls

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto The WALL First Part: In the Flesh

The Thin Ice The Happiest Days of Our Lives Mother Dirty Women Young Lust One of My Turns Another Brick in the Wall Goodbye Is There Anybody Out There? Run Like Hell The Trial Outside the Wall Second Part: Break those Walls

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto The WALL First Part: In the Flesh The Thin Ice The Happiest Days of Our Lives

Mother Dirty Women Young Lust One of My Turns Another Brick in the Wall Goodbye Is There Anybody Out There? Run Like Hell The Trial Outside the Wall Second Part: Break those Walls

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto The WALL First Part: In the Flesh The Thin Ice The Happiest Days of Our Lives Mother Dirty Women

Young Lust One of My Turns Another Brick in the Wall Goodbye Is There Anybody Out There? Run Like Hell The Trial Outside the Wall Second Part: Break those Walls

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto The WALL First Part: In the Flesh The Thin Ice The Happiest Days of Our Lives Mother Dirty Women Young Lust One of My Turns

Another Brick in the Wall Goodbye Is There Anybody Out There? Run Like Hell The Trial Outside the Wall Second Part: Break those Walls

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto The WALL First Part: In the Flesh The Thin Ice The Happiest Days of Our Lives Mother Dirty Women Young Lust One of My Turns Another Brick in the Wall Goodbye

Is There Anybody Out There? Run Like Hell The Trial Outside the Wall Second Part: Break those Walls

CARP CREATORS Velazquez Bonetto

The WALL First Part: In the Flesh The Thin Ice The Happiest Days of Our Lives Mother Dirty Women Young Lust One of My Turns Another Brick in the Wall Goodbye Is There Anybody Out There? Run Like Hell

The Trial Outside the Wall Second Part: Break those Walls

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto The WALL First Part: In the Flesh The Thin Ice The Happiest Days of Our Lives Mother Dirty Women Young Lust One of My Turns Another Brick in the Wall Goodbye Is There Anybody Out There? Run Like Hell The Trial Outside the Wall Second Part:

Break those Walls

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto The WALL production in Havens paradise 2008 Mai

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto 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/

CARP CREATORS Velazquez Bonetto

The WALL V2

CARP CREATORS Velazquez Bonetto

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

CARP CREATORS Velazquez Bonetto

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 CREATORS Velazquez Bonetto 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

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

CARP CREATORS Velazquez Bonetto

Lösung zu finden. 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 CREATORS Velazquez Bonetto 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

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!

CARP CREATORS Velazquez Bonetto

art space diabolus

the wall

The Final Brick in The Wall....

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto The Final Brick in The Wall.... „Mother, should I trust the government?“

Me ‚old gran, gawd bless ‚er cotton socks, used to say, „Debs, keep ‚um wanting more...and, if that fails, get a large divorce settlement“. She was a woman of wise cliches.

Friends ‚The Wall‘ has been running since April 2008, after being originally concieved as a CARP Project in January. To date, we have performed 28 times to around 2000 people. This is an average of 70+ attendees per performance, and we all remember the night that we had an audience of 160... Our production has been critically acclaimed, audiences have loved it and some have returned time after time... One of my original objectives with ‚The Wall‘ was to „set a new benchmark for live performances in Second Life.“ The general view seems to be that we have achieved this, and this is my opinion too. When I watch the show now I see very little that could be done to improve it ~ and currently my list of improvements is less than five items. Everyone who has been involved with the show has gone that extra mile to make it what it now is; I feel that we all can be, indeed *should* be, justly proud of what has been acheived with this production. But, as me ‚ole gran, gawd bless ‚er ‚art, used to say, „All goods things must come to an end...“. So, it is with some saddness that I have decided that the ‚Final Brick in the Wall‘ will be at 2pm on Sunday 24th May 2008. I will not here go into each and every reason I have for this decision, and instinct and intuition play a part too, but will briefly mention two: 1) It was always my intention that ‚The Wall‘ would end on a high-note, and not skulk off into the shadows like some defunct West End show. Last night‘s show was a wild runaway success. I believe that as a performance we have reached our peak. Next weekend we play PeaceFest 08, and I suspect that this will attract a new and large audience for us. We then play one more weekend after that, to ride that wave....and then call it a day.

2) ‚The Rings‘ premiers on 6th September and it is important that CARP direct all our energies into this production, with the intention of making it at least as successful as ‚The Wall‘. ‚The Rings‘ is a large and important show, and it makes sense to me that we promote it to the new group members that have joined since seeing ‚The Wall‘. CARP have received a lot of postive attention as a result of ‚The Wall‘; it is sensible that we utilise this. Let us keep delivering fresh, high-quality, unique and important shows to our potential audiences. Again, as me ‚ole gran used to say as she darned grandpa‘s underpants, „Out with the old; in with the new“. So, thats it really. Those are my thoughts, my instinct, my intuition and ultimately my decision. It is accompanied by a sense of sadness; but a good sadness, a healthy sadness ~ the sadness of leaving behind a loved one to set off on a world sightseeing tour. I sincerely hope that ‚The Wall‘ has left you with proud and joyful memories. I want to thank you all for tolerating my occasional outbursts of temper, my nit-picking of every detail, my constant fiddling with most every element of the show. I want also to thank you all for the tremendous efforts you have made in those elements of the show that you were personally responsible for. Finally, many sincere thanks to Vela & Josina for allowing me the opportunity to direct this production, and having the belief in me that it would be a project worthy of CARP. If you have any concerns, or want to discuss this further then please IM me.... Oh, and one final word from me ‚ole gran, up in High Heaven, „Debbie! Stop picking your nose and eating it!“

CARP CREATORS Velazquez Bonetto

diabolus artspace CARP CREATORS Velazquez Bonetto

virtual art space

diabolus

the carp creators:

velazquez bonetto

2. virtual theatre, 4D cinema 2.2. the RINGS

CARP CREATORS Velazquez Bonetto

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,

CARP CREATORS Velazquez Bonetto

CARP CREATORS Velazquez Bonetto 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-

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

CARP CREATORS Velazquez Bonetto

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

CARP CREATORS Velazquez Bonetto either. 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

CARP CREATORS Velazquez Bonetto

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

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

I see the writings on the wall. I know this means weÂ´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.

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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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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 â&#x20AC;&#x161;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 lifeâ&#x20AC;&#x2DC;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 â&#x20AC;&#x153;Neeâ&#x20AC;? 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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art space diabolus

the rings

.....The CARP creative team add a 5th ring: the looser and the victims of this system, and describe for the free world-citizens the changing strategys.......

