Metaverse Art 2011-2013 Nr 3. procedual art

josina burgess nazz lane velazquez bonetto

metaverse art

2011-2013 Nr.3 procedual

This e-book dedicated to

Giorgio Vasari

(30 July 1511 – 27 June 1574)

Intergrid Metaverse Art 2011-2012 _________________________________________________________________ 1. Tendences 1.1 MESH 1.1.1 claudia222 1.1.2 Atari Patrucci yes it is MESH 1.2 1.2.1 1.2.2

FULL SIM Mikati Slade Rebeca Bashly Inferno

1.3 Narratives 1.3.1 Bryn Oh 1.4 Colaboratives 1.4.1 Pirats art chaos 1.5 1.5.1

Migration to OSG Alien Bolero in Craft and in Metropolis

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Metaverse Projects

2.1

UWA 3D OPEN ART CHALLENGE

2.1.1 2.1.2 2.1.3 2.1.4 2.1.5 2.1.6 2.1.7 2.1.8 2.1.9 2.1.10 2.1.11 2.1.12 2.1.13 2.1.14

FLY WITH THE WIND by Josina Burgess FOR YOUR VIEWING PLEASURE by Miso Susanowa THE GLOWING SERPENT by Ginger Alsop LAZER BALLS by Betty Tureaud DREAM OF THE COLD SLEEPER by Typote Beck (“It’s raining in my heart, as it’s raining in the town” by Cherry Manga TRAVEL IN THE SHADOW OF TECHNOLOGY by Anley Piers PARANORMAL FROTTAGE by Misprint Thursday THE ILLUSIONIST by Gleman Jun LIGHT TOWER by Betty Tureaud TURNING THE TIDE by Nish Mip CHOOSE YOUR BLOSSOM by Suzanne Graves SYMPHONY IN THE BARREL OF A GUN by Arrow Inglewood PLANET CENSORED by Anley Piers

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metaverse art 2.1.15 2.1.16 2.1.17 2.1.18 2.1.19 2.1.20 2.1.21 2.1.22 2.1.23 2.1.24 2.1.25 2.1.26 2.1.27 2.1.28 2.1.29 2.1.30 2.1.31 2.1.32 2.1.33 2.1.34 2.1.35 2.1.36 2.1.37 2.1.38 2.1.39 2.1.40 2.1.41 2.1.42 2.1.43 2.1.44 2.1.45 2.1.46 2.1.47 2.1.48 2.1.49 2.1.50 2.1.51 2.1.52 2.1.53 2.1.54 2.1.55 2.1.56 2.1.57 2.1.58 2.1.59

STRANGE PLANT...UGLYNESS & BEAUTY by Claudia222 Jewel THE RHYTHM OF MOOD - Lea Supermarine & Jarapanda Snook DIGITAL GLOVE by Misprint Thursday THE WILD WILD WORLD OF ILLUSION by RazorZ & Olga Soulstar THE MINOTAUR OF CARTON by Typote Beck ALICE’S ADVENTURES IN WONDERLAND by Cherry Manga SHATTERED by Ginger Alsop THE FRAGILITY OF THE SOUL IS NOT A DEFECT by Gleman Jun SPANISH BULL by Silene Christen TROIS PETITS TOURS ET PUIS S’EN VA (Three little turns and it goes away) by Josiane Sorciere JUNGLE CHALLENGE by Dusty Canning THE DOCK SPIRIT by Scottius Polke ULTRA VIOLET by quadrapop Lane THEATRE OF WAR by Miso Susanowa VENUSTRAP by Claudia222 Jewell ONE AND FOUR TIMEBOARDS by L1Aura Loire UNE HORDE DE CORDES by Aristide Despres 5x8 COMPUND CUBE by Wizard Gynoid TIME AS A HELIX OF SEMI-PRECIOUS STONES by Miso Susanowa THE HUMANICAL FROG by Lollito Larkham HERE COMES THE SUN by Sledge Roffo TV MORNING EXERCISES by Dusty Canning PIUME DI PAVONE by Nino Vichan DANGLING NARROW CHAIN DEMONSTRATOR by Emilin Nakamori HARMONIES IN C GREAT (+) by Artistide Despres NOT EVERYTHING IS PLAIN BLACK & WHITE by Fuschia Nightfire LIVING FRACTAL by June Clavenham THE MATTER OF IDEAS by Gleman Jun THE SUPERHEROES BREAKFAST by Typote Beck DOWN ON THE DATA FARM by Miso Susanowa PETITE ETUDE SUR OLIVIER MESSIAEN by Artistide Despres OMNIPOTENT by Pixels Sideways THE CHASM by Oberon Onmura EXCERPTS FROM REALITIES by Glyph Graves THE ABANDONED DAUGHTER by Eliza Wierwight YOU CAN’T TOUCH HEAVEN by paleIllusion AUTUMN by nexuno Thespian THE CROSSING by Nish Mip FANTASIA EN LA SOMBRA by Romy Nayar PRIMSCAPE DREAM by Sledge Roffo 99% by Harter Fall BLACK SHIRT by Misprint Thursday IN DREAMS by Blue Tsuki SWALLOWED UP BY THE CROWD by Fuschia Nightfire L’IMPATIENCE by Josiane Sorciere

metaverse art 2.2 2.2.1 2.2.2 2.2.3 2.2.4 2.2.5

CARP Metaverse Exhibition Szombathely Naomi Devil Josina Burgess Velazquez Bonetto Frieda Korda Maxxo Klaar

