Museo del Metaverso by laszlo diabolus

roxelo babenco velazquez bonetto

Museo del Metaverso

MdM

This e-book is dedicated to

Giorgio Vasari

(30 July 1511 â&#x20AC;&#x201C; 27 June 1574)

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A publication of the Museo del Metaverso and the Artspace Diabolus Cybernetic Art Research Project (CARP) 2010 copyrights: Museo del Metaverso and Artspace Diabolus Cybernetic Art Research Project (CARP) 2010 Roxelo Babenco aka. Rosanna Galvani (Italy) Velazquez Bonetto aka. Lรกszlรณ ร rdรถgh Diabolus (Stuttgart Germany) Metaverse snapshots: Velazquez Bonetto

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in a form or by any means, without the prior permission in writing of the copyright owners. This publication includes some words which have or are asserted to have proprietary status as trademarks or otherwise. Their inclusion does not imply that they have acquired for a legal purposes a non-proprietary or general significance nor any other judgement concerning their legal status.

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Solkide Auer THE “M” OF THE METAVERSE

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roxelo babenco velazquez bonetto

Museo del Metaverso

MdM

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Contents Prefazione Il Museo del Metaverso 11 MDM 2D the virtual surface 19 MdM 3D the virtual space 79 MdM 4D hyperspace cinetic cybernetic 115 MdM evewnts and performance 201

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Artist index 1째 Piano FRIEDA KORDA NUR MOO FOUR YIP MILLAMILLA NOEL BRYN OH LOLLITO LARKHAM ARTISTIDE DESPRES JOSINA BURGESS MASSIMO BLINKER SAVEME OH SANTI AMAT SARIMA GIHA DELFINA1982 CUTTITA 2째 Piano CHRISTOWER DAE ANTROPO MORTLOCK AKIM ALONZO REDMOON BALUT 3째 Piano SOLKIDE AUER E SHELLINA WINKLER ALOISIO CONGREJO DACO MONDAY FRANSY LISLE GLEMAN JUN KICCA IGALY MARYVA MAYO LOOP LUO ROSE BORCHOVSKI SELAVY OH

PLACE 1 RUMEGUSC ALTAMURA SCA SHILOVA EIFACHFILM VACIRCA WERNER KUROSAWA MERLINO MAYO FRIEDA KORDA E MAXXO KLAAR SOLKIDE AUER PLACE 2 NICOLA REINERMAN VELAZQUEZ BONETTO LUCE LAVAL JONATHAN KAZAN PELI DIETERLE IAYA NISHI PIATFORM OPENGARDEN (ALLESTIMENTO BY ARCO ROSCA) SELAVY OH DANCOYOTE ANTONELLI MILLAMILLA NOEL MARCO MANRAY WERNER KUROSAWA MENCIUS WATTS & TAGGERT ALSOP RED PLATFORM LUCIAN IWISH SFERE DI LUCIAN IWISH CUBI DI ARCO ROSCA BEACH GLYPH GRAVES ASIAN LEDNEV LUCIAN IWISH ABDULLAH YAZIMOT

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Prefazione Il Museo del Metaverso Roxelo Babenco aka Rosanna Galvani

Il Museo del Metaverso è un progetto nato in Second Life nel 2007 per la valorizzazione del patrimonio artistico creato nel mondo virtuale, di cui è proprietaria la società americana Linden Lab. Il Museo è anche spazio espressivo che si caratterizza come “luogo antropologico in continua evoluzione”, concetto al quale si ispira l ‘architettura del suo edificio digitale, sia nella prima che nella attuale versione. L ‘odierna struttura è stata pensata e realizzata in Opensim da Nicola Reinerman aka Nicolas Sack. Nicola, avendo in mente la prima costruzione del museo, ne ha conservato la composizione modulare, funzionale alle esigenze di continua evoluzione

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architettonica e artistico-culturale di MdM. Il risultato ci mostra una struttura che sembra fondersi con le opere stesse, fino a fare sì che il museo si configuri come una complessa opera concettuale, rappresentata dagli artisti, dalle loro opere, dai visitatori, dall’owner, dall’officer, da tutta la comunità che si è creata e orbita intorno al museo, nonché dalle storie umane, artistiche e culturali che crescono e si intrecciano nel Museo del Metaverso.

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MdM, da un anno, ha una forte presenza in Opensim-Cyberlandia, dove continua la sua mission di promozione dell’arte digitale, con particolare attenzione ai mondi virtuali di Second Life e Opensim. Il progetto che nasce e si sviluppa in Second Life e Opensim, ha una sua forte esposizione nel Web con il sito ad esso dedicato, www.museodelmetaverso.it, con i gruppi in Flickr e in Facebook, con l’affiliazione a 2Lifecast, la cui collaborazione ci permette di esportare in tempo reale contenuti media streaming da Second Life al Web. Questo art book che ci apprestiamo a pubblicare, grazie al talento e alla straordinaria dedizione del Maestro Laszlo Oerdoegh Diabolus aka Velazquez Bonetto, vuole rappresentare la testimonianza “tangibile” della creatività espressa nelle opere esposte al Museo del Metaverso, nonché della bellezza e dell’importanza di un fenomeno troppo spesso sottovalutato, se non snobbato, dal mondo dell’arte reale. Gli artisti che espongono le loro creazioni al Museo del Metaverso sono tra i migliori del panorama artistico di Second Life e non solo, poiché molti di loro provengono da esperienze artistiche reali; tutti hanno maturato una grande perizia tecnica, affinando capacità creative che non sapevano di possedere (mi riferisco ai nativi), ma che evidentemente ciascuno di noi ha dentro di sé ed emergono

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soltanto se ben stimolate. Io credo che i lavori mostrati nel book abbiano dignità per essere presi in considerazione, non come oggetti virtuali, ma come vere e proprie opere digitali. Se non sono ascrivibili alla categoria di “creazioni artistiche” tout court, ritengo tuttavia che debbano essere almeno considerate, osservate, comprese nella loro complessa composizione che prevede molto spesso l’utilizzo di una tecnologia sofisticata di linguaggi di programmazione. Second Life ha visto in questi anni crescere e affermarsi una forte componente creativa, favorita sia dalla peculiarità dello strumento tecnologico che Linden ha messo a disposizione degli utenti sia dall’elemento sociale insito in un social network come Second Life. Si è parlato a tal proposito di creatività con una forte componente sociale, quasi che la socialità favorisse in qualche modo la creatività e questo aspetto ha suscitato l’interesse di molti osservatori che, tuttavia, si sono soffermati a studiare il fenomeno più dal punto di vista sociologico e della comunicazione che sotto il profilo della creatività. Io mi auguro che la bellezza di questo artbook possa suscitare curiosità in chi ha sempre guardato a questi lavori con molta sufficienza e con poco senso della contemporaneità, se non del futuro. Come ho già avuto modo di affermare, non penso in alcun modo che tutto quello che si crea in Second Life o in Opensim sia arte, credo tuttavia che sia in atto un fenomeno da non trascurare, come espressione dei tempi in cui viviamo, dove la creatività risulta sempre più compressa da ritmi di vita estenuanti e dai mancati stimoli di un mondo dove la fantasia è negata. Probabilmente capita che all’interno della Secon-