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Hi my friends. Message in a bottle from a sandy beach in Crete listening to the waves and watching the clear sea (just before I dive in) Had been meaning to set out my Rings journey for a while. Here it is. Long as ever (well its my style and at work I‘m so brief you wouldn‘t believe it! :) Hope it‘s ok for you Peace and love from the South Med. Juni and I started discussing the potential of SL more than a year ago. We were both convinced that there was something important in this new way for people to meet, make connections and learn from each other. It offers new ways for ideas and campaigns to become global. It offers new ways for people to find others who care about the future of the world - to debate, discuss, agree and disagree - and to act in our different ways in RL to bring change. People talk of the „wisdom of crowds“ that emerges in the Metaverse. Well here it can emerge, crossing boundaries of nationality, age, gender, race, politics and religion. We can make new connections, new understandings, new alliances and networks. BUT we also saw so many empty sims. Places where good information about important issues, vital to the future of humanity and our planet, was left unvisited and unread, unacted on where action is most needed. SL‘s visitors were being drawn to clubs, shopping, music, fun. Concerts were held for good causes and raised money for them. But where did the audiences hear about the work, get encouraged to be involved? We talked with people like Jacques from Humanbe and Hippyjim from Greenpeace about this problem. We decided to look for ways to bring campaigning and music performance together. The prime aim was not to raise funds, but to raise awareness.

It was such a pleasure to find Josi and Vela already thinking and working along the same lines. Their art work was already special and pushing the boundaries. Josi‘s experience as a professional protest singer enriching her lyrics. Vela‘s radicalism expressed through his challenges to art form orthodoxy. We knew working as a group together we could aim higher and explicitly to spark debate on social change. We started meeting on Commonwealth weekly, looking at the issues highlighted there by the good causes : homelessness; injustice; war; environmental destruction. We saw the beautiful panorama of the Arctic - the very spot where the hole in the ozone layer was discovered. We thought of different possibilities SL offers to surround and immerse people in understanding. Josi‘s imagination began to sketch some of the scenes. Vela to start to realise them in exciting ways. I went searching for the philosophers to guide the way ahead. Juni‘s musical inspiration became limitless. Juni had been inspired by the words of Albert Einstein. A human being is part of a whole, known by us as the universe. My lyrics to Forest envisioned a world where, after man made destruction, we could find a way back to realise our connection with Nature. The forest pool is a potent symbol to me, the source of rich life. SL‘s shape shifting is a constant source of fantasy and laughter for me. In my forest mood I visited that great place Grendel‘s. When I first flew my butterfly out to express One, Veal just shouthed WOW,WOW, WOW. From then on we introduced more and more of this special side of SL into the performance. King of the World could not be more different from Forest. Gritty, urban, it had to tell in a few minutes the whole story of the „fall“ of everyman - one that echoes the real stories I hear as a campaigner for an end to homelessness. Juni‘s music fits this perfectly. When we started rehearsals I was the awkward one - dances wouldn‘t do for this, I wanted drama and home-

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less people who were real human beings, not caricatures. Everyone was just brilliant. They tolerated my intolerance and quickly rose to the challenge - Blanche with her great theatre sense, Josi working on her pitiful beggar, Vela building a huge cardboard city, Sca making anims and Juni with the brainwave of using cameras to heighten the focus on the drama. Debbie, Efran, Milla, Klute all bringing their talents and interpretations. Hours of directing,searching for our hobo looks, and rehearsing. Laughter as we changed shapes, clothes and gender. But I hope that work pays off in the message it carries - the poor are the same as us, we should connect, we are just luckier, not better. The path has been an interesting one. Itâ&#x20AC;&#x2DC;s challenging but so stimulating and rewarding to work with such great people from different countries and backgrounds. Oh and we sometimes laughed so much when we played that we cried. Hope you all enjoy the show. We certainly enjoyed making it. And if you can - please join the weekly discussions and the Rings group. Solutions lie in our hands, we just need to connect. Be the change you want to see. Medora Chevalier

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CARP CREATORS Velazquez Bonetto BREAK THE WALLS Story We live our lives from day to day, in our jobs, in our houses, taking care of our business and are so busy, busy, busy. Always in a hurry, always running after something..in the evenings we sit for our tv, watch the news and see what is going on in the world…we listen to the words spoken by people we think are the ones who Know it all..and believe what they say. We let them form our minds and thoughts and take it for granted most of the time.. We read papers and magazines and read the stories of people we think who Know it all, and believe what they say and take it for granted most of the time.. We shake our heads when we hear about wars and evil and death and destruction, pollution and smog and climat change. We hear messages of energysources drying up, food that will be more expensive, and we shake our heads and go on with our lives from day to day, in our jobs and our houses and are so busy, busy, busy.. But……do we ask ourselves questions? Do we still Think ourselves? Do we Care about each other? Do we Help when Help is needed? What do We do? WHAT DO WE DO? We have Walls in our heads, we think to protect us from evil outside, as a shield is comforts us and makes it more easy to survive…We think.. but we dont think at all…we just hide behind them because when we really would start to think, and to care, and to help things would change…and we dont like changing..we want to stick in our habbits of living our lives from day to day, in our jobs, in our houses and being busy,busy,busy. And in the evenings we sit for our tv and watch the news..and take whats said and showed for granted…most of the time……. Josi

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

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

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

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

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3 August 2008: For immediate release

400 years ago artists came together in Italy to create the first performance of new work that brought together music, drama, dance and the visual arts – a form that became known as opera.

tist said: „It is our responsibility as artists to call the public attention to questions where further thinking and searching for solutions is needed. The message of this artwork comes on several channels and addresses both the emotional and the rational side of the viewer. The Rings 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 second of visual delight about human questions of huge magnitude.“

In the 21st century virtual reality is home to new forms of artistic collaboration in which national and art form boundaries disappear. New forms, as yet unnamed, emerge. And new forms of social connection reach across the globe, addressing the pressing challenges of human survival and the way we become divided from each other.

Junivers Stockholm, composer and director, said: „For a long time I have believed in the potential of the Metaverse to connect people in new and powerful ways: to take humanity to a future of cooperation instead of competition. Music has the power to draw people in to work on the answers to the major questions of our time.“

The Rings is a work created in Second Life by a multinational team within the Cybernetic Art Research Project (C.A.R.P). It has been developed through months of collaboration. The creative team is drawn from Germany, the Netherlands, Sweden, Austria and the UK. The performers are based also in Italy and France.

Josina Burgess, CARP co-founder, lyricist and vocalist said: „We should never underestimate the power of song to wake people up and to mobilise people to change the world. From the beginning of time it has brought people together in unity and strength.“

The Rings Virtual reality‘s protest rock opera grows from new forms of international artistic collaboration

It takes the form of a rock opera with composed lyrics and music, building and scripting, costumes, shape changing, flight, dance and drama underpinned by new use of in world cinematic techniques.

Medora Chevalier, lyricist and performer, is a campaigner against homelessness. She added: „Many of the evils of our world can be tackled if we open up our sense of connection to other people and to nature in its beauty. Then we can stop the exploitation of people and living things that so threatens our world and future generations“

The Rings celebrates the miracle of the Metaverse, the dematerialized virtual time-space. It asks - is this where humanity can at last unite: to overcome the forces that push us towards global destruction and blames victims for the pain they feel. It reminds us that we can be guided towards optimistic action by great humanists and philosophers.