2.3

Inworldz Dreamz & Visionz Festival 2011

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3. Metaverse Procedual Art 3.1 3.2 3.3

SL TLC The Schöffer Tower The Change Sky dance V

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IMAB Events

4.1 4.1.1 4.1.2

Craft World Vulcan - Artists in connection building competition

4.2 Inworldz 4.2.1 Alizarin’s Aquarella 4.2.2 soror Nishi 4.2.3 Teal Freenote, “Dreamsinger Sculpture Garden” 4.3 Metropolis 4.3.1 SoA

Albert Querstein

Alex Boyd

Alex Grün

Antonia Ling

Atari Patrucci

Carda Mom

Caro Fayray

ChapTer Kronfeld

doong susu

Eliopod Beaumont

First Prim

Galen Dreamrezzer

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Josina Burgess Junivers Stockholm Keve Magic kjs Yip Klarabella Karamell Kueperpunk Korhonen Larysa Firehawk Moewe Winkler Pixel Prim Thierry Noir Uwe Furse Velazquez Bonetto Wanda Shigella

4.3.2 4.3.3 4.3.4

Josina Burgess Installation Velazquez Bonetto VJ Rebeca Bashly The Tower

4.4 OSGrid 4.4.1 Ruben Haan 4.4.2 H. J. Kaeppeler 4.5 4.5.1 4.5.2

Second Life Tuna Oddfellow Solkide Auer

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3.1 Procedual Art THE SL TLC

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Credits: original concept: Nicolas Schöffer foreword: Eleonore de Lavandeyra Schöffer RL project coordination: Naomi Devil aka Caravaggio Bonetto & Klára Gehér digital modell: Àgota Nagy photos: Naomi Devil, László Ördögh Diabolus, Ágota Nagy SL creative director, build & scripting: László Ördögh Diabolus aka.Velazquez Bonetto soundtrack: nnoiz Papp & Junivers Stockholm particle effects: Josina Burgess bolero coreography: Medora Chevalier dancers: Medora Chevalier, Eronoele Galicia, TheDove Rhode, Southern Riptide, Sunschine Vayandar, Isabella Alphaville, Angelique Menoptra Exhibiting artist are: Dancoyote Antonelli Igor Ballyhoo Velazquez Bonetto Josina Burgess Artistide Despres Glyph Graves Werner Kurosawa Merlino Mayo Bryn Oh shellina Winkler

artspace diabolus cybernetic art research project 2011

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formant ainsi grâce à moteurs et projecteurs des informations sociotechniques en spectacle artistique. On la critiquait déjà, avant même que d’être construite pour sa hauteur, alors que la Tour Eiffel, tout autant décriée et de même hauteur avait été construite presque un siècle plus tôt…

foreword by Eleonore de LavandeyraSchöffer (F)

Le Grand Œuvre de Schöffer fut sa Tour Lumière Cybernétique depuis le moment où il la construisit de ses propres mains en aluminium.

Elle faisait 3m 24 de haut et chaque pièce de métal, chaque trou, chaque filetage, chaque vis et chaque boulon furent œuvrés de ses mains.

Il disait qu’il n’avait jamais tant peiné sur une sculpture. Les Grands Maîtres du Moyen-Age lui auraient donné son titre de « Compagnon » et auraient parlé de son « Chef d’œuvre ».

Plus tard, ce fut une œuvre collective, car les 10 plus grandes entreprises françaises travaillèrent avec lui pendant 10 ans pour tout calculer en vue de sa réalisation dans le nouveau quartier de Paris La Défense. Dressée à 324 mètres de haut, elle devait se voir de loin et refléter l’animation de Paris et de ses environs, trans-

Ceci pour dire qu’elle s’inscrivait dans un contexte social et culturel qui n’avait guère évolué et se trouvait très décalée par rapport à l’avantgarde, ce qui n’a pas changé.

Mais cette Tour Lumière Cybernétique resta à l’état de rêve, de projet. On la traita d’utopie sans savoir que tous les rêves sont des potentialités réalisables et que chaque « apparition » vient en son temps.

Il fallait l’apparition de nouvelles techniques, de nouveaux outils. Il fallait aussi qu’un ensemble de nouveaux pionniers s’exercent à maîtriser leurs possibilités. Ce furent d’abord des techniciens qui s’y employèrent, puis des artistes qui s’en emparèrent…

Puis vint enfin un artiste-ingénieur-artisan-ouvrier-penseur… car il faut être tout cela… à la fois pour avoir l’idée et mobiliser toute une équipe.

Le temps est donc venu, une certaine SL TLC, sortie des cartons de Schöffer et du génie informatique, existe maintenant dans les mondes virtuels de Second Life auxquels elle apporte sa vie propre. Tout un monde de chercheurs actifs, d’une part, et de visiteurs curieux d’autre part, venant du monde entier, la découvrent et y apportent leur propre vie.

Certes, il y a de profondes et nombreuses différences entre les deux Tours.