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da Vita, lontani dal frastuono del mondo e spogliati dalle angosce della quotidianità, la fantasia si risvegli, dando luogo ad una creatività che nessuno credeva di possedere, ma che era lì latente dentro di noi, in attesa soltanto di trovare una via di uscita. L’uomo contemporaneo trova così un rimedio per recuperare la creatività, che in passato si esplicava nella maggior parte dei lavori: pensate al lavoro nei campi, nelle botteghe degli artigiani o nelle fucine dei fabbri o dei vetrai, alle tessiture, ai ricami e a tanti altri mestieri che contemplavano la creatività. Lavori per la maggior parte scomparsi a causa della produzione industriale delle merci, con conseguente alienazione dei lavoratori che, nella società industriale, diventavano addetti alle macchine o alle catene di montaggio.

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Viviamo immersi nella contemporaneità anche grazie alla connessione globale, tuttavia sembra quasi che non si voglia prendere atto dei cambiamenti prodotti dalle tecnologie e dalla rete. L’artista non è più rappresentato come l’uomo solo nel suo atelier, alle prese con tele e colori, l’artista contemporaneo è interconnesso con il mondo globale, la sua creatività si esplica mediante la tecnologia e i contenuti sono condivisi nei social media. L’arte quindi diventa una manifestazione sociale e globale. Testimonianza ne sono i contenuti condivisi in Flickr, in Facebook, in Koinup, Youtube, Vimeo, in Second Life e in altri media sociali. Se l’assunto è accettato, non si può non guardare con curiosità e attenzione questo meraviglioso art book e chissà, magari a qualcuno verrà anche il desiderio di entrare in Second Life a vedere da vicino le creazioni pubblicate, di cui molte sono riproducibili fisicamente con materiali idonei, mentre altre, soprattutto quelle in movimento e interattive, potranno essere esportate nei luoghi fisici soltanto mediante riprese video.

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Ringrazio di cuore il Maestro Laszlo Oerdoegh aka Velazquez Bonetto per questo prezioso regalo che ha fatto a me e agli artisti del Museo del Metaverso. Ringrazio gli artisti e tutte le persone che mi sono state vicine in questi anni e hanno condiviso con me un tratto di strada nella realizzazione di un progetto entusiasmante e rivolto al futuro.

Velazquez Bonetto Vorwort: Die wahre Kunst erzählt immer etwas über die Zukunft von der Menschheit. Die Kunst versucht die Wahrheit zu exrtrapolieren in der Richtung von Wünsche und Treume. Die Kunst hilft die probleme zu entdecken, die Ungleichgewicht zwischen Reale Albträume und das gewünschte Leben. Die Kunst ist in der Lage kritisch darstellen was unsere leben auf die Erde gefärdet. Aber es ist nicht genügend. Wir müssen darstellen können welche Visionen sichern langfristig das Leben von die nächste Generationen. Hast du Kindern? Dann verstehst du was ich meine. Wenn wir haben keine Visionen, haben wir auch keine Zukunft und wir hinterlassen für unsere Kindern eine änlich schlecht funktionierende Welt was wir von unsere Vorvarten geerbt haben. Unsere Ziel ist: Zeigen wie die Künstlern von heute die Morgen und Übermorgen vorstellen. Es geht um wahre strategische Visionen. Für diese Mission wählen wir eine moderne Mediator: der weltweit ohne grenzen funktionierende Visions Machiene der Metaverse Infrastruktur. Der hilft uns unsere Ideen weltweit zu verbreiten, für andere Menschen deutlich machen welche unglaubliche Möglichkeiten haben wir. Die wahre Visionen beginnen immer mit die richtige Fragen.

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Solkide Auer THE “M” OF THE METAVERSE

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MdM 2D the virtual surface

Picture 13: MillaMilla Noel

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Picture 14: MillaMilla Noel

Picture 12: MillaMilla Noel

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Picture 15: MillaMilla Noel

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Picture 16: MillaMilla Noel

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Picture 17: MillaMilla Noel

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Picture 18: Four Yip

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Picture 19: Four Yip

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Picture 20: Four Yip

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Picture 21: Four Yip

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Picture 22: Frieda Korda

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Picture 23; Frieda Korda

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Picture 24: Frieda Korda

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Picture 25: Nur Moo

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Picture 26: Nur Moo

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Picture 27: Redmoon Balut

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Picture 28: Akim Alonzo

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Picture 29: Akim Alonzo

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Picture 30: Akim Alonzo

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Picture 31: Redmoon Balut

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Picture 32: Redmoon Balut

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Picture 33: Redmoon Balut

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Picture 34: Redmoon Balut

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Picture 35: Santi Amat

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Picture 36: Santi Amat

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Picture 37: Santi Amat

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Picture 38: Ramoon Balut, Akim Alonzo

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Picture 39: Akim Alonzo

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Picture 40: Akim Alonzo

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Picture 41: Delfina1982 Cuttita

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Picture 42: Sarima Giha La CittĂ Blog

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Picture 43: Sarima Giha Landscape per lâ&#x20AC;&#x2122;allestimento di Velazquez Bonetto

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Picture 44: OPENGARDEN (ALLESTIMENTO BY ARCO ROSCA)

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Picture 45: Marco Manray

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Picture 46: MillaMilla Noel

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Solkide Auer THE “M” OF THE METAVERSE

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MdM 3d the virtual space

Bryn Oh “The visual artist essentially has one main purpose, to make the viewer look at or interact with their creation for as long as possible. When the viewer has moved away then you may have lost them so essentially don’t let them leave. A good artist will subtly employ different techniques to keep the eye of the viewer traveling within the piece. For example, generally (and all art “rules” are general) the viewer’s eye will enter a painting starting in the bottom right hand side. The eye tends to travel counter clockwise in a circular manner moving from focal point to focal point. The artist will then try to lead the eye to areas of importance. This can be done through colour theory, composition or a multitude

of other methods. The artist wants to capture the viewer and suspend their disbelief. Make them feel like they are within the painting. I like to work on large paintings to block out the viewer’s peripheral vision. Don’t let them see a light switch or another painting or even another person in their peripheral because that only anchors them to the knowledge that they are in fact within a gallery setting looking at a 2D image. Those elements prevent the viewer from becoming fully immersed. And this is where Second Life comes in. I believe the next big art movement will be immersive art, and I think second life is the start to this. We still look at a computer screen and can be distracted by our peripheral, by the need to use a keyboard, by our cat or by the phone ringing. But we have taken the step to be immersed in a 3D environment rather than viewing a 2D image. When space is available I create a story to catch the viewers attention. I create mysteries or environments for participation, and I am constantly trying to think of other ways to further immerse the viewer. We are at the beginnings now but I imagine the art of the future to be when someone comes home from work and plugs into an environment. They might be transported to a canoe on a lake with calling loons or their grandmothers’ kitchen. But perhaps the real test of an artist will be drawing out the shiver one feels when their virtual lover caresses their cheek. The feeling of love for an entity that does not exist in the real world, but was able to draw forth such an emotion due to the viewer’s full immersion into a storied environment.”