The Rings will be performed at the Artspace Diabolus NMC Lab, Second Life The premiere is Saturday 6 September at 1pm SLT (10pm CETs, 9pm GMT) with a 2nd showing at 2.30pm (11.30pm CETs, 10.30 GMT).

It ends on a note of optimism. We are invited to unite and change the world. After performances on Thursdays there will be Rings discussion circles, involving campaign organisations active in Second Life.

Audiences are advised to arrive at least 20 minutes early as the open rehearsals that have been held have attracted full sims. Thereafter it will be performed on Sundays and Thursdays at 2pm SLT.

Velazquez Bonetto, CARP co-founder and virtual reality ar-

For more information contact:

CARP CREATORS Velazquez Bonetto by notecard in SL Medora Chevalier or by email scheherazade.storyteller@yahoo.com or from 7-21 August by notecard in SL Josina Burgess or by email jose@jan-van-der-woning.nl http://diabolus.ning.com/ http://www.gallery-diabolus.com/CARP/carp-05.pdf Audience reaction to the open rehearsals: „I have never been so amazed in SL as I was when I saw your project today. For the first time I realised the great challenges of SL for the real world, thanks to people like you.“ „GREAT awwwwwwwwwsoooome show!!“ „Why can‘t every Monday evening be like this?“ „If I could create 1/10 of your scripts ... I‘d very happy!!!!“ „Its very very awesome !!!! „I‘m very impressed“ „I crashed twice but ran back“ „I‘m really touched“ Four technical innovations of the RINGS production 1. Collaborative worldwide song composition/ recording/ mixing technics. 2. A new automatic audiovisual timeline-controlling system. 3. A flying seat system 4. A 4d live-cut camera system 5. A new puppet animation record/play system

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Why RINGS? The RINGS concept based on the descriptions model of the ruling class today from H.J.Krysmanski. (Power Structure Research) In general you can deduce a certain description model out of the Power Structure Research of the ruling class or elite. Beyond there are 4 groups linked by a function covenant where you find 4 sub systems of systems like: functional relation - ownership – administration – distribution and employer relations. The CARP creative team add a 5th ring: the looser and the victims of this system, and describe for the free world-citizens the changing strategys. The original Text: H.J.Krysmanski Power Structure Research: Descriptions model of the ruling class today A Version was published in ‚Wissenschaft und Frieden‘ 4/2004: http://www.uni-muenster.de/PeaCon/global-texte/ globalws0203.htm Four Authority’s In general you can deduce a certain description model out of the Power Structure Research of the ruling class or elite. Beyond there are 4 groups linked by a function covenant where you find 4 sub systems of systems like: functional relation - ownership – administration – distribution and employer relations. In the heart of this functions covenant is the group of the personal richness. For example the Super Rich: they represent the Power of Money. In every occasion and through micro – networks, or “Philanthropy”, or the power machine of Foundations an Institutions this group has a huge influence in businesses and worldwide community’s in live. This new form of Philanthropy stands above the normal capital market in their way of functioning. They cant be or-

dered in somehow capital fractions and is mostly busy with trans capitalistic forms of capital destruction to withhold power competition. With the disappearing of the Sovereign forms of the modern time still this group, as the only ones, can use a upper sovereign state form to reduce “the Regime of private removal , universally. (Hardt u. Negri 2002, 313) The next group represents the power of the companies. There are the Chief Executive Officers of Industry, Finance and Militairy, that form a kind of securing wall around the core of the super rich and form together with them the pact of „Corporate Community/ Upper Class“ (Domhoff). This company-elite has a priority in increasing and administration of the capital of the super rich and has many multi millionaires between them. The can be seen as the Capitalistic class in the traditional form. In between this administration elite there are of course capital fractions and economic grounded interest contradistinctions, specially between the big trans national companies that go beyond national borders and function as connections in global systems and the restricted modern economy of earlier years. (Hardt u. Negri 2002, 165) The third group, already more derive, represents the Distribution Power. Here it is commonly the political class, a real serving class, able to preserve the distribution rightouseness of the company-elite and their appearance. In the core of this political class the Oligarchy’s or the “Political Management` (Mills) are acting. Election wars mostly to get people on certain positions. Further the distribution politics has reached a step in the global, conditions where the universal values of justice cant play any role anymore and the “art of governance” exist.. “ Do not integrate conflicts, only when they submit to a coherent social dispositiv, or when the differences can be controlled(Hardt u. Negri 2002, 348) The complex ring on the outside builds finally the layer of Technocrats and Services. Here the power of Science and communication are used. In this army of Assemblers, Experts, Helpers from all dimensions of the society. (Science,

CARP CREATORS Velazquez Bonetto Media, Culture, Technique and so on) is the real knowledge of the real functioning of the capital world systems and their sub systems with critical and maybe subversive tendency mixed, so contradictions can be changed into actions. All together this 4 ring system shows and describes the worldwide experimenting to re-organize of the ruling class, that without a strong state and under the conditions of regulation of economic, collective forms, have to survive. The absolutely designated personnel of this “Ring castle”. In fact a few thousand in the outside ring, operates more and more in a environment of absolute corruption: “The relation of corruption in the Antiques and in Modern times towards world-relations were named as falsifications. Corruptions (as a statement) cant play any role in the governance forms of today, because they themselves are the substance and the totality of the Empire. Corruption is the true performing of commands, without any relation or adequate subscription to the Demimonde (Hardt u. Negri 2002, 398)

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diabolus artspace CARP CREATORS Velazquez Bonetto

virtual art space

diabolus

the carp creators:

velazquez bonetto

2. virtual theatre, 4D cinema 2.3. METROPOLIS

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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

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Metropolis Deutschland 1927, 80 bis 153 Minuten; DVD (Transit Classics - Deluxe Edition): 118 Minuten Regie: Fritz Lang Wegweisend in vielerlei Hinsicht Die Geschichte von „Metropolis” – des wohl bekanntesten deutschen Films – ist auch eine Geschichte des Verlusts. Der von der UNESCO 2001 als erster Film überhaupt in das „Memory of the World” aufgenommene Klassiker ist aufgrund einer seit 1998 begonnenen Restaurierung heute in einer 118 Minuten langen Fassung zu sehen. Ursprünglich hatte der Film in der Fassung, in der er zuerst ins Kino kam, 153 Minuten – und keinen Erfolg beim Publikum. Ein Viertel des Films ist verloren, und zwar wahrscheinlich für immer – falls nicht, was nach der intensiven Suche nach Negativen und Kopien unwahrscheinlich ist, doch noch irgendwann Reste gefunden werden sollten. Die von der Friedrich-Murnau-Stiftung restaurierte Fassung arbeitet daher notgedrungen mit neuen Zwischentexten, die die verloren gegangenen Teile, soweit notwendig, durch entsprechende Informationen natürlich nur schwer ersetzen können. (Leider wurde der Film schon kurz nach seinem Erscheinen und dem Misserfolg beim Publikum sowohl in Deutschland, als auch z.B. in den USA stark geschnitten – bis auf eine Länge von 80 Minuten, wodurch die Homogenität der Geschichte verloren ging.) Trotz dieser Einschränkungen liefert der seit 2003 auf einer DVD in dieser Form erhältliche Film im ganzen gesehen einen homogenen Eindruck, sowohl was die Geschichte, als auch was die für die damaligen Verhältnisse revolutionären technischen Mittel betrifft. Was insbesondere verloren ging, sind ausgerechnet etliche Szenen mit Fritz Rasp, der den Schmalen, einen Handlanger Johann Fredersens, spielt. Fritz Rasp gehörte zu jenen deutschen Schauspielern, die in unverwechselbarer Weise den Bösen, den Hinterhältigen, den Schuft spielen konnten (man vgl. seine Rollen in Filmen wie: „Emil und die Detektive“, 1931, wo er den Dieb Grundeis spielte, oder seine Rollen in verschiedenen Edgar-Wallace-Verfilmungen der 50er und 60er Jahre).