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Sa portée ne se limite plus à l’horizon d’un quartier (La Défense), d’une ville (Paris), d’un pays ( la France),ou d’un continent ( l’Europe) mais, grâce aux milliards de méandres des autoroutes de l’information, s’étend aux confins les plus reculés de la planète, et un jour futur, hors de celle-ci, sans problèmes…

Les différentes fonctions cybernétiques de la TLC, l’animation lumineuse et dynamique de ses structures et miroirs, ne sont qu’évoquées, mais l’évolution des techniques permettra d’autres possibilités dans le temps. …

D’ailleurs, la SL TLC n’a pas à être « la même » que la TLC. Elle est l’œuvre à part entière de son auteur et de son équipe et il est bon que la Tour reste en chantier, un chantier vivant car, fixée, définitive, elle serait morte.

Mais déjà s’ajoutent d’autres paramètres. Dans chaque niveau, des artistes ont créé et installé des sculptures cybernétiques que nous pouvons modifier par notre présence.

Le Boléro de Ravel qui termine le show de présentation de la Tour met en scène une chorégraphie abstraite et des danseuses Avatars aux costumes de rêve dans le rythme lancinant d’un Boléro qui chute in extremis dans notre XXIème siècle…

Dans le socle, où devaient se trouver galeries et Musées, salles de rencontres et de débats, se trouve maintenant le Musée des Avatars, unique au monde, qui retrace leur histoire et celle de la recherche depuis que l’homme existe, jusqu’à cette étape spectaculaire où tout un chacun a la liberté et la possibilité d’en « posséder » un…

Cadeau sans prix ! La « socialisation de l’art » si chère à Schöffer !

Et ce n’est pas fini…

La cybernétique ! C’est cela, la grande loi de l’évolution, qui rétablit tous les équilibres perdus, qui diversifie toutes les redondances, qui perturbe toutes les habitudes au profit de la « vie », et qui crée à l’infini et sans limites, à l’image de la Rosace de Cathédrale que les Maîtres Verriers devaient limiter et fixer, mais qui symbolisait bien la Création divine, infinie et en mouvement…dans l’espace et dans le temps.

A chaque époque ses outils pour « inscrire » la même « idée ». Ici le langage est numérique… binaire, mais… on ne parle pas des pinceaux de Leonardo…

On jouit de l’œuvre, on l’écoute chanter, elle vous parle, elle vous stimule, elle vous tire hors de la prison du temps, elle fascine… On n’a pas de mots… on ne sait qu’en penser… Très bien, c’est bon signe… Laisser-vous mouvoir et émouvoir : « évoluer »…

Le seul mot de la seule pensée est : Gratitude à tous ceux qui ont contribué à donner une réalité « virtuelle » à ce rêve de Schöffer.

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foreword by Eleonore de LavandeyraSchöffer (E)

Nicolas Schöffer”s Great Work and dream has been his Cybernetic Light Tower from the moment he built it with his own hands out of aluminum.

It was 3,24m high and each piece of metal, every hole, every thread, every screw and bolt were worked by his hands. He said he had never struggled so much with a sculpture. Great Masters of the Middle Ages would have given him the title of “Companion” and have spoken of it as his “masterpiece.”

Later, the TLC became a collective work, because the 10 largest French companies worked with him for 10 years to go into all the details of its realization in the new district of Paris La Defense. Being 324 meters high, it would have

been seen from far and would have reflected the excitement of Paris and its surroundings, turning socio-technical information into performing art effects, thanks to projectors of colored lights and revolving mirrors moved by motors. It was criticized for its height, even before being built, while the Eiffel Tower, just as high and as well discredited had been built almost a century earlier ...

That is to say TLC was conceived in a social and cultural context that had changed little in one Century, and was very disconnected from the vanguard. The situation is the same to-day.

So, this Cybernetic Light Tower remained in the dream state, a project. People treated it as an utopia without knowing that all dreams are achievable potentialities and that each “appearance” of something new comes just in time.

And there was the emergence of new techniques, new tools. There was also a set of new pioneers who exercised to master them. At first there were technicians who handled them and after artists took them and transcended them ...

Then came finally an artist-engineer-architectthinker-worker ... because a creator must be all that ... both for the idea and to mobilize a whole team.

The time has come, a certain SL TLC issued from Schöffer’s folders and a computer “genius” now exists in the virtual worlds of Second Life in which she brings her specific life. On one hand, a world of active researchers and on the other one, visitors moved by curiosity, from around the world, who discover it and add their own lives.

Certainly, there are deep and numerous differences between the two towers, among which scope which is no longer limited to the horizon

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of a neighborhood (La Défense), a city (Paris), a country (France), or a continent (Europe), but thanks to billions of meandering highways of information, extends to the remotest corners of the planet, and maybe beyond it, in the future, without problems ...

Also the various functions of the original TLC, light and dynamic animation of its structures and mirrors, which are only briefly mentioned.

But developments in technology will allow more opportunities over time. Other functions do not exist, such as interactive influence on the very functions of the environment or the town.

Undoubtedly the SL TLC does not have to be “the same” as the TLC. She is the image of today and the complete work of its author and his team. Moreover, it is good that the SL Tower keeps under construction, a project alive, because fixed, final, she would be dead.

Other parameters are present such as, in each level of the Tower, created and installed by real avant-garde artists, complex cybernetic sculptures that can be modified by the presence or action of Avatars.

A weekly one hour show in the Tower : Ravel’s Bolero, ends the show presentation of the Tower with an abstract choreography and a ballet of Avatars in Dreamcostumes dancing in the insistent rhythm of a haunting Bolero that falls in extremis in our twenty-first century ...