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Picture 2: Bryn Oh

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Picture 4: Bryn Oh

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Picture 5: Bryn Oh

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Picture 6: Massimo Blinker

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Picture Picture7:5:Sca Shilova

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Picture 8: Artistide Despres

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Picture 9: Kicca Igaly

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Picture 10: Lollito Larkham

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Picture 11: Lollito Larkham

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Picture 12: Lollito Larkham

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Picture 13: Lollito Larkham

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Picture 14: Daco Monday

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Picture 15: Daco Monday

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Picture 16: Aloisio Congrejo

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Picture 17: Aloisio Congrejo

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Picture 18: Aloisio Congrejo

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Picture 19: Iaya Nishi

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Picture 20: Frieda Korda

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Picture 21: Maxxo Klaar

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Picture 22: Asian Lednev

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Picture 23: Asian Lednev

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Picture 24: Abdullah Yazimot

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Picture 25: Peli Dieterle

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Picture 26: Peli Dieterle

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Picture 27: Solkide Auer THE HAT OF ROXELO

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Picture 28: Solkide Auer THE HAT OF ROXELO

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MdM 4D Roy Ascott: art and the cybernetic vision 1966-67 edited by velazquez bonetto

mid riff note 11. 05. 2009 “Roy Ascott is prophetic. To say the least this essay written in 1966-67 reminds of visions foretold by Vannaver Bush in As We May Think, although with the exception of focusing on the work of art and incredible accuracy to what our current relations to the computer and art have become. This is to say that at the time which he wrote this essay, hardly anyone outside of the scientific or academic world had ever touched a computer, let alone could could afford one or had any use either. The prospects of computer aided art are just now becoming realized as well and the likeness to Ascott’s beliefs is uncanny. The prospects of the participative form of art are not new to us now, but were just com-

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ing into existence, when Ascott was writing, across the Atlantic through Dick Higgins and the Fluxus movements Happenings. These pale by comparison with what may be possible today but we are really just scratching the surface on the possibilities foretold by Ascott. His characterizations of the art world and its history are incredible and accurate to us today, and his interest in gaming as a form of participative art. To me he may put the prospects of gaming art to high though as it is only a factor of the possibilities we possess today, although undeniably a strong force in the motivation behind participative art. The real characteristic behind gaming art is more so the altered environment presented to the viewer and their ability to change it. This is to say that what may be grander than people interacting within a work of art is peoples environment being changed by their interactions (ie. body temperature, movement, sound). This context may have more potential to the grandeur of participative art and include the behavioural prospects Ascott hopes for within the arts without constriction. It may be gaming, it may be installation, it may be hanging on a wall, or it may be web art. I don’t believe by the word ‘play,’ Ascott is referring to the idea of gaming but rather the larger context of interaction. From which, he is saying that computer aided works of art should strive to utilize such processor power and interact with their viewers. We are really only scratching on the surface though as programs such as Quartz or Processing become more widely known and possibilities via the internet increase exponentially. This is coupled by a fear in the public of art done with computers due to their lack of understanding, but as every generation becomes more cpu savvy we are sure

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to see a huge increase in acceptance on the levels of fine art.” Roy Ascott: Behaviourist Art and the Cybernetic Vision. New York, London: W. W. Norton & Company 2002, pp. 104-120. « Since the 1960s, the British educator, artist, and theoretician Roy Ascott has been one of Europe’s most active and outspoken practitioners of interactive computer art Ten years before the personal computer came into existence, Ascott saw that interactivity in computer-based forms of expression would be an emerging issue in the arts. Intrigued by the possibilities, he built a theoretical framework for approaching interactive artworks, which brought together certain characteristics of the avant-garde (Dada, surrealism, Fluxus, Happenings, and pop art, in particular) with the science of cybernetics championed by Norbert Wiener. Ascott’s thesis on cybernetic vision in the arts begins with the premise that interactive art must free itself from the modernist ideal of the “perfect object” Like John Cage, he proposes that the artwork be responsive to the viewer, rather than fixed and static. But Ascott expands on Cage’s premise in the realm of computer-based art, suggesting that the “spirit of cybernetics” offers the most effective means for achieving a two-way exchange between the artwork and its audience.

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Ascott challenges artists to acknowledge information technology as the most significant tool of the age, and insists that it is the artist’s obligation to use this technology. Yet, unlike Nam June Paik’s vision, Ascott’s is not ironic; rather, it is utopian in

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its embrace of a new medium, excited by the potential of a thriving, dynamic exchange between technology and art to empower the spectator and deepen his or her experience. » The behavioural tendency in modern art

unity, an integral culture, embracing modern science and technology. And we shall warn how this unity, and the incipient cybernetic vision in art, may be inhibited by artistic attitudes which, out of ignorance and fear, are opposed to radical creative change, and view a cybernated society with indifference or hostility.

“. . . By “Modern Art” we mean that cultural continuum of ideas, forms and human activity which differs radically from any previous era and is both expressive and formative of the attitudes and conditions of our time. To describe it as a continuum may seem contradictory to its accepted identity. It is seen popularly as an anarchic, highly diversified and chaotic situation which loses as much in coherence and continuity as it gains in novelty and imagination. Now, undoubtedly it is anarchic, but in the good sense that interaction between artists is free and not constrained by aesthetic canons or political directives.

The general characteristics of modern art

The diversity of images, structures and ideas which it engenders is far greater than at any other period in history. And it may well seem chaotic; a common cultural consciousness is not readily apparent today. But it is our purpose to demonstrate that Modern Art is fundamentally of a piece, that there is unity in its diversity, and that the quality which unifies it is in distinct contrast to the essential nature of the art which went before it. We shall describe this quality as “behavioural” and we shall show how it evidences our present transition from the old deterministic culture to a future shaped by a Cybernetic Vision.