Hervorgehoben wird durchweg, dass Langs „Metropolis”, was Produktionsdesign, Montage, Bilder usw. angeht, eine Art Urgestein für den Film des 20. Jahrhunderts geworden sei. Das ist ohne Zweifel richtig. Kaum ein Sciencefiction, ja, selbst kaum ein mit modernen digitalen Techniken arbeitender Film der Gegenwart lässt keine Rückschlüsse und Rückbeziehungen zu Langs Film erkennen. So wie Kurosawas „Die sieben Samurai”, sozusagen der Ur-Film des „Mission”-Films, in dem nicht ein Held die Geschichte beherrscht, sondern eine Gruppe von Helden einen Auftrag, eine Mission erfüllt, ist „Metropolis” für Designer, Regisseure, aber auch Musiker und Dramaturgen ein fast unerschöpflicher Fundus für kreatives Gestalten. Er gehört zu jenen Filmen, die sich in das filmische Bewusstsein tief eingegraben haben. „Metropolis” ist der schlagende Beweis gegen das Vorurteil, je älter ein Film sei, desto uninteressanter sei er heute. Weder „Minority Report” von Spielberg, noch Scotts „Alien” oder „Blade Runner” – um nur einige Beispiele zu nennen – wären ohne Langs Film möglich geworden. Der Maßstab dafür kann nie sein, dass gemessen an den heutigen technischen Möglichkeiten „Metropolis” die Waffen strecken müsse. Umgekehrt wird ein Schuh daraus: Ohne „Metropolis” müssten heutige Sciencefiction-Filmer die Waffen strecken – oder einen ähnlichen Film „erfinden”. Doch „Metropolis” ist nicht nur in dieser Hinsicht eine Art Durchbruch, ein Film, der den Expressionismus fast hinter sich ließ und zur „Neuen Sachlichkeit” (in der Malerei etwa Dix, Grosz oder Kanoldt) durchstieß. Die Geschichte, die auf einem Roman Thea von Harbous fußte, ist auch ein Stück wichtiger Zeitgeschichte. Obwohl Lang immer wieder betont hatte, er sei kein politischer Mensch und habe keine politischen Filme inszeniert, strotzt „Metropolis” nur so vor zeitgeschichtlichen Aussagen in Bezug auf die Situation der Weimarer Zeit und ihren Gefahren. Trotz des vermeintlich sozialromantischen Schlusses des Films ist „Metropolis” auch eine Art politischer Warnung und darin Chaplins „Moderne Zeiten” sehr ähnlich. Gleich zu Beginn eröffnet Lang die Schreckensvision einer nahen Zukunft: eine scheinbar aus dem Nichts geschaffene, sozialer Hinsicht wie bezüglich der Architektur zwei-

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geteilte Metropole mit Wolkenkratzern, zwischen denen auf hoch gelegten Fahrbahnen Züge und Autos fahren, zwischen denen sogar Flugzeuge kreisen. Unter der Stadt eröffnet sich eine triste, kalte Welt, die Welt der Arbeiter, die mit gesenkten Häuptern und in uniformer Kleidung in Kolonnen ihre Schichten antreten, in Fahrstühlen in die Maschinenstadt fahren oder in ihre ebenso tristen Wohnsilos.

den Schmalen (Fritz Rasp), beauftragt hat, seinen Sohn zu observieren. Von Rotwang erfährt Joh, dass auf den Zeichnungen die Katakomben abgebildet seien, die tief unter der Erde vor langer Zeit erbaut worden waren. Als er sich mit Rotwang dorthin begibt, sieht er, wie Maria den dort versammelten Arbeitern die Geschichte vom Turmbau zu Babel erzählt und die Geschichte mit dem Satz schließt:

Ganz anders das Bild des Teils der Stadt unter dem Himmel, wo sich die Söhne der Reichen im „Klub der Söhne” oder in den „Ewigen Gärten” dem Nichtstun hingeben und Freder (GustavFröhlich), der Sohn des Herrschers über Metropolis, Joh Fredersen (Alfred Abel), mit Damen in (an absolutistische Zeiten erinnernden) Kostümen Fangen spielt. Zu dieser Welt der Reichen gehört auch das Vergnügungsviertel Yoshiwara. In diese von Joh und seinen Adlaten streng bewachte Welt kommt Unruhe, als eine junge Frau in die „Ewigen Gärten” einbricht – mit einer Schar von Kindern in zerlumpten Kleidern, und verkündet: „Das sind eure Brüder.” Freder, der sich auf Anhieb in die junge Frau verliebt, verliert seine bisherige Unbekümmertheit, folgt der jungen Frau, die Maria (Brigitte Helm) heißt, und gerät so in die Maschinenwelt der Arbeit, sieht, wie eine Explosion mehrere Arbeiter tötet, phantasiert einen Moloch, der die Arbeiter verschluckt. Entsetzt geht er zu seinem Vater, der ihn jedoch abweist.

„Einen Mittler brauchen Hirn und Hände. Mittler zwischen Hirn und Händen muss das Herz sein.”

Grot (Heinrich George), der Maschinenführer, bringt Joh zwei Pläne, die man bei verunglückten Arbeitern gefunden hat. Doch Joh kann mit diesen Zeichnungen nichts anfangen. Er entlässt seinen Angestellten Josaphat (Theodor Loos), dem er Unfähigkeit vorwirft. Freder aber verhindert, dass Josaphat sich erschießt, freundet sich mit ihm an, weil er ihm leid tut. Und Freder will wissen, was in der Maschinenstadt den Arbeitern zugemutet wird, wie sie leben, die, den ganzen Reichtum und die ganze Armut erschaffen haben. Er tauscht seine Kleider mit einem Arbeiter an einer Maschine, an der man Zeiger zehn Stunden lang bewegen muss, schickt den Arbeiter namens Georgy (Erwin Biswanger) zu Josaphat und übernimmt dessen Schicht. Währenddessen begibt sich Joh zu dem Erfinder Rotwang (Rudolf Klein-Rogge), nicht bevor er seinen Angestellten,