In its base where galleries and museums, halls for meetings and debates should have been located, is now the Museum of Avatars : unique in the world, tracing their history and that of research since men exist, up to this spectacular stage where everyone has the freedom and the

opportunity to “own” his own one… priceless gift!

“Socialization of the art” so dear to Schöffer!

And all this is not over ...

Cybernetics ! That is the great law of evolution, which restores all lost balances, which diversifies all the redundancies, which disrupts the habits in favor of “life” and that creates ad infinitum and boundlessly, as described in the Cathedral’s Rosewindow... in which the Masters of the Middle Ages had to limit and fix the stained glasses when they wanted to symbolize God’s creation, infinite and in movement...

At each time its tools, to engrave the same “idea”, the same Truth.

Here the language is digital, binary ... but ... we’re not talking of Leonardo’s brushes...

One enjoys the work, listen to its voice, it talks to you, it energizes you, it pulls you out of the jail of time, it fascinates ... We have no words ... no one knows what to think ... Very well ! That’s a good sign ... let you be “moved”...

The only word of the only thought is Gratitude.

Gratitude to all those who contributed to give a virtual reality to Schöffer’s ”dream”.

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dynamic sculptures consisting of moving and turning modules and mobiles, using light and mirrors to create constantly changing forms and effects. His work opened totally new horizons in art history during the 50s and 60s and inspired many artists. He continued working fervently and elaborating his constructions until his death in 1992 in Paris. His spirit is still living with us, his memory is vivid. His work is displayed in many museums over the world. There are several museums carrying his name and showing exclusively his artworks.

....the story Nicolas Schöffer, father of Cybernetic Art, an architect, visionary and artist. He is famous for his enlightened way of thinking and for being decades ahead of his own times.

We talk about a cybernetic construction when the system under scrutiny is involved in a closed signal loop, where action by the system in an environment causes some change in the environment itself which change is then transmitted again to the system via feedback. The feedback makes the system to adapt to new conditions.

It changes its behaviour in an interactive way.

This circular causal relationship is necessary and sufficient for a cybernetic perspective.

Schöffer adapted this cybernetic principle when he realised his spatiodynamic and lumino-

Schöffer’s chief achievement was the Tower of Light that he designed for the city of Paris, where it should have stood in a special surrounding to be seen from far away.

He used mirrors and lights to create the illusion, specially at night, that the tower was floating in the air. Dematerialization of the artwork was one of Schöffer’s main concerns that he wanted to realize by using immaterial media such as light and sound.

Inside the tower all kind of exhibitions, theatres, cinemas, restaurants and shops would entertain the visitor. Rotating floors would give spectacular views and on certain times a lightshow would transform the tower into a performance of its own.

Schöffer prepared a blueprint of his ‘Tour Lumière’, he built several maquettes, he drew the tower many times. He was however too visionary and ways ahead of his times. The tower could have been built with the technology of his era. The 10 most important French enterprises worked on all the aspects of the project during 10 years, and everything was ready. The tower was about to be built with the agreement and

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guarantee of the State given by Georges Pompidou himself. The bank of Suez was to assume the financial part of the project, with private capital. But unfortunately, President Pompidou died and shortly afterwards, the two crisis of energy, changed the prices and moreover, turned the mentallity of the society towards the past with the fear of new technology, distroying confidence and faith in the future.

One could no longer even anounce such a project.

Consequently Schöffer’s plan has remained on paper until recently.

Schöffer’s widow, Eléonore de Lavandeyra Schöffer has kept his heritage. She is still working with all her enormous strength to keep Schöffer’s memory alive and vivid by numerous openings and exhibitions showing his work. She has even organised an exhibition on SL with her friends, Àgota and Mária Nagy.

She became with her avatar very soon absorbed by the virtual art world. She visited many exhibitions in Second Life. On one of her trips into the virtual world she got to know Velazquez Bonetto and the CARP (Cybernetic Art Research Project) team. The work of Velazquez and his team caught Eléonore’s attention at once and she returned several times to follow the development of the ongoing projects. As soon as she realised what Velazquez was capable of, a new dream began to take shape.

Velazquez Bonetto is László Ördögh’s avatar in SL. His 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 ergonomics. It has multiple influences on his art. Owing to years in software production he has developed several new techniques that can be roughly classified as mixed media and he is a highprofile creator in virtual artistic scenes. The acquaintanceship with Eléonore de Lavendeyra Schöffer

became more and more friendly and one day Velazquez got a letter from her: ‘Àgota told me that you could be interested in building the TLC on SL. It is a marvellous idea.

I thought about it a long time ago. It would be fantastic if it could be done for the 100th anniversary of N.S. birth, and 20th anniversary of his death. 2012. If you decide to do it, and I agree to the principle, (the modalities would have to be clearly precised together. Their previous work could be of some help, and a meeting with you and them should be arranged as a second step.

The first one being your trip to Paris, contact me, visit the atelier, and we shall try together to put a wonderful dream into reality. So, you have to tell me if you can come to Paris one of these days, and when. Propose to me different dates, so that I can find one fitting with my work. I am very VERY happy with your idea. No one could be able to realize it properly exept you. I already thank you.