The vision of art has shifted from the field of objects to the field of behaviour and its function has become less descriptive and more purposive. Although in Painting and Sculpture the channel of communication remains largely visual, other modalities are increasingly employed-tactile, postural, aural; so that a more inclusive term than “visual” art must be found, and the one we propose is “behavioural.” This behavioural tendency dominates art now in all its aspects.

The analysis of this behavioural tendency will be largely confined to one broad area, that of the visual/ plastic arts, since there it seems to be most marked, but in a more general sense we shall discuss the arts as a whole, illustrating their convergence and interaction in this context. We shall demonstrate how this unity of approach may be potentially part of a larger

The dominant feature of art of the past was the wish to transmit a clearly defined message to the spectator as a more or less passive receptor, from the artist as a unique and highly individualised source. This deterministic aesthetic was centred upon the structuring, or “composition,” of facts, of concepts of the essence of things, encapsulated in a factually correct visual field. Modern Art, by contrast, is concerned to initiate events and with the forming of concepts of existence.

The artist, he artifact and the spectator are all involved in a more behavioural context. We find an insistence on polemic, formal ambiguity and instability, uncertainty and room for change in the images and forms of Modern Art. And these factors predominate not for esoteric or obscurantist reasons but to draw the spectator into active participation in the act of creation; to extend him, via the artifact, the opportunity to become involved in cre-

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ative behaviour on all levels of experience-physical, emotional and conceptual. A feedback loop is established so that the evolution of the artwork/experience is governed by the intimate involvement of the spectator. As the process is open-ended the spectator now engages in decision-making play. Creative Participation We may say that the boundaries between making art, the artifact itself, and the experience of the work are no longer clearly defined. Or, more precisely, that the tendency for this to be so is evident. There are still in this transitional period many artists who contrive to force the new sensibility into old moulds, just as in technology there are many industrialists who attempt to squeeze cybernation into a nineteenth-century structure of operations. The participational, inclusive form of art has as its basic principle “feedback,” and it is this loop which makes of the triad artist/artwork/observer an integral whole. For art to switch its role from the private, exclusive arena of a rarefied elite to the public, open field of general consciousness, the artist has had to create more flexible structures and images offering a greater variety of readings than were needed in art formerly. This situation, in which the artwork exists in a perpetual state of transition where the effort to establish a final resolution must come from the observer, may be seen in the context of games. We can say that in the past the artist played to win, and so set the conditions that he always dominated the play. The spectator was positioned to lose, in the sense that his moves were predetermined and he could form no strategy of his own. Nowadays we are moving towards a situation in which the game is never won but remains perpetually in a state of play. While the general context of the art-experience is set by the artist, its evolution in any specific

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sense is unpredictable and dependent on the total involvement of the spectator. Where once the function of art was to create an equilibrium, establish a harmony on he public level of relatively passive reception, we now find art as a more strident agent of change, effecting a jolt to the whole human organism, a catalyst which sets up patterns of behaviour, of thought and emotion, which are unpredictable in any fine sense. We observe in the painting of Poussin, for example, the wish to fix a set of relationships in the spectator’s consciousness, to reinforce these absolutes by the stability of the formal omposition; he communicates but by a one-way channel. The modern artist, on the other hand, is primarily motivated to initiate a dialogue, to set feelings and ideas in motion, to enrich the artistic experience with feedback from the spectator’s response. This cybernetic process of retraction generates a constant stream of new and unfamiliar relationships, associative links and concepts. Each artwork becomes a sort of behavioural Tarot pack, presenting coordinates which can be endlessly reshuffled by the spectator, always to produce meaning. This is achieved principally in one of two ways: either the artifact has a definitive form but contains only a small amount of low-definition information; or its physical structure is such that its individual constituent parts can change their relationships, either by the direct manipulation of the spectator, or by his shifting viewpoint, or by the agency of electrical or other natural power. The active involvement of the spectator can be thought of as removing uncertainty about a set of possibilities. Deep involvement and interplay produces information. The “set” of the artwork has variety only in so far as the observer participates. The variety of the set is a measure of the uncertainty involved. An important characteristic of Modern Art, then, is that

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it offers a high degree of uncertainty and permits a great intensity of participation. As to the artistâ&#x20AC;&#x2122;s role, it can be said to function on two levels simultaneously, the private and the social. In the first case, the primacy of a total behavioural involvement in the activity or process of making art is apparent. The artist is not goal-directed in the sense of working towards a predetermined art object. The artifact is essentially the result of his creative behaviour, rather than the reason for it. The growth of a painting or sculpture or environment is of more importance than the achievement of its final form. Indeed, unlike Classical Art, there is no point at which it can be said to have reached a final form. From the social point of view the artistâ&#x20AC;&#x2122;s behaviour is a Ritual in which he acts out the role of the Free Man controlling his world by taking endless risks as he plunges into the unknown territories of Form and Idea. It is a paradigm of a condition to which the human being constantly aspires, where freedom and responsibility combine to reduce our anxiety of the unknown and unpredictable while enlarging our experience of the unfamiliar and irresistible. At this early stage of a radically new culture the artist is doing little more than exploring his new relationship to the spectator. He is searching for new ways of handling ideas, for more flexible and adaptive structures to contain them; he is attempting to generate new carrier waves for the modulations of contemporary experience; and he is searching the resources of technology to expand his repertoire of skills. His concern is to affirm that dialogue is possible-that is the content and the message of art now; and that is why, seen Tom the deterministic point of view, art may seem devoid of content and the artist to have nothing to say. The modern means of communication, of feedback

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and viable interplay-these are the content of art. The artist’s message is that the extension of creative behaviour into everyday experience is possible. The message is timely and apposite at a period in which we can anticipate the reduction of labour to a minimum and expect the creative use of leisure time to be the main preoccupation of our lives. And even if the artist were to have fully explored the new channels of communication and thoroughly exploited the media and techniques of modern technology, it is unlikely that his attitude would change. He would continue to avoid the limitations of an aesthetic geared to the transmission of finite messages or the formulation of fixed attitudes and absolute values. He will continue, instead, to provide a matrix for ideas and feelings from which the participants in his work may construct for themselves new experiences and unfamiliar patterns of behaviour. . . . The cybernetic vision in art By this term we do not mean “the Art of Cybernetics” nor do we refer to an art concerned to illustrate Cybernetics, nor yet an art embodying cybernetic machines or Robot Artalthough anyone of these things might be involved at some point, and again, they might not. We are referring to the spirit of Cybernetics which may inform art and in turn be enriched by it. We contrast the Cybernetic Vision in Art to the Deterministic Vision of the past which has already been outlined. We say of Cybernetics that, before it is a method or an applied science, it is a field of knowledge which shapes our philosophy, influences our behaviour and extends our thought. We are moving towards a fully cybernated society where processes of retraction, instant communication, autonomic flexibility will inform every aspect of our environment. In that forming society, of which we are a part, the cybernetic spirit finds its expres-