Auch Freder ist dorthin gelangt, unerkannt von seinem Vater. Und Maria glaubt, er sei der Mittler, auf den sie und die Arbeiter schon lange gewartet haben. Rotwang und Joh beobachten das alles durch ein Loch in einer Mauer. Und für Joh steht fest: Er muss handeln. Rotwang hat einen Roboter erfunden. Und er behauptet, dieser Roboter würde bald so aussehen, dass man ihn von einem Menschen nicht unterscheiden könne. Joh und Rotwang sind sich nicht grün, denn beide liebten dieselbe Frau, Hel, die tot ist. Freder ist Johs und Hels Sohn. Und Rotwang denkt noch immer an Rache an Joh, weil der ihm die Geliebte weggenommen hat. Deshalb geht er auf das Ansinnen Johs ein, dem Roboter das Gesicht Marias zu geben. Während Joh plant, durch diese Roboter-Kopie die Arbeiter aufzuwiegeln, um sie dann besser bekämpfen zu können, sinnt Rotwang auf Rache an Joh. Der Roboter mit dem Aussehen Marias soll Joh und Freder vernichten ... Lang entwirft mit dieser Geschichte eben auch das Bild einer möglichen, diktatorischen Zukunft vor einem futuristischen Hintergrund (bei dem übrigens kleine Modelle von Häusern und anderen Gegenständen der Stadt verwendet wurden, um ein durchaus realistisches Bild dieses Molochs Metropolis zu zeichnen). Ein Diktator, der sowohl die Ökonomie, als auch die politische Macht usurpiert hat, herrscht mit seinen Adlaten über eine völlig unterjochte Arbeiterschaft. Die (futuristische) Großstadt ist nicht umsonst der Ort, an dem sich diese Diktatur verwirklicht hat. Ohne die moderne Großstadt und ihre krassen sozialen Gegensätze wäre eine solche Diktatur nicht denkbar. Das (schon anfangs des Films eingeblendete) Motto des Films

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„Mittler zwischen Hirn und Händen muss das Herz sein” steht im Zentrum der Handlung, die tatsächlich mit einem vordergründig sozialromantischen, ich würde eher sagen: sozialdemokratischem Schluss endet – der Versöhnung zwischen Joh und den Arbeitern, dem sozialen Kompromiss zwischen Arbeitern und Unternehmern. Aber dieser Schluss kann über die im Film ansonsten angesprochenen, höchst aktuellen Fragen kaum hinwegtäuschen: den zum spannungsgeladenen sozialen Gegensatz ausgewachsenen Widerspruch zwischen Hand- und Kopfarbeit zum Beispiel, der in eine krasse Spaltung von Befehl und Gehorsam, Befehlenden und Gehorchenden geführt hat. Zwischen diesen Polen existieren nur wenige, die Anweisungen nach unten weitergeben (wie Grot, der Vorarbeiter, und Josaphat, der Angestellte). Doch noch anderes schwingt hier mit, etwa wenn die Arbeiter dem Roboter, dem Rotwang das Aussehen Marias gegeben hat, folgen, als dieser sie zum Sturm auf die Maschinen auffordert, weil kein Mittler mehr kommen werde. Als sie die Herzmaschine, die Grot steuert und bewacht, zerstören, wird die Stadt unter der Erde überflutet. An alles scheinen die Arbeiter gedacht zu haben – nur nicht an ihre Kinder. Und sie wissen nicht, dass die wirkliche Maria, die sich aus den Klauen Rotwangs befreit hat, und Freder die Kinder inzwischen gerettet haben. Als Grot die Arbeiter an ihre Kinder erinnert und die Arbeiter merken, dass die Zerstörung der Herzmaschine, des Energiezentrums Metropolis, ihnen nichts gebracht hat, wendet sich ihre ganze Wut gegen Maria, für die sie den Roboter halten. Sie wollen Maria auf dem Scheiterhaufen verbrennen. Dazu lässt Lang die spätere Nationalhymne Frankreichs in Erinnerung an die Französische Revolution spielen. Auch in diesen Szenen ist Lang durchaus aktuell. Er fragt nach dem Weg aus der Unterdrückung. Er fragt nach den Fehlern und Verbrechen der Revolution. Dass die Arbeiter dann nur den Roboter auf dem Scheiterhaufen verbrennen und nicht Maria, ist nur dem Glück der Umstände zu verdanken. Auch hier schwingt aber keine Verurteilung mit. Denn es ist der Inszenierung deutlich anzumerken, dass Lang die Ursache für die rein gefühlsmäßigen Reaktionen

der Arbeiter und Arbeiterinnen (unter denen sich übrigens Helene Weigel als Schauspielerin befindet) eben auch darin sieht, dass ihnen jegliche Bildung verwehrt worden ist, dass sie zu Arbeitstieren degradiert wurden, so dass ihre Reaktionen – sowohl das blinde Hinterherlaufen hinter einer scheinbar völlig veränderten Maria, die bislang den Frieden gepredigt hat, während sie (in Wirklichkeit der Roboter) jetzt zum Aufstand aufruft, als auch ihre blinde Wut, die den Roboter auf den Scheiterhaufen bringt – auch hierin ihre Ursache finden. Der Mittler, Freder, der nicht nur die Liebe, sondern auch die Menschenliebe entdeckt hat, Maria selbst, der Arbeiter Georgy und Josaphat, der die Politik Johs nicht mehr mit seinem Gewissen vereinbaren kann, stehen nicht nur zwischen den Fronten. Sie sind es, die versuchen, zu einer tatsächlichen Vermittlung zu gelangen. Dass diese Vermittlung dann in einer Art social contract endet, die stark an die sozialdemokratische Variante des sozialen Ausgleichs der Interessen erinnert, muss vor dem zeitgeschichtlichen Hintergrund der Weimarer Republik gesehen werden. Es ist kaum anzunehmen, dass Lang Sympathien für die stark stalinistisch geprägte KPD hatte, ebensowenig für die blechernen, aber nichtsdestotrotz lebensgefährlichen Nationalsozialisten. Insofern aber erscheint dieser Schluss weniger sozialromantisch. Was sich in dem Motto des Films und in der Schlussszene (Händedruck zwischen Joh und Grot) eher vermittelt, ist ein Appell an die Notwendigkeit des sozialen Ausgleichs. Dieser Appell wird durch eine unverblümt (früh)christliche, aber eben nicht kirchliche Metaphorik ergänzt. Die Kreuze, vor denen Maria in den Katakomben in einer Art Altarraum predigt, sind Kreuze ohne Jesusfigur. Dass Maria Maria heißt, ist sicherlich kein Zufall. Dass sie in den Katakomben den Arbeitern nicht nur die Geschichte des Turmbaus zu Babel erzählt, sondern auch einen „Mittler“ ankündigt, ist ein klares Heilsversprechen, ein Erlösungsversprechen. Im Unterschied allerdings zur christlichen Mythologie wird es sich bei diesem Erlöser nicht um eine Person handeln, die halb Mensch, halb Gott ist, sondern um einen Menschen. Die Räume, die Lang im Film bildet, deuten immer wieder