Eléonore de Lavandeyra Schöffer’ After a short while Velazquez Bonetto, his daughter Caravaggio Bonetto and his wife Mirabella Infinity went to Paris in RL. They spent several days in the atelier and home of Schöffer with Eléonore explaining the tower and Schöffer’s work. After getting the blueprints and taking many pictures they went back home and started to build the Tower.

THE FIRST PRESENTATION OF THE TOWER takes place on Saturday, 9th October 2010 in the framework of the Imagine Festival as a symbol of a new world announced by the famous song of the Beatles. It is a great chance to see it and to make your own experience walking inside in SL, to look around and to feel what it could have been like if it had been built in Paris

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according to Schöffer’s plans.

The tower has been built on scale 1:1 in Second Life to be as true to the original as it was possible. To build something on scale 1:1 is not usual in SL. In the virtual world everything should be built on a larger scale because the avatars are bigger and taller as normal humans. ( at about 2 meters tall) There is one other major difference to real humans regarding the realisation of vision as well. The eye of an avatar is interpreted as a camera. We would normally think that this camera should be placed on the head where we see the eyes of a human. It is not the case though. The avatar should see himself or herself from behind on the monitor of the PC to enhance their ability of orientation. The camera is placed 3 meters behind the head and a bit higher than the head. It is why the main dimensions of the tower could be kept the same as they were planned by Schöffer but the number of the levels must have been reduced. If the original height of the levels had been kept, than the eyes of the avatars would have been one story higher than the avatar itself. According to the properties of vision in SL some walls must have been opened to secure good camera viewpoints. Staircases could have been eliminated, because the common means of transport is teleport in SL. A staircase would be absolutely obsolete here. Despite of the inevitable modifications the main aim was to be as true to the spirit of Schöffer as it could be possible amidst the technical conditions of SL. It is the spirit of experimenting and stretching the advantages of new technologies to the limits. It is the spirit of development beyond our most daring dreams .

It is the spirit of interactions even by using immaterial media.

Three thousand two hundred active scripts and

controllers let all the lights, reflectors and particles react to special events and perform a lightshow automatically or on command.

Seats of the audience are going to fly around with built in cameras that offer spectacular views, because the tower is too big to be taken in as a whole by any camera. Elevator seats bring you to the floor you choose. Exhibitions of historic pictures and cybernetic art make the event unforgettable.

Great artists have been invited to create elaborated interactive, and scripted sculptures specially for the tower. Josina Burgess has created immersive particles and lots of cybernetic sculptures. Exhibiting artist are:

Dancoyote Antonelli,

Igor Ballyhoo,

Velazquez Bonetto,

Josina Burgess,

Artistide Despres,

Glyph Graves,

Werner Kurosawa,

Merlino Mayo,

Bryn Oh,

shellina Winkler.

Schöffer’s dream was to build the tower in Paris in RL. It has been built on a place he could not have dreamt of. It has been built in the virtual world not to be seen from a couple of kilometres away from the spot where it stands, but to be seen from all over the world. It has been built to be a symbol of development, innovation, true spirit of discovery and delight taken in work and wisdom.

Eléonore de Lavandeyra Schöffer, Josina Burgess, Velazquez Bonetto, Mirabella Infinity, Caravaggio Bonetto

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Build of the virtual TLC in Benvolio Sim

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Build of the virtual TLC in Benvolio Sim

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The SL- TLC groundfloor: cybernetic artworks by Dancoyote Antonelli, Werner Kurosawa

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The SL TLC Nicolas Schรถffer exhibition

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The SL TLC groundfloor, Nicolas Schรถffer exhibition

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The SL- TLC groundfloor: cybernetic artworks by Dancoyote Antonelli

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The SL- TLC groundfloor: cybernetic artworks by Dancoyote Antonelli

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The SL- TLC groundfloor: cybernetic artworks by Dancoyote Antonelli

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The SL- TLC groundfloor: cybernetic artworks by Dancoyote Antonelli, Werner Kurosawa

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The SL- TLC groundfloor: cybernetic artworks by Werner Kurosawa

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The SL- TLC groundfloor: cybernetic artworks by Werner Kurosawa

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The SL- TLC groundfloor: cybernetic artworks by Werner Kurosawa

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The SL- TLC groundfloor: cybernetic artworks by Dancoyote Antonelli, Werner Kurosawa

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The SL - TLC show Saturday, 9th October 2010 in the framework of the Imagine Festival

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The SL- TLC 4th. floor: cybernetic artwork by Glyph Graves

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The SL- TLC 4th. floor: cybernetic artwork by Glyph Graves

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The SL- TLC 2th. floor: cybernetic artwork by Bryn Oh

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The SL- TLC 2th. floor: cybernetic artwork by Bryn Oh

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The SL- TLC 2th. floor: cybernetic artwork by Bryn Oh

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The SL- TLC 6th. floor: cybernetic artworks by shellina Winkler

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The SL- TLC 6th. floor: cybernetic artworks by shellina Winkler

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The SL- TLC 6th. floor: cybernetic artworks by shellina Winkler

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The SL- TLC 6th. floor: cybernetic artworks by shellina Winkler

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The SL- TLC 7th. floor: cybernetic artworks by Igor Ballyhoo

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The SL- TLC 7th. floor: cybernetic artworks by Igor Ballyhoo

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The SL- TLC 7th. floor: cybernetic artworks by Igor Ballyhoo