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Picture 5: Eifachfilm Vacirca

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sion in the Human Science and in Environmental Technology; the two poles between which we act out our existence. It is the spirit of our understanding of life at its simplest and most complex levels, and a large measure of our ability to control it. The economic and social effects of automation in the cybernated society will be profound. The effects of our transition of that future state are already felt, particularly in the United States. Matters of leisure, class formation, political and economic power have already called for revision and new thinking. Cybernetics already dominates our more advanced concepts of transport, shelters, storage and other day to day matters of control and communication and has caused the radical transformation of many industrial and commercial procedures. The effect of the computer on human thought is currently the subject of vigorous discussion in academic circles; the man/computer relationship is seen to be as much a question of identity as of methodology. Fundamentally Cybernetics concerns the idea of the perfectibility of systems; it is concerned in practice with the procurement of effective action by means of selforganising systems. It recognises the idea of the perfectibility of Man, of the possibility of further evolution in the biological and social sphere. In this it shares its optimism with Molecular Biology. Bio-cybernetics, the simulation of living processes, genetic manipulation, the behavioural sciences, automatic environments, together constitute an understanding of the human being which calls for and will in time produce new human values and a new morality. How does the artist stand in relation to these radical changes? On the level of opinions or concepts he is and will be free to accept or reject them. But on the level of deep human experience they will â&#x20AC;&#x153;alter sense ratios or patterns of perception steadily and without resistance.â&#x20AC;? The artist is faced with two possibilities; either to be carried along in the stream of events,

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Picture 6: Velazquez Bonetto: cybernetic particle sculpture

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mindlessly, half aware and perhaps bitter and hostile as a result; or he can come to terms with his worJd, shape it and develop it by understanding its underlying cybernetic characteristics. Awareness of these underlying forces will sharpen his perception; the utilisation of new techniques will enlarge his powers of thought and creative action; he will be empowered to construct a vision in art which will enhance the cybernated society as much as it will be enriched by it. Understanding and awareness, in short, are the conditions for optimism in art. There is reason to suppose that a unity of art, science and human values is possible; there is no doubt that it is desirable. More specifically we propose that an essentially cybernetic vision could unify and feed such culture. The grounds for supposing that Art has anticipated this integral situation and is prepared for it can be found in the emphatically behavioural tendency which it displays. Cybernetics is consistent with Behaviourist Art; it can assist in its evolution just as, in turn, a behavioural synthesis can embody a Cybernetic Vision. Cybernetics and behaviourist art It is necessary to differentiate between “l’esprit cybernetique” as we have tried to describe it above, and Cybernetics as a descriptive method. Now, art like any process or system can be examined from the cybernetic point of view; it can also derive technical and theoretical support from this science-as in the past it has done from Optics or Geometry. This is not unimportant since the artist’s range can be extended considerably, as we briefly indicate below. But it is important to remember that the Cybernetic Vision in Art, which will unify art with a cybernated society, is a matter of “stance,” a fundamental attitude to events and human relationships, before it is in any sense a

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technical or procedural matter. Behaviourist Art constitutes a retroactive process of human involvement, in which the artifact functions as both matrix and catalyst. As matrix, it is the substance between two sets of behaviours; it neither exists for itself nor by itself. As a catalyst, it triggers changes in the spectator’s total behaviour. Its structure must be adaptive implicitly or physically, to accommodate the spectator’s responses, in order that the creative evolution of form and idea may take place. The basic principle is feedback. The system Artifact/Observer furnishes its own controlling energy; a function of an output variable (observer response) is to act as an input variable, which introduces more variety into the system and leads to more variety in the output (observer’s experience). This rich interplay derives from what is a self-organising system in which there are two controlling factors; one, the spectator is a self-organising sub-system; the other, the artwork is not usually at present homeostatic. There is no a priori reason why the artifact should not be a self-organising system; an organism, as it were, which derives its initial programme or code from the artist’s creative activity, and then evolves its specific artistic identity and function in response to the environments which it encounters. The artist’s creative activity is also dependent on feedback; the changes which he effects in his immediate environment (or “arena”) by means of tools and media set up configurations which feed back to affect his subsequent decisions and actions. Thus Modern Art, with its fundamental behavioural quality, is the art of the organisation of effects. And when all the control factors, including the artwork itself, are effectively homeostatic, art will be concerned with the automatic control of effects. Cybernetics, of course, is the science of the organisation of effects, and of the automatic control of effects.

Equally, there is no a priori reason why the artwork should become a self-organising system; the basic feedback process of behaviourist art operates within the conventions of painting and sculpture, provided that they display low definition, multiple associations and indeterminate content, within parameters which are, at least implicitly, flexible. And, as we have suggested already, this is nowadays the case-even to the extent of providing a more or less empty receptacle (the canvas) into which the spectator can project his own imaginative world, e.g., Yves Klein, Ad Reinhard. The Computer and growth systems However, historically it has been a characteristic of the artist to reach out to the tools and materials which the technology of his time produces, just as his perception and patterns of thought have tended to identify with scientific and philosophical attitudes of the period. If the cybernetics spirit constitutes the predominant attitude of the modern era, the computer is the supreme tool that its technology has produced. Used in conjunction with synthetic materials it can be expected to open up paths of radical change and invention in art. For it is not simply a physical tool in the sense that an aluminium casting plant or CO2 welding gear are tools, i.e., extensions of physical power. It is a tool for the mind, an instrument for the magnification of thought, potentially an intelligence amplifier. The interaction of man and computer in some creative endeavour, involving the heightening of imaginative thought, is to be expected. Moreover the interaction of Artifact and computer, in the context of the behavioural structure, is equally foreseeable. Experiments are already taking place. We have cited Schoffer’s use of a computer in some of his structures. In music Iannis Xenakis has made

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extensive use of an IBM 7090-a process in which he “specifies the duration and density of sound events, leaving the parameters of pitch, velocity and dynamics to the computer.” The “Light-Harp” project of Haukeland and Nordheim, an environmental sculpture emitting sound in relation to the quality of local light, with sound sources changing position within the structure, calls for a highly sophisticated control and communications system within it. The computer may be linked to an artwork and the artwork may in some sense be a computer. The necessary conditions of behaviourist art are that the spectator is involved and that the artwork in some way behaves. Now, it seems likely that in the artist’s attempt to create structures which are probabilistic, the artifact may result from biological modelling. In short, it may be developed with the properties of growth. Cybernetics already furnishes models which could assist in this development, e.g., Beer’s Fungoid Systems and research into chemical and chemical-colloidal computers. The potential for the future is enormous. The cybernetic vision not only shapes modern science and technology, integrating and bridging disparate fields of knowledge and improving artificial control and communication systems by the understanding of complex natural processes, but it can be expected to find expression and enlargement in Art. It can assist in the evolution of art, serving to increase its variety and vigour. . . .”