CARP CREATORS Velazquez Bonetto die Widersprüchlichkeit des Geschehens an. Er zeigt Gesichter von der Seite, der eine schaut von rechts, der andere von links. Der gerade Sprechende wird frontal gezeigt, der Zuhörende seitlich von hinten. Oder er zeigt bis fast an den Schluss des Films jeweils zwei geschlossene Räume mit Akteuren, die gegeneinander streiten: etwa Joh und Rotwang in einem dunklen Raum, durch ein Loch Maria beobachtend, Maria und die Arbeiter während der Predigt. Dieses Gegeneinander-Setzen der Räume korreliert mit dem widersprüchlichen Geschehen und den widersprüchlichen Interessen der Akteure. In der Schlussszenen setzt er gar fünf solcher Handlungsräume gegeneinander. Auch die Personen in sich sind doppel- oder mehrdeutig. Maria ist Arbeiterin, sie steht aber auch für die Verkündung der Erlösung. Sie „gebiert” sozusagen den Erlöser aus ihren Armen (die Szene in den Katakomben, in der sich Maria und Freder in die Arme fallen, die Geburtsstunde des Mittlers, des Erlösers). Gleichzeitig verdoppelt sich Maria in Maria und den Roboter, in die Gute und die Böse. Während bei Maria das Gute aus dem Herzen, aus der Anschauung und dem Verstand resultiert, ergibt sich das Böse bei dem Klon nicht direkt, sondern aus dem Willen Rotwangs respektive Johs. Auch die „andere Seite”, Joh und die reichen Söhne und Töchter, sind in sich gespalten. Joh vereinigt in sich die Macht über Ökonomie und Politik, von der die reichen Söhne und Töchter leben. Als die Arbeiter die Maschinenstadt unter Wasser setzen, führt der Roboter sie auf die Straßen, um den Untergang zu feiern – auch den eigenen. Die absolute Macht korreliert mit dem absoluten Untergang (man erinnere sich an die Worte Hitlers: Wenn das deutsche Volk nicht fähig sei, sich als Herrenrasse zu etablieren, habe es nichts anderes als den Untergang verdient). Die herrschende Klasse lässt den Karren lieber vollständig gegen die Wand fahren, als ihn aus dem Dreck zu ziehen. Jenseits dieser Geschichte muss man aber eben auch auf die technischen und schauspielerischen Leistungen in Fritz Langs Film verweisen. Die im Film monumental erscheinenden Modelle vermitteln nicht nur filmgeschichtlich eine Neuerung; sie repräsentieren auch den Größenwahn

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Fredersens, etwa in einer Szene anfangs des Films, in der die reichen Söhne vor einer mächtigen Kulisse aus Mauern und Treppen Sport treiben. Auch in dieser filmischen Architektur kündigen sich schon – sicherlich unbewusst – die wenig realisierten, aber durch Albert Speer in Modellen umfassend dargestellten Pläne einer nationalsozialistischen Architektur der absoluten Macht(demonstration) an. Lang muss ein feines Gespür für den Zusammenhang zwischen den verschiedenen Komponenten einer „modernen” Diktatur gehabt haben. Beeindruckend ist auch Rotwangs Laboratorium, in dem durch wundersame Maschinen und durch Elektrizität dem Roboter das Aussehen Marias gegeben wird. Gerade diese Bildfolgen sind auch Ursprung vieler ähnlicher Szenen in späteren Sciencefiction-Filmen. In der Schauspielercrew besonders hervorstechend sind Gustav Fröhlich, der Freder als einen durch die Entdeckung der Verhältnisse in Metropolis und seine Liebe zu Maria zunächst zerrissenen, verzweifelten Menschen spielt, der dann jedoch die Zeichen der Zeit erkennt und entsprechend handelt. Heinrich George als eine Art Vorarbeiter, der schwankt zwischen der Vasallentreue zu Fredersen und der Solidarität mit den Arbeitern, natürlich Fritz Rasp, der den verschlagenen Schmalen exzellent zu spielen weiß, und vor allem natürlich Rudolf Klein-Rogge als psychopathischer Erfinder Rotwang, in dem sich der Wahnsinn eines persönlichen Zerwürfnisses (die Liebe zu der verstorbenen Hel, von der er nicht loslassen kann, und der Hass auf Fredersen wegen Hel) mit dem Wahnsinn einer entfesselten, keine Grenzen kennenden Wissenschaft manifestiert. Auch hier ist Langs Film weit vorausschauend. Er erkennt, personifiziert in Rotwang, die Risiken einer Wissenschaft, die nach dem Motto handelt: Was ich machen kann, das darf ich auch machen. Rotwang konstruiert den Maschinenmenschen, der nur auf seinen Befehl hört, einen Sklaven, der nicht mehr rebellieren wird. Dieses Motiv hat Lang ja auch in seinen Mabuse-Filmen aufgegriffen. http://www.follow-me-now.de/html/metropolis.html

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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 CREATORS Velazquez Bonetto 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.

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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“).

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CARP presents „Metropolis in Second Life Posted on April 19, 2009 by Morris Vig in second arts blog I’ve been hearing that the CARP/Diabolous team respon-

sible for the inworld tour de force of Pink Floyd’s The Wall was at it again, this time making an inworld version of Fritz Lang’s classic 1927 science fiction silent motion picture, Metropolis. Today, I finally got around to attending a performance. [Side thought: It‘s like Josina Burgess, Debbie Trilling and their partners in the SL theatric arts at CARP know exactly what trips my artistic trigger. I love Pink Floyd and Roger Waters‘ work, hence my enjoyment of The Wall. In the Viggy collection of classic movie DVD‘s, Metropolis (even my crappy version of it) sits right alongside Citizen Kane and Casablanca. The history of the Metropolis movie is really something interesting, too...click here for more info on that. But I digress...] My verdict (like mine is important…a debatable point)? CARP’s Metropolis is at least the peer of their version of The Wall, if not its superior. The subject matter for both stories is equally grand, and CARP uses Metropolis as an allegory for the state of the world much like they did with The Wall: So we see Lang’s vision of the future…the everlasting difference of the rich and poor, the elite and the worker, the greedy people on the top and the suffering masses… very much alive today as now we see what greediness of the elite did to the world- economics and us, the people. Today we are living a crisis that is maybe worse then the one just after the War. The main message of Metropolis was that it gave a solution to Post-War Germany to attempt a Social Market. This in fact is what Metropolis as a movie created at that time. And this was exactly 60 years ago!