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The SL- TLC 8th. floor: cybernetic artworks by Merlino Mayo

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The SL- TLC 8th. floor: cybernetic artworks by Merlino Mayo

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The SL- TLC 8th. floor: cybernetic artworks by Merlino Mayo

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The SL- TLC the tower show control HUD by Velazquez Bonetto

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The SL- TLC the tower show “Nexus� Master controler by Velazquez Bonetto and Debbie Trilling

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The SL- TLC 3th. floor: cybernetic artworks by Josina Burgess

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The SL- TLC 3th. floor: cybernetic artworks by Josina Burgess

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The SL- TLC 3th. floor: cybernetic artworks by Josina Burgess

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The SL- TLC 3th. floor: cybernetic artworks by Josina Burgess

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The SL- TLC 9th. floor: the alien Bolero by Velazquez Bonetto, costumes:Josina Burgess, choreography:Medora Chevalier, soundtrack: Junivers Stockholm

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The SL- TLC 9th. floor: the alien Bolero by Velazquez Bonetto, costumes:Josina Burgess, choreography:Medora Chevalier, soundtrack: Junivers Stockholm

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SPACE ALIENS INVADE EARTH! OMG! Any1 Gynoid iReport — http://ireport.cnn.com/docs/DOC507041 Extra Terrestrial Alien Abduction Reality TV! UFO Space Ship Proof! Finally! Vast Alien Body Snatcher Conspiracy! All these “so-called facts” lead us to one shocking conclusion: Happy Halloween! LOL At the Cybernetic Tour of Schoeffer’s Tower and BOLERO Show all things are possible!

SPACE ALIENS Dancing Amongst Us! Pictures 1 and 2 show unassailable truth! Somewhere deep in space, aliens are totally grooving to Ravel’s Bolero! Well... they are here!!! Alien Dance... the exciting conclusion to a monumental tour of world’s largest Cybernetic Tower ends with a live action show dance, starring: SPACE ALIENS! Eeeeek!

Clearly the 8th Wonder-of-the-World... The Schoeffer Cybernetic Tower (Picture 3) is majorly colossal, a Second Life (SL) build over 400 meters high! Four Football Fields! The design is so hugely complex that it will never be built in Real Life (RL)! But in SL, we can work magic! Impossible Dream Built! All Sorted!

Cybernetics is a field of research, the study of mechanical or social systems and processes that are goal-oriented and include feedback. Cybernetics is incredibly broad, encompassing everything from management theories to artificial intelligence, nanotechnology, bioengineering, and robotics.

In Cybernetic Art, Nicolas Shoeffer (1912-1992) designed highly interactive kinetic sculptures and

installations, including the Cybernetic Tower (Pictures 3 and 6 are looking down and then up at the entire Tower).

In SL, the Cybernetic Tower is packed with great art! (Picture 4) Dynamic in motion, interactive programming, and fascinating contrast of flowing organic and abstract geometric forms. Interestingly, the most organic forms are colorless and the most abstract forms are highly saturated! Quite a challenge for photographers... to capture goth-colored organic subjects against highly color-saturated backgrounds! Yikes! PS Secret: Pump Up Contrast to Max! Navigate the 9 floors of Tower Galleries by sitting on the colored pills, a group of telepads (Picture 5). Visit the Tower in SL at Benvolio region: http://maps.secondlife.com/secondlife/ Benvolio/112/111/1311 Shows are planned for Sunday afternoons at 1pm or 2pm starting October 24, 2010.

The Cybernetic Tower includes a high tech Theatre. on Level 4. (Picture 7). Sit in these chairs for Alien Dance, and they take you for a wild ride, shifting floors, and controlling you SL viewer for the duration! Sit down or you WILL be left behind!

The people behind the curtain of this fabulous stage show and SL build are...

Famous SL Poetess and Stage Show Choreographer Medora Chevalier. In Picture 8 Medora is the stunning lead dancer in the BOLERO Alien Dance production.

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The SL- TLC 9th. floor: the alien Bolero by Velazquez Bonetto, costumes:Josina Burgess, choreography:Medora Chevalier, soundtrack: Junivers Stockholm

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Fantastic SL Fashion Design, Couture Store Owner, Show Dance Costume Designer (Wall V2, Rings, Metropolis) Josina Burgess. In Picture 9, Josina is the Stage Director of the BOLERO Alien Dance. Josina’s ladies fashion store is in Benvolio sim at: http://maps.secondlife.com/secondlife/ Benvolio/185/117/39 Second Life’s Ultimate Technical Artist, the scripter/builder who’s built everything including several high tech theatres: Wall/Rings, Metropolis (another huge installation and showplace), and the Cybernetic Tower: Velazquez Bonetto. In Picture 10, Vela is enjoying the BOLERO rehearsal in one his high tech theatre chairs that can move, fly, and control your camera during the show. Way Cool!

The Alien show dancers did a terrific job! With only a few rehearsals... a magnificent show by all! Three Cheers for Medora Chevalier, Eronoele Galicia, TheDove Rhode, Southern Riptide, Sunschine Vayandar, Isabella Alphaville, Angelique Menoptra!