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Ara Pacis Interview Roxelo Babenco: Che cos’é Diabolus Art Space, oltre ad essere una comunità di artisti? Velazquez Bonetto: Forse il nome Art Space Diabolus puó essere un po’ frainteso, perché suggerisce che noi ci occupiamo esclusivamente di arte. Il nome Cybernetic Art Research Projekt (CARP) esprime meglio il nostro modo di pensare. Nel metaverso, molte delle astrazioni o dei concetti umani perdono il significato. Non esistono frontiere nazionali, differenze etniche o religiose. Anche i sistemi politici perdono senso. I più importanti aspetti della vita nel metaverso sono l’arte, la scienza e la tecnica. Il metaverso é un meraviglioso punto d’incontro per la comunicazione e la collaborazione, dove questi aspetti si ispirano reciprocamente. Ci interessa l’esperienza in un mondo libero da tanti concetti inutili che nel mondo reale sono soltanto causa di conflitti ed equivoci. La scienza e l’arte sono entrambe orientate verso il futuro. L’interessamento per il futuro e la voglia di renderlo più bello possono essere considerati come il comune denominatore del nostro gruppo. Questo é il punto di partenza del nostro lavoro. Roxelo Babenco: Come spieghi il grande successo di The Wall, The RINGS e Metropolis? Velazquez Bonetto: La causa più importante del successo é il fatto che artisti eccellenti e validi tecnici professionisti hanno accettato l’invito per una collaborazione internazionale senza puntare ad ottenere un profitto materiale o finanziario. Le più splendide opere della storia dell’arte nascono sempre da uno sforzo irrazionale. Il nostro é un comune sforzo intellettuale, che da soddisfazione. E l’unica spinta propellente del gruppo é proprio rag-

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giungere questa soddisfazione. Mi sento onorato di aver incontrato nel metaverso persone così eccellenti e di avere la possibilità di lavorare con loro. Si può probabilmente spiegare il successo anche con il fatto che tutte e tre le produzioni trasmettono un messaggio importante per il futuro. Questi messaggi vengono dal passato, ma non hanno perso la loro attualità. La mente umana ha una forte tendenza a scrutare il futuro e a paragonalo con il passato. Si deve ancora aggiungere che tutte e tre le produzioni presentano numerose sorprendenti innovazioni tecniche. L’uso dei mezzi espressivi di questi nuovi media é veramente esemplare. Roxelo Babenco: Che cosa significa essere un artista nel mondo virtuale? Velazquez Bonetto: L’arte é in un certo senso eterna. La sua essenza non cambia da millenni e tratta questioni umane fondamentali. Ma nel metaverso, i mezzi espressivi sono arricchiti. Questo nuovo media artistico si avvale di tutti i mezzi espressivi precedenti, ma aggiunge l’opportunità di una collaborazione e comunicazione internazionale, il che crea una qualità nuova. Questa esperienza regala la soddisfazione e la gioia dell’esplorazione alla gente creativa. Che cosa vogliamo di più? Roxelo Babenco: So che stai lavorando molto in Opensim, anche in collaborazione con il Museo del Metaverso. Questo è previsto nel futuro programma di Diabolus o c’è di più? Velazquez Bonetto: Questa è una domanda interessante. La grid Second Life di Lindenlab é un “concetto chiuso”, dove le “risorse” sono limitate. Questo fatto vincola l’immaginazione artistica ed annienta parte del vigore creativo. Opensim é fondamentalmente un “concetto aperto”, e di conseguenza, nonostante i problemi tecnici attuali, sarà senza dubbio il modello del futuro.

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Picture 7: Velazquez Bonetto

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Picture 8: Velazquez Bonetto

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Picture 9: Velazquez Bonetto

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Picture 9: Nicola Reinerman

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Picture 10: Nicola Reinerman

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Picture 11: Nicola Reinerman

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Picture 12: Rumegusc Altamura

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Picture 13: Rumegusc Altamura

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Picture 14: Rumegusc Altamura

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Picture 15: Jonathan Kazan

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Picture 16: Jonathan Kazan

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Picture 17: Werner Kurosawa

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Picture 18: Werner Kurosawa

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Picture 19: Selavy Oh

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Picture 20: Selavy Oh

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Picture 21: Dancoyote Antonelli, Werner Kurosawa

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Picture 22: Dancoyote Antonelli

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Picture 23: Dancoyote Antonelli

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Picture 24: Mencius Watts & Taggert Alsop

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Picture 25: Mencius Watts & Taggert Alsop

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Picture 26: Josina Burgess

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Picture 27: Josina Burgess

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Picture 28: Josina Burgess

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Picture 29: Gleman June

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Picture 30: Gleman June

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Picture 31: Gleman June

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Picture 32: Gleman Jun

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Picture 33: Gleman Jun

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Picture 34: Gleman Jun

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Picture 35 Gleman Jun

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Picture 36: Rose Borchovski

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Picture 37: Shellina Winkler

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Picture 38: Shellina Winkler

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Picture 39 : Shellina Winkler

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Picture 40: Shellina Winkler

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Picture 41: Shellina Winkler

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Picture 42: Shellina Winkler

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Picture 43: Shellina Winkler

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Picture 44: Solkide Auer

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Picture 45: Solkide Auer

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Picture 46: Solkide Auer

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Picture 48: Solkide Auer

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Picture 49: Solkide Auer

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Picture 50: SaveMe Oh

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Picture 51: Maryva Mayo

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Picture 52: Maryva Mayo

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Picture 53: Maryva Mayo

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Picture 54: Maryva Mayo

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Picture 55: Merlino Mayo

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Picture 56: Merlino Mayo

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Picture 57: Merlino Mayo

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Picture 58: Rose Borchovski, Selavy Oh

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Picture 59: Fransi Lisle

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Picture 60: Glyph Graves

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Picture 61: Glyph Graves

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Picture 62: Glyph Graves

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Picture 63: Lucian Iwish

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Picture 64: Lucian Iwish, Arco Rosca

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Picture 65: Lucian Iwish, Arco Rosca

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Picture 66: Lucian Iwish

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Picture 67: Lucian Iwish

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Picture 68: Lusian Iwish

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Solkide Auer THE “M” OF THE METAVERSE

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and Asia.