Are we powerless and resigned ? Or do we change this future? Do we change our own Metropolis? With that as foreshadowing….there’s MUCH more after the fold, including a 100-plus piece slideshow to document this visual treat… Technically, you have to start with the theatrical set. This is a dense build that minimizes the use of prims (perhaps CARP needs to be in a double-prim sim like those in Bay City and Nautilus!) and maximizes the use of textures to achieve the dramatic effect. As you will see below, the textures are both rich and grand. They also use textures as a means to demonstrate masses of characters – the chorus, if you will – and accomplishes this with impressive effect. How to ensure that the many, many textures load in a reasonable amount of time in a full sim? Easy – they took the first six minutes of the show to display credits and literally pre-load the entire pack of textures used in the show. Genius. This compact build also allows for attendees to sit in custom-scripted seating and be “physically” (this is a virtual world, so it can’t be physical,but hopefully you get my meaning) moved from scene to scene. The seating also is a marvel – three sets of seats, flying around the set like a choreographed guided tour of the property. Viewers also place themselves at the mercy of the flying seats – no need to use flycams or mouseview…just sit back and enjoy the ride. Lastly, the one thing you can’t see in the slideshow below: Music. The score for this show is really strong. It’s electronic in nature and complements the show quite well…just like the textures, the animations, the costumes… So here’s the slideshow. It’s quite a show, all 60 minutes of it. And, like The Wall, the Metropolis company invites the attendees down to the floor to celebrate the show once it’s done. Can’t beat that!

CARP CREATORS Velazquez Bonetto Do yourself a favor and try to see this show. Metropolis is a grand theatrical performance that shows us how the Second Life platform can be used in ways we may not have thought possible.

METROPOLIS Posted helfe ihnen 28 Mar 2009 on FLICKR Metropolis is a ‚must see‘ in SL! What the team has made is absolutely stunning and at the top level of what is possible in SL. On the other hand you see sometimes what is missing in SL in technical and esthetical possibilities. Acting seems to stay very difficuilt. Information by the team: After an idea of Debbie Trillling to do a re-make of METROPOLIS the fist science fiction movie made in 1927 by Fritz Lang, Velazquez Bonetto and Josina Burgess started with working out this Idea to bring it to Second Life. Velazquez Bonetto rebuild the Whole Metropolis, wrote programms and scripts, situated every scenery at its place and brought new technology into SL . Josina Burgess created all the caracters, avatars, costumes and together they used Muybridge simulations for mass groups where needed. Nnoiz Papp wrote and composed the music specially for Metropolis. Windyy Lane build the upperclass scenery and made all the animations Sca shilova build the robot and the animations for it. the actors are: Debbie Trilling MillaMilla Noel Efrantirse Morane Josina Burgess Velazquez Bonetto

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A Camera system is build in the seats where the audience will sit , also the seats, with audience in it, will fly around in Metropolis form scene to scene to be a „part“ of the whole. Its so far the biggest project ever done on SL, it took months of working, building,creating, rehearsing and animating. The actors/avatars playing the key figures teleport from stage to stage and perform in between camera close-ups. The whole Metropolis is a 1 hour breathtaking experience on SL, but not only on SL even in RL people will be able to watch this via You Tube as a new way of making a artistique event going beyond borders.

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the making of the storyline, scripting & the master controler

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Metropolis storiview

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Metropolis storiview text format

PROLOGUE

Virtual Space: 100x100x200 meter Audiovisual Components: Mostly black/white Scenario in Mixed forms. - 3D rebuild of the original Metropolis - New visual Elements from our Time or timeles but also monochrom. Soundtrack: 55:34 min. only instrumental Music Scenes: as in the original only Gestures and Pantomime. Playground: full immersiv theatre/cinema Control, flying seats and 4D live-cut Camera system. Scene-Control: Master Controler V_11.0 with local Translation/Orientation on channel -222000444 local Translation/Orientation Event Recorder............................................. on channel -222333444 Relative Migration tool............................................................................... on channel -222666999 Credits: Creative Director: Velazquez Bonetto Soundtrack Creator: nnoiz Papp Character design and Costumes: Josina Burgess, Roboter design, build and animation: Sca Shilova AV-Animations: windyy Lane Muybridge Animations: Josina Burgess, Velazquez Bonetto Virtual Scene Design: Velazquez Bonetto, windyy Lane, Caravaggio Bonetto, nnoiz Papp Virtual Scene Build: Velazquez Bonetto, windyy Lane, nnoiz Papp LSL Scripts: Velazquez Bonetto AV-Camera direction: Velazquez Bonetto Video recording/editing: Debbie Trilling

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Metropolis reconstruction of the original version from 1927 1 2 3 4 5 6 7 8 9 10 11 12 13

http://www.youtube.com/watch?v=dYMbX8eVFpA http://www.youtube.com/watch?v=3lbatbjBzQM http://www.youtube.com/watch?v=MxdskP4lARM http://www.youtube.com/watch?v=FbluzMOJcC4 http://www.youtube.com/watch?v=rWNTOa2fJuE http://www.youtube.com/watch?v=bFLTPJE1DEs http://www.youtube.com/watch?v=ndnHnqvDh2k http://www.youtube.com/watch?v=f7trCt49bJ8 http://www.youtube.com/watch?v=-_P01cxeL5M http://www.youtube.com/watch?v=P8LUKwGB-ME http://www.youtube.com/watch?v=9wHNfj1okik http://www.youtube.com/watch?v=8s2ShZHX64Q http://www.youtube.com/watch?v=GpD47LyfpVw

CARP Storyboard of the original version from 1927: http://artspace-diabolus.com/CARP/METROPOLIS_Storyview.pdf

Prologue

soundtrack: 01_flight_to_metropolis.mp3 duration: 2:42 (162) timer : 0-162 2:42 Controler: 01 INSERT Credits: Maria, Marias Robot Dubble: Josina Burgess Marias Robot Dubble, Joh Fredersen : MillaMilla Noel Joh Fredersen and Grot : Efrantirise Morane Freder Fredersen: Debbie Trilling Rotwang: Velazquez Bonetto Seats + Kamera Kontrol: ON

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PRELUDIUM

In a overdimensioned and technically fully free city named Metropolis are the 2 comunities living toatally separated. The Upperclass lives in a paradise and enjoys in the amusementsparts addicting pleasures. In the Club of the Sons, the young elite lives in absolute luxury, where the â&#x20AC;&#x17E;normalâ&#x20AC;&#x153; worksmen live underground and slave in 10 hourshifts at a overdimensioned machine. The brain of Metropolis is Joh Federsen, who rules and dictate from his steeringcentre in a new Tower of Babel over the city.

INTRO METROPOLIS

soundtrack: 02_INTRO_METROPOLIS.mp3 duration: 7:05 (425) timer : 162-587 9:47 Controler: 01 MACHINES MACHINERY Intrecate Machines Only visuable for Camera system closeups Avatars: -Muybridge Figures: -Seats + Camera Kontrol: ON Seats in start position SHIFTCHANGE Start in Level 2 seats in position level 2 Sirene, Glock Fence rises, the worker groups (muybridge) move Lift scenario camera rides along Workers square Avatars: -Muybridge Figures: Worker Groups Seats + Camera Control: ON

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FALLING IN LOVE

soundtrack: 03_FALLING_IN_LOVE.mp3 duration: 5:02 (302) timer : 587-889 14:49 Controler: 02 The son Freder Fredersen meets one day Maria, a mysterious woman from the underground city and falls in love with her. CLUB OF THE SONS Level 3 Club of the Sons Garden, Fountain, Entrance Avatars: Freder Fredersen( Debbie), Maria (Josi) , Young Girls (Milla) Muybridge Figures: Children group, Group in crazy fantasy clothes Seats + Camera Control: ON MARIA Level 3 Club of the Sons Garden, Fountain, Entrance Avatars: Freder Fredersen( Debbie), Maria (Josi), Young Girls (Milla) Muybridge Figures: Children group, Serving personel Seats + Camera Control: ON

MOLOCHMASCHIENE

soundtrack: 04_MOLOCHMACHINE.mp3 duration: 5:04 (304) timer : 889-1193 19:53 Controler: 03 In his search for her he sees the need of the workers and tries without succes to let his father stop with his heartless and exploiting regime.

