Metaverse Artists DanCoyote Antonelli by laszlo diabolus

metaverse artists dancoyote antonelli

dancoyote antonelli front COVER

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edited by velazquez bonetto artspace diabolus cybernetic art research project 2011 07

dancoyote antonelli

metaverse artists

dancoyote antonelli edited by velazquez bonetto artspace diabolus cybernetic art research project 2011 03

dancoyote antonelli

a release from the bonds of gravity and physicality. The wand in the left hand is called a “caduceus”, which refers to the transformational nature of the Greek god Hermes. Caduceus .03 is also a one of a kind virtual tool, custom programmed to project commands to metamorphosize objects and installations from a distance. DC Spensley

Biography

DanCoyote Antonelli: The avatar DanCoyote was created as the proxy for David “DC” Spensley in the virtual world of Second Life. The name DanCoyote is derived from Cervantes’ Don Quixote and in honor of a coyote that Joseph Beuys lived with for a time at the René Block Gallery in New York during his 1974 action, “I like America and America Likes Me”. DanCoyote’s costume is intended to be simple and low bandwidth, placing the emphasis on work outside of the avatar. Each detail of DanCoyote’s garb, however, has significance. Yellow and black are high visibility colors and also the official colors of the City of San Francisco. The gold bands on his arms and legs symbolize

An alumni of the San Francisco Art Institute, DC Spensley has lived and worked in Northern California since 1986. Spensley wears the hat of writer, director, cinematographer, composer, performance artist and most recently has appeared as the avatar DanCoyote Antonelli in the virtual reality simulation of Second Life. While most people jealously guard their pseudonymity inside this alternate reality, Spensley attempts parity in both worlds and has exhibited internationally at the ZeroOne/ISEA conference in 2006, the Dutch Electronic Arts Festival 2006 and Ars Electronica 2007. CARP Metaverse Art Book Forward According to Wikipedia, “TELEPRESENCE is a set of technologies that allow a person to feel as if they were present, to give the appearance that they were present, or have an effect, at a location other than their true location”. This is as true for the telephone as it is for the virtual world of Second Life. Virtual worlds are simulated space that becomes a place when we experience it together in mutual, simultaneous telepresence. This is just like the shared space that can happen when you talk to a loved one on the telephone on the other side of the world, or the other side of town. The distance between people is defeated by technology used to

dancoyote antonelli

create a third space, a place that is not here, not there, but shared a shared conceptual location. This new location is “live”. The distinction being made here is that the word “space” is intended as a more neutral term that does not infer any content, while the word “place” infers some kind of shared social location. This social location is also referred to as the “Metaverse” used for a shared art experience is the focus of this book, hence the name “Metaverse Art”. What makes Metaverse Art interesting and important? One way to look at this is to compare historically dominant media by saying “Radio is to TV as TV is to Virtual Worlds. This means that TV has superseded radio just as virtual worlds are presently superseding TV. The distinction between radio and TV is quite apparent, in that TV added cinema to the radio experience bringing the moving picture into common consumption. The distinctions between TV and virtual worlds are less obvious to a culture still deeply enamored of the medium of television and while both television and virtual worlds are both experienced on a flat visual display, conceptually they are very different. Television and cinema are single point perspective, communal, asymmetrical mediums. This means that the viewer of television gets only one view of a scene and that this scene is shared by everyone who watches a program. What is perhaps even more important is that TV is an asymmetrical medium, meaning that the makers of the programming are empowered to express their voice, while the viewer is expected only to participate as a passive recipient of the ideas presented by the program’s creators. Virtual worlds break from the asymmetrical model and present the possibility of symmetrical (social) communication between people. Virtual worlds present the participant with the potential to experience ANY perspective to a scene and individually configure the means of presentation of this perspective. What this

dancoyote antonelli

means is that while TV was â&#x20AC;&#x153;one size fits allâ&#x20AC;? for all viewers and communal, VWs are individual and configurable, while TV is single point perspective, VWs present the participant with the means to pick their own viewpoint and literally intervene in a scene. This ability of the viewer to intervene/interact is a critically important aspect of virtual worlds and means that they are inherently social and performative. This social quality combined with network transportability provides a foundation for unique and international expressions of community. Social media has freed community from geography and the virtual worlds provide a metaphorical common space for new concentrations of communities such as the arts, performance and music communities that thrive presently in Second Life. In any space communities form from affinity, proximity and shared language. In material space, physical proximity is a factor that limits the size and therefore the critical mass of some communities.The virtual community can aggregate from nearly any physical location over the network and provides new opportunities for concentrations of affinity groups that otherwise might not be possible. This book is about one of these groups, an international cadre of artists practicing in a shared social space that supersedes geographic limitations and sets the stage for an unprecedented flowering of the arts. In the past, centers like Paris, Vienna, New York etc. have been host to the major art historical milestones, to movements that changed the very fabric of culture. The shared virtual space for art is no less than revolutionary in that it creates a conceptual location for the next wave of art movements, a place that supersedes linguistic and national borders and points to a new Alter-Modern culture. This is the culture of confluence, hybridity and syncretism.

dancoyote antonelli