MdM events and performances

The Avatar Orchestra Metaverse is a global collaboration of composers, artists and musicians that approaches the virtual reality platform Second Life as an instrument itself. The Orchestra conceives, designs and builds its own virtual instruments, making it possible for each individual performer in the Orchestra to trigger sounds independent from one another and to play together in real time. These instruments feature sound, visuals, and animations. A performance of a jumping, hovering, floating, dancing, and twirling Avatar Orchestra Metaverse is a truly spectacular event. Avatar Orchestra performs regularly in Second Life and in mixed reality events at new media, music and visual arts centres in North America, Europe

AOM began to work and to play in march 2007. We, at that time the avatars maxxo klaar, paco mariani, miulew takahe, dethomas dibou, bingo onomatopoeia and vit latynina had been teeming up during december and january 2007 to make a live performance at the Pomodoro Bolzanos Art Birtday celebration on the 17th january. During this time we where discussing alot about future collaborative works combining music. So we ended up at Dorkbot Second Life first meeting on the 19th february 2007. There we met maximillian nakamura that presented this meeting. We came to discuss about collaborative works and about gathering more avatars to perform pieces in orchestral format like possibilities to make a virtual Vicky Mosquitos in this new orchestral concept in SL and the Fadheit piece that maximillian introduced. We started to form the idea of doing a Vickys Mosquitos #13 at the Art.Think.Box / Netherbeck of Pomodoro Bolzano. Harold Schellinx (aka hars hefferman) supported this idea to make a version of Vicky in SL. hars and his Ookoi compagnon Peter Mertens (aka frans peterman) was very involved in the rehearsals to make the premiere of VickyÂ´s Mosquitos #13 on the 14th march 2007 in a mixed reality context as Ookoi was invited at The Waag festival in Amsterdam on this date and we all thought it an interesting thing to play with this piece together with the green dressed real Ookoi members present in Amsterdam at same time as the green dressed avatars was playing in Second Life. bingo onomatopoeia was programming the aviophone for this piece (the instrument we played: see the glossary). vit latynina made the choreogra-

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Picture 1: Avatar Orchestra Metaverse performance

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Picture 2 Avatar Orchestra Metaverse performance

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Picture 3: Avatar Orchestra Metaverse performance

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Picture 4: Avatar Orchestra Metaverse performance

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Picture 5: Avatar Orchestra Metaverse performance

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phy. hars and frans made the green Ookoi dresses for AOM to wear. miulew takahe wrote the score and created samples and edited the Vicky voices in collaboration with hars. On the 14th of march was the premiere of Avatar Orchestra Metaverse performing Vickys Mosquitos #13 for both inWorld avatar audience at art.think.box and in real at The Waag festival in Amsterdam.

Jeremy Owen Turner performance Wirxli FlimFlam is a founding member of Second Front. In Real Life (RL), Wirxli is known as Jeremy Owen Turner (b. 1974 - Victoria, B.C., Canada). Turner is an internationally exhibiting avatar performance artist, curator, music composer and writer based in Vancouver. Turner has been performing in virtual environments since about 1996 and has specifically performed as an avatar since 2001.

Picture 7: Jeremy Owen Turner performance

Turner was the coordinator for Vancouverâ&#x20AC;&#x2122;s LIVE Biennial of Performance Art in 2005 and has just been appointed their Director of Avatar Development for the LIVE Biennial in 2007. www.livevancouver.bc.ca In addition to Second Life, Turner has also performed produced artwork and/or performances in these avatar environments: Digitalspace Traveler, Cybertown, Active Worlds, Moove/Roomancer, Virtual Ibiza, IMVU, MUSE and The Palace. Prior to being a performance artist in Second Life,

Picture 6: Jeremy Owen Turner performance

Picture 8: Jeremy Owen Turner performance

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Turner was most known for co-producing the very first in-world documentary of a virtual (avatar) community called AVATARA (2003) with Donato Mancini and Patrick “Flick” Harrison. DC performance An alumni of the San Francisco Art Institute, DC Spensley has lived and worked in this most tolerant and beautiful of North American cities for 20 years. Co-founder of quasi art movements like “The Gomi School” and “Critical Mass”, Spensley’s latest project spoofing the meta-narrative is called Hyperformalism which describes formalist abstraction in a hyper construct. These neologisms are descriptive of the artist’s perceived place in the larger context of cultural production, part “art movement” part marketing appliance and narrative license to create visual, aural and conceptual cohesion from the critical chaos of postmodern pluralism. DC’s twenty year career is difficult to quantify. A polymath, the artist 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 entitled Second Life. While most people jealously guard their pseudonymity inside this alternate reality, Spensley professes to be the same artist in both worlds and has exhibited recently at the ZeroOne/ISEA conference at the San Jose California Museum of Art, the Bumbershoots Festival under the auspices of Frye Art Museum of Seattle, the Dutch Electronic Arts Festival and numerous other venues in Second Life and real life since DanCoyotes Second Life birth in April of 2006. DanCoyote (a pun on Cervante’s Don Quixote) has achieved significant notoriety exhibiting art based on

situated technology and reactive architecture while at the same time creating, producing and directing a the only the only zero gravity dance troupe in either world. Spensley/DanCoyote’s ZeroG SkyDancers perform in Second Life and are often projected into real world venues, spanning the divide between continuums. The SkyDancers are a cross between water ballet and aerial acrobatics and have been said to invoke a sense of wonder and pageant similar to Cirque du Soleil. Source: http://slccartexhibit.wordpress.com/artistschecklist/bio-dancoyote-antonelli/ Juria Yoshikawa performance After two decades of creative pursuits - ranging from conceptual art, installation, poetry, performance, computer art, animation, photography and digital design - Juria Yoshikawa arrived in Second Life in the winter of 2007 looking for a new artistic spark. Rather than bringing in rl artwork, Juria is compelled to use mainly the elements that make up sl itself. A typical Juria Yoshikawa virtual artwork mixes kinetic objects, animated texture, ambient noise and av animations. She inevitably chooses scales larger than conventional gallery work because she is interested in people experiencing the work in a physical way - flying through them, riding on them and socializing within the art. To Juria virtual art is about freeing oneself up to create in ways she finds impossible in real life.Email me at juriayoshikawa@memespelunk.org. Lance Shields I am the real life person behind both Juria and Andres. As this SL art blog is starting to get viewed by interested folks I wanted to be clear about who is who. Especially in the case of Juria being a female, I wanted people to know that she exists in SL as one of my alter egos but that there is not a real life

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female face behind her. In my real life, I am a Tokyo based multimedia artist and designer. I have spent many years making digital art, installation art and performance. Sculpture and installation are where I started my creative career but I became progressively more involved in the digital and interactive. I see Second Life as a return back to my artistic roots yet at the same time combines my newer interests in the phenomenology in the virtual world. This difficult to say word is defined as â&#x20AC;&#x153;the reflective study of the essence of consciousness as experienced from the first-person point of viewâ&#x20AC;?. In my commercial life, I am a social media strategist a global company embrace social networking, blogging and Second Life. Source: http://memespelunk.org/blog/?page_id=39

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Picture 9: Jeremy Owen Turner performance