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FREDER FREDERSEN in worker world Level 2 Moloch Machine Avatar: Freder Fredersen (Debbie) Muybridge Figures: Worker figures at work Molochmachine Explosion Seats + Camera Control: ON

ROTWANGS LABOR & KATAKOMBA

soundtrack: 05_THE_LABORATORY.mp3 duration: 5:29 (329) timer : 1193-1522 25:22 Controler: 04 Federsen and Rotwang have a special bonding. One day Rotwang took away the beloved wife of Joh federsen. When giving bearth to Feder she died. With the Machine-Human Rotwang wants to create his own hell. Out of revenge he abort Federsens plan and makes the robot in the appearing of Maria to lead the workers into revolution. Maria tells the workers during a religionkind of meeting in the catacombs of the city the coming of a Mediator that will build a bridge between Brain (the leading level of metropolis) and Hands (the workers). Joh Federsen sees the danger of revolt by the influence of Maria and calls the scientist Rotwang to build him a machine-human and let it look like Maria so that it can influence the workers. ROTWANGS LABORATORY Level 2.5 Rotwangs Laboratory Avatars: Joh Fredersen( Efran), Rotwang (Debbie), Robot Maria (Milla) Projektion: Hel Seats + Camera Control: ON

CARP CREATORS Velazquez Bonetto

CATACOMB Level 1.5 Workers Chapel Avatare: Maria (Josi) , Joh Fredersen (Efran), Rotwang (Debbie) Muybridge Figures: Worker Groups Projection: Babylon vision Seats + Camera Control: ON

INTERMEZZO Cathedral

soundtrack: 06_KATHEDRALE.mp3 duration: 4:57 (297) timer : 1522-1819 30:19 Controler: 05 CATHEDRAL Level 2.5 Cathedral Avatar: Freder Fredersen (Debbie) Muybridge Figures: Worker Groups, Space Projection: the 7 Sins and Death Level 2 Glock Machine: Avatars: Freder Fredersen( Debbie), Worker 118811 (Efran) Seats + Camera Control: ON

METAMORPHOSIS

soundtrack: 07_METAMORPHOSIS.mp3 duration: 5:04 (304) timer : 1819-2123 35:23 Controler: 06

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Rotwang follows the orders of Joh. Fredersen, he keeps Maria locked in and in Metamorphose he gives his Robot the looks like Maria Metamorphose METAMORPHOSE Level 2.5 Rotwangs laboratory Avatars : Maria (Josi), Robot Maria (Milla), Rotwang (Debbie) Seats + Camera Control: ON

ROBOT MARIA

soundtrack: 08_YOSHIWARA-VISIONEN.mp3 duration: 4:46 (286) timer : 2123-2409 40:09 Controler: 07 When Freder Fredersen finds out that Maria is at his fathers he collapses and becomes sick. In this condition he becomes terrible visions. In the same time is Rotwang demonstrating his new Maria Robot on stage at the Yoshiwara Club of Sons. DANCE AND NIGHTMAIRE Level 3 Yoshivara Stage Avatars: Robot Maria (Josi), Joh Federsen (Efran), Rotwang (Debbie) Muybridge Figures: Groups of Elegante Gentleman in Club Level 2.5 Katedrale the 7 sins projection Seats + Camera Control: ON

FURIOSO REVOLUTION

soundtrack: 09_REVOLUTION.mp3 duration: 5:09 (309) timer : 2409-2718 45:18

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Controler: 08 Out of revenge Rotwang aborts Federsens plan and makes the robot in the appearing of Maria to lead the workers into revolution. The Mob storms into the underground fabrics and damages the Heartmachine, therefore the underground hausing of the workers will be overfloated with water. The real Maria however can, together with Feder and Josaphat that freed himself, save the children of the workers and bring themin safety in the â&#x20AC;&#x17E;Club of Sonsâ&#x20AC;&#x153; Destruction Level 1.5 Workers Chapel Avatare: Robot Maria (Josi)(Milla), Grot (Efran) Muybridge Figures: Worker Groups In Lift:Muybridge Figures: Worker Groups Level 2 Destruction of the Heartmachine Seats + Control: ON SAVING Level 1 Workers City Avatars: Freder Fredersen (Debbie), Maria (Josi), Josaphat (Efran) Muybridge Figures: Children Groups Special Effects: Gong, Water flud Level 3 Club of the Sons Seats + Camera Control: ON

END COMBAT

soundtrack: 10_FEUER_KAMPF.mp3 duration: 5:20 (320) timer : 2718-3038 50:38 Controler: 01

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Grot, the chief of workers manages to calm down the revolting workers. They understand it went to a catastrophe and think their children have drowned. Now the hate turns to the one they think started all this; Maria. The Robot appearing as Maria is captured and burned on a woodpile near the Cathedral. In the same time Rotwang is after Maria and hunted her on the roof of the cathedral. The scientist went nuts and sees Maria as belonging to him . Feder Federsen saves Maria and has a final fight with Rotwang. Verbrennung AvatarS: Robot Maria (Milla), Freder Fredersen (Debbie), Joh Fredersen (Efran), Grot, (Josi) Muybridge Figures: Worker Groups Seats + Camera Control: ON COMBAT Level 2.5 Cathedral Avatars: Robot Maria (Milla), Freder Fredersen (Debbie), Joh Fredersen (Efran), Josaphat, Grot, Spy, Rotwang( Klute), Maria( Josi) Muybridge Figures: Worker Groups Seats + Camera Control: ON

ENDPEACE

soundtrack: 11_The_END_PEACE.mp3 duration: 4:56 (296) timer : 3038-3334 55:34 Controler: 01 With the motto: â&#x20AC;&#x17E;The Mediator between Brain and Hands is the Heartâ&#x20AC;&#x153; Joh Federsen and the workers make piece, helped by Feder.

CARP CREATORS Velazquez Bonetto

RECONSILIATION Level 2.5 Cathedral Avatars: Freder Fredersen( Debbie), Joh Fredersen (Efran), Grot, (Josi) Muybridge Figures: Worker Groups Seats + Camera Control: ON

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virtual art space

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the carp creators:

velazquez bonetto

2. virtual theatre, 4D cinema 2.4. the CHANGE

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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 CREATORS Velazquez Bonetto 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.

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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 CREATORS Velazquez Bonetto 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.

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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

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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 CREATORS Velazquez Bonetto 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 !!!

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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

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velazquez bonetto

2. virtual theatre, 4D cinema 2.5. emoticon

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