Now seriously folks... what do I have to do to get people interested in art? Ummm Space Alien Hysterics? Been there, done that... and shhhh.. Was WAY fun to write! ;-)

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The SL- TLC 9th. floor: the alien Bolero by Velazquez Bonetto, costumes:Josina Burgess, choreography:Medora Chevalier, soundtrack: Junivers Stockholm

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The SL- TLC 9th. floor: the alien Bolero by Velazquez Bonetto, costumes:Josina Burgess, choreography:Medora Chevalier, soundtrack: Junivers Stockholm

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The SL- TLC 9th. floor: the alien Bolero by Velazquez Bonetto, costumes:Josina Burgess, choreography:Medora Chevalier, soundtrack: Junivers Stockholm

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The SL TLC aftershow party Saturday, 9th October 2010 in the framework of the Imagine Festival

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The SL TLC aftershow party Saturday, 9th October 2010 in the framework of the Imagine Festival

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The SL TLC aftershow party Saturday, 9th October 2010 in the framework of the Imagine Festival

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The SL TLC aftershow party Saturday, 9th October 2010 in the framework of the Imagine Festival

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The SL TLC aftershow party Saturday, 9th October 2010 in the framework of the Imagine Festival

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of collaboration from a conception by junivers Stockholm & Medora Chevalier. junivers composed the music and Medora wrote the libretto. Velazquez created the fantastical staging and scripting and Josina created the costumes.

3.2 Procedual Art THE CHANGE

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.

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 urgent choices we must make for survival.

The Change 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

The CHANGE is about the huge challenge and choice facing our world - will we continue the way we have to one future, or change and switch direction to reach a different future? The show uses symbolic imagery and the audience is led by a dark and a light shaman into alternative futures. They take us voyaging into other realities - into the distant future and into the distant past. They challenge us - what have we done? Is it too late? And rush us towards the urgent choices we face now - shall we awake or shall we die?

The code of good society, represented by the great Siennese artist Lorenzetti in his allegory in the Palazzo Publico is an inspiration. The good society can only emerge when power is linked to justice through the hands of the citizens. It is citizens who hold power to account. Will we build the good society or wander blindly to our doom?

The CHANGE is a creation of an international team - junivers Stockholm (Sweden) and Medora Chevalier (UK) (concept, direction, music, libretto), Josina Burgess (Netherlands) and Velazquez Bonetto (World cityzen) (Carp founders, build, staging, scripts & costumes). They work with a dedicated cast of performers: Angelique Menoptra, USA; Carl Solutionary, USA; Efrantirise Morane, Italy; TheDove Rhode, USA; Warpy Centaur, Ireland; Wytchwhisper Sadofsky, USA. They perform live and the camera system captures the show in distance and close up for the seated audience.

The team has worked together over many months to develop the show.

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The 6th September is the 100th anniversary of the birth of architect Nicolas Schoeffer ,The Father of Cybernetic Art. The CHANGE will launch on that day in Benvolio, Second Life, in his honour.

GET READY, COMING SOON............THE CHANGE! For more information contact any of the creators listed above.

“The Change” Gestern wurde in Second Life auf Benvolio das sechs Monate dauernde IMAB-Festival eröffnet. Dies ist eine gridübergreifende Veranstaltung, die neue Kunst- und Ausdrucksformen des virtuellen Metaverse in den Mittelpunkt stellen möchte. Weitere Informationen sind in meiner Ankündigung vom Mittwoch zu finden.

Warten auf die Show Zum Auftakt zeigte das Cybernetic Art Research Project (CARP) ihre neue Show “The Change”. Entgegen meiner bisherigen Erlebnisse mit dem CARP vor einigen Jahren, kam ich gestern ohne Probleme auf den Sim und die Show startete dazu auch noch pünktlich.

Für die Besucher gibt es wieder die aus früheren Shows bekannten Sitze, die per Skript die Kamerasteuerung übernehmen (vorher 2x ESC-Taste drücken). Zusätzlich fliegen diese Sitze mitsamt Zuschauer auch nah an die jeweils laufende Szene heran. Das wird weniger wegen der guten Sicht gemacht (denn das wird ja von der Skriptkamera erledigt), sondern um Texturen schneller zu laden und bei Sculpties den Plop-Effekt bei weiteren Entfernungen zu vermeiden (LOD).

Ansprache von Medora Chevalier Die erste Szene Obwohl die Region Benvolio auf dem Mainland liegt

und mit 40 Avataren zur Show auch maximal belegt war, kam bei mir kein Viewer-Lag auf. Ich hatte durchgehend ca. 62 bis 110 FPS und die wechselnden Szenen wurden schnell geladen. Schatten im Viewer habe ich dennoch lieber mal ausgelassen, denn ich wollte nichts riskieren.^^ Leider gab es aber Lag auf dem Server der Region, was sich dann während der Show durch einige Hänger bemerkbar machte.

Ich glaub ich seh Rot^^ Schon vor 22 Uhr eröffnete Medora Chevalier mit einer kurzen Ansprache das Festival. Inhaltlich sagte sie in etwa das, was ich in meinem Blogpost zur Ankündigung schon geschrieben hatte, und was man in Englisch auch auf der IMAB-Homepage nachlesen kann.

Dann startete fast genau um 22 Uhr die Show mit einem guten Song. Die Musik von “The Change” wurde übrigens komplett von Junivers Stockholm komponiert und die Texte stammen von Medora Chevalier.