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Picture 9: Jeremy Owen Turner performance

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Picture 10: Jeremy Owen Turner performance

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Picture 11: Dancoyote Antonelli aka. DC Spensley performance

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Picture 12 Dancoyote Antonelli aka. DC Spensley performance

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Picture 13: Juria Yoshikawa performance

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Picture 14: Juria Yoshikawa performance

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Picture 15 Juria Yoshikawa performance

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Picture 16: MdM performance

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Picture 17: MdM performance

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Picture 18: diabolus-CARP WALL performance

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Diabolus/CARP The Wall performance iReport — Pink Floyd the Concert performed in Second Life by the project CARP. Is Second Life (SL) just a game or a future & present platform for artists? Get some valueable insight from one of the most established artist groups of SL and decide yourself . CARP (Cybernetic Art Research Projects) is an artist group of Second Life who explores the countless possibilities of SL, as a creative platform. We will take a closer look at todays show, which is based on Pink Floyds epos “The Wall”. CARP transfered the classic epos into the present and used the possibilities of SL to create a Hollywood like expierience. Created only with brilliantly creative Minds, dilligence and an affortable budget. The next performance is at Friday 2 nd April at the Diavolus Art Space, 2pm SLT. For updates and invitations please join the SL group “Art Gallery Diabolus”. A Backstage interview Today a huge audience had the pleasure to watch CARP´s interpretation of “The Wall”. I meet with Josina Burgess and Debbie Trilling for an interview on the dance floor. This two Artists speak for the CARP project who is the creator of this wonderful show. For the CARP project, Second Life is more then “just a Game” or a “Simulation”. It is a new platform, where artists from all over the world can meet, share there creative minds and create something new. More then a painting, more then a poem; It can reach the level of a whole virtual world. As in previous times, artists discover and pioneer new possibilities. Exploit and

explore to bring Second Life to new borders while setting a benchmark for free minds. Josina Burgess is from Amsterdam, Netherlands; a performer, spokes person for the CARP and surrounded by confidence, even in hectic moments. Debbie Trilling is the Creative Director for “The Wall” and a power women who makes ideas happen, in a blink of an eye and several months of hard work with diligence. CARP, Duggy Bing of Cartoonimals and Patio Plasma of Exploratorium are some of the places where her Art can be seen. I had the pleasure to meet these wonderful Ladies on the dance floor, to bring the CNN audience the lasted news from SL. Kiko Hunniton: Josina, after problems at the beginning an amazing performance. Are you glad and relaxed now? Please tell our readers about “The Wall”. Josina Burgess: WELL A BIT, today we had for a short time problems, because the preparations for the huge Metaverse Art Festival have already begun. It took us several months to create the show with all the buildings and scripts and all done in Team work with the first performance back in April 2008. We constantly meet and think of ways to improve the show. Today our guests see Version 3. Our Creative Director Debbie Trilling had with Velazquez (Vela) Bonetto the sparkling idea for “The Wall”, in Second Life. Other performances are “Metropolis”, “The Ring” and in a few days with the Metaverse Art Festival. A major part in all my creative work is CARP. At the beginning, 3 years ago, i started working with Vela, a wonderfull hungarian professor, architect, master of art, master engineer and programmer. A true multi talent! Together we laid the cornerstone for

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CARP and our work attracted Artists from all over the world with amazing talents and minds. At the beginning we performed with a mixture of RL-SL ( Real Life - Second Life) for instance at the Museum in Florence. Thus made us to truly pioneers in the new SL Metaverse. A future project is to document our work in a book. Kiko Hunniton: Josina, not all people see the countless possibilities of Second Life, what would you like to tell them? Josina Burgess: Oh, that would be a long story. First i would start with the question: “Why to you think so?”. Later i would bring my arguments and most importantly, i would show them SL with some of the magnificent creations. Done by the brilliant minds. Only in SL it is possible to bring people from all over the world together, create and invent. All for the very first time, something we will tell our grand children. We try to create new forms of art including a new form of entertainment. Where else can you sit in a theater and the seats will take you up, fly with you from scene to scene. Where else can you sit in a seat and cameras take over your view, let you have close ups from whatever you like.Where else can a seat “animate” you in such a way that you become a “part” of the show. Its a new dimension! We as CARP push the limits, where we can go and step up to a boarder, we challenge it to see if we can go further. Working in Teams and help individual artists is a cornerstone of our work. To bring ideas alive. We seek also cooperation with other artists. Art and science are twins and the ban pronounced by Descardes will sooner or later lift, we are ready for it. Here in Second Life, the personality of a person is often better expressed then in RL (Real Life) and i am very glad that many of the CARP artists do meet in Real Life.

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Kiko Hunniton: Debbie, you as the Creative Director; would you please be so kind and tell us about “The Wall” Debbie Trilling: Vela (Velazquez Bonetto) and I were mulling over some ideas.. and half-jokingly I said, “we should do Pink Floyd’s ‘The Wall’.... as soon as I said it, we looked at each other, and knew that this was a great idea; that was Oct 2007. I spent that weekend building demos...full size wall, the bedside, the aeroplane and some particle effects to demo to Vela & Josina the scope of what I had in mind. It was big... lol...but today it is actually even bigger than I originally imagined. We gathered together a team of builders, scripters etc and got to work, the original build (V-1) took 6 months. We totally rebuilt for V-2, and again for V-3; some objects are the same, like the puppets, but, for the most part...we have re-written for each version As our own experience of large shows in SL has increased, we have rebuilt and rescripted to keep apace. The first show was in April 2008....since then we have performed the show to around 2800 Residents. Kiko Hunniton: a fix star in the sl arts heaven Debbie Trilling: lol yeah, kinda feels like that sometimes. Wall is a fun project with many talented individuals contributing. Together, we think we have created something special in SL, and we’d love for people to come see it. Thank you for the interview and the magnificent work the CARP team has done, i look forward to attend future shows and exhibitions from CARP. To be witness when a new Art Dimension of SL is explored. Kiko Hunniton from Second Life for iReport CNN

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Picture 19: diabolus-CARP WALL performance

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Picture 20: diabolus-CARP WALL performance

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Picture 21: diabolus-CARP Living Architecture party

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Picture 22: diabolus-CARP Living Architecture party

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Picture 23: diabolus-CARP Living Architecture party, live music: Al Hofmann

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Picture 24: diabolus-CARP Living Architecture party

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Picture 25: diabolus-CARP NNOIZ Dark concert

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Picture 26: diabolus-CARP NNOIZ Dark concert sculptures: Igor Ballyhoo

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Picture 27: diabolus-CARP NNOIZ Dark concert

MillaMilla Noel

a special edition of the museo del metaverso and the artspace diabolus cybernetic art research project 2010

Solkide Auer THE “M” OF THE METAVERSE