Metaverse Art BOOK by laszlo diabolus

Metavers Art

Metaverse Art a virtuális világ művészete

Metavers Art

The word: „Cyberspace“ is known now as an artword, its born from the word „Cyber“ (a shortform from the english word „Cybernetic“ that again comes from the greek word „Kybernetike“; „The art of navigate“ and the word „Space“. On the worldfamous Macy-Conferences in the years 1946 till 1953 Cybernetic was something of high interest. Wellknown and famous scientists as Alan Turing, John von Neumann and Heinz von Foerster started here from scratch the modern computertechnics and the programm-architecture, today the basics for the Cyberspace. The real Cyberspace was opened by SecondLife. So you speak of web 3-D or so called Metaverses. The Metaverses are Internet-based virtual time-space-infrastructures. The miracle that we are experiencing today: the Cyberspace, the dematerialized virtual timespace, the worldwide webbed society. where we „surf around„ with lightspeed. An artist that is NOT using this virtual universe as a challenge and a goal doesnt deserve the name „Avantgarde“ This e-book dedicated to the pioneer of the Cybernetic Art Nicolas Schöffer. He was one of the most important artists of the second half of twentieth century. Father of Cybernetic Art, thus of so-called „interactivity“, he wanted to bring a prospective and non-backward-looking vision of Art, which could help mankind to develop itself with a good hold on true creative and liberating possibilities of our times.

Metavers Art

Metavers A ‚metaverse‘ kifejezés Neal Stephenson 1992ben írt Snow Crash című cyberpunk science fiction novellájában szerepel először. A mozaik szóösszetétel első tagja az angol nyelvben kissé módosult értelemben is használatos görög eredetű előljárószó, illetve igekötő: μετά :- meta. Jelentése: valamin túli, valami utáni. Ez a prefix az angol nyelvben gyakran jelöl egy absztrakt fogalomból magasabb szintű absztrakció útján képzett fogalmat. A szóösszetétel második tagja a magyar univerzum szó angol megfelelőjének (universe) csonkított változata. A metavers tehát a minket körbevévő valóság absztrakció útján való leképzésének eredménye, a reális univerzumból absztrakció útján teremtett párhuzamos, virtuális univerzum. Az Internet segítségével megosztott virtuális közösségi tér ez, mely részben a valós terek digitális információval való bővitése útján, részben teljesen digitálisan létrehozott virtuális terek által valósul meg. Neal Stephenson novellájában az emberek a valós világ metaforájaként létrehozott háromdimenziós virtuális világban második életet élnek. Az általa elképzelt Metaverse hatalmas, minden felszíni formációt nélkülöző, egyhangú fekete glóbus, amely főkörének kerülete 216 km. Egyenlítője mentén széles út szeli ketté. Ennek két oldalán valósíthatják meg, építhetik fel a felhasználók mindazt, amire vágynak. Interneten keresztül, avatárjaik segitségével lépnek interakcióba a virtuális világ digitális tartalmaival és egymással. Stephenson futurisztikus viziójának Internetjét a társadalom három különböző szociális rétege látogatja. Az avatár reprezentáció minősége ( színkód, felbontás), fejezi ki a társadalmi hovatartozást. Az avatar szó szanszkrit eredetű (avatara), jelentése lemerülés, egy istenség földi szférákba való leereszkedése. A Hinduizmus Vishnu isten inkarnációival kapcsolatban használja a kifejezést. Ennek analógiájára, a mai számítástechnikai szóhasználatban az avatár egy valós személy computer grafikai eszközökkel létrehozott képviselője virtuális világokban. A szó ebben a kontextusban ugyancsak Neal Stephenson novellájában szerepel először. Bár a cyberpunk science fiction irodalmi műfaj karakterisztikus jellemzője, hogy a közeljövőre vonatkozó futurológisztkus elképzelést ír le, a mű

keletkezésének idején senki nem gondolta, hogy ennyire közeli jövőről van szó, és a metaverse egy évtizeden belűl science fiction vizióból hétköznapi realitássá válik. Néhány megelőző kísérleti változat után az első jelentős kereskedelmi metaverzumot a San Francisco-i Linden Lab fejlesztette ki. 2003 június 24én Second Life (SL) néven kapcsolták a Internet véráramába. Több ezer számitógépből álló úgynevezett szerverfarm dolgozik annak a párhuzamos, virtuális univerzumnak a reprezentálásán, amelyhez az interneten keresztül kliens program segitségével bárki kapcsolódhat. A kliens progam a virtuális világot folyamatos 3D (három dimenziós) animáció formájában jeleniti meg a felhasználó számára. A metaverse jellemzői A virtuális világok megszületése egy sor kérdést vet fel. Van-e egyáltalán értelme virtuális világok létrehozásának? Milyen célok elérését segítheti elő, ha a valós világot a virtuális térbe leképezzük. Mennyire lesz a leképezés eredménye hasonló az eredetihez, avagy éppen eltérő. Neal Stephenson novellájában a Metaverse az emberi vágyak megvalósulásának helye, tehát szükségképpen egy új világ, ahol az álmoknak és a fantáziának nincsenek korlátai. Hasonlóan a képzelőerő diadalára, a vágyak gáttalan kiélésére számítunk, amikor a mai virtuális világok felfedezésére indulunk. Az első, váratlan felfedezés azonban éppen az, hogy az emberi fantázia ritkán szárnyal magasra. A felhasználókat megtestesítő avatárok lényegében ugyanazokat a szerepjátékokat játszák, mint gazdáik az életben. A felépitett terek többnyire valós terek másai. Virágzik a virtuális kersekedelem, tobzódnak a vásárlók a virtuális polcok előtt. Bár az árukínálat tartogat