Die Wytchwhisper Schamanin Die Kamerasteuerung und die Bewegung der Zuschauersitze funktionierten so, wie ich es aus den früheren Shows kannte. Teilweise liefen die Kamerawechsel etwas flotter ab, wodurch dann einige Texturen doch ein paar Sekunden brauchten, bis sie scharf zu sehen waren. Was aber meiner Ansicht nach gar nicht geklappt hat, waren die geskripteten Bewegungen einiger Requisiten der Show.

Trostlose Zukunft Was auch noch falsch gelaufen ist, war die Sichtbarkeit von mehreren bunten Prims, die jeweils einen der Namen der Akteure als Hovertext anzeigten. Diese haben wohl irgendwelche Steuerfunktionen für die Show. Sie waren allerdings durchgehend und in fast jeder Szene zu sehen, was man auch auf einigen meiner Bilder erkennen kann. Das zerstörte leider die Immersion und machte in meinen Augen das eigentliche Bühnenbild zunichte. Ich schiebe das mal auf die üblichen Probleme bei der Premiere einer solchen Aufführung

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und auf den Server-Lag, den Velazquez Bonetto nach der Show erwähnte.

Hide Hide Inhaltlich dreht sich “The Change” um die weitere Entwicklung der Menschheit in einer möglichen Zukunft.

Werden wir weiter auf dem vorhersehbaren Weg bleiben, der sich aus der gegenwärtigen Situation der Gesellschaft abzeichnet, oder können wir uns ändern und eine neue, andere Richtung einschlagen?

Leben im Überfluss - oder auch Dekadenz Der Wytchwhisper-Avatar (sowas wie ein Schamanin) führte dazu während der Show durch die unterschiedlichen Szenarien und kommentiert die möglichen Ereignisse mit mystischer Stimme. Diese Szenen haben mir persönlich am besten gefallen, denn Avatar, Kamera und Effekte haben eine spannende Atmosphäre erzeugt. Die Botschaft von “The Change” lautet dann am Ende, dass eine bessere Zukunft in den Händen der Bürger liegt. Nur durch eigenes Handeln kann sich die Gesellschaft weiterentwickeln. Sich in sein Schicksal zu ergeben, führt dagegen in den Untergang.

Leben mit der Natur Die Show dauert ca. 40 Minuten und nach dem Ende können die Zuschauer mit den Akteuren gemeinsam noch etwas in der Kulisse der letzten Szene tanzen.

Da ich aber zügig ins RL zurück musste, habe ich das nur noch am Rande mitbekommen. Wie oben schon erwähnt, hat scheinbar bei der Premiere noch nicht alles so geklappt, wie es vorgesehen war. Insgesamt fand ich die Show ganz gut, jedoch hat sie mich nicht wirklich vom Hocker gehauen. Da waren die früheren CARP Aufführungen “The Wall” und “Metropolis” um einiges besser. Für alle, die bisher noch keine Show vom CARP gesehen haben, kann ich einen Besuch von “The Change” aber empfehlen.

Das Finale

Auf der IMAB Homepage wird erwähnt, dass “The Change” nach der Eröffnung jeden Sonntag um 2pm SLT (23 Uhr MESZ) auf Benvolio aufgeführt wird. Quan Lavender, die ich bei der Premiere getroffen hatte, sagte mir aber, dass es noch unklar sei, ob und wann die Show wiederholt wird. Wer es probieren will, sollte einfach an einem der kommenden Sonntage den Teleport hier unten in der Weltkarte seines Viewers öffnen und nachgucken, ob dort viele grüne Punkte so gegen 22:45 Uhr zu sehen sind.

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Metaverse procedual art: THE CHANGE

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Picture 4: DanCoyote Antonelli arena 2009

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3.3 Procedual Art SKYDANCE V.

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over North America to perform for audiences in real time. The SkyDance V program consists of dramatic in-flight choreography telling a story of an interstellar people whose bliss is to dance forever in the depths of space. The Sufolla have no guile and when they are set upon by the Gopus Bülie, “The Destroyer of Dreams” they are desperate to return the Gopus to its ancient cage where it can no longer torment them. The Sufolla sacrifice one of their own to anoint as the Hereau, one who can never again be like them but who has the strength to struggle with the Gopus Bülie.

This is an amazing 1 hour event - perhaps a spectacular is a better description. Guaranteed to stretch your imagination, SkyDance Five is a story about an interstellar people whose bliss it is to dance forever in the depths of space...but drama ensues!

As the name implies this is the 5th iteration the critically acclaimed SkyDance series. This year it includes:

SkyDance V – “Innocence End” by DC Spensley, also known as DanCoyote Antonelli in Second Life.

This is the fifth full redesign of the SkyDance show since the troupe’s founding in May of 2006, and features the original musical score by Josh Zamo, all new choreography performed by the SkyDancers (Anhinga Chaika, Tatiana Kurri, Angelique Menoptra, Buffy Beale, Pielady Smalls, Talulah Bancroft, Wytchwhisper Sadofsky, Juji Kumsung, Neena Botanical and Dot Pellazi), all new cascade costumes by DC Spensley, and a three-kilometer (3000m) stage set by DanCoyote in collaboration with some of the top creators in Second Life including Oberon Onmura and Selavy Oh. The ZeroG SkyDancers log into Second Life from all

beautiful new in-flight choreography by the Zerog SkyDancers full story narration incredible flowing props, and original music by Josh Zamo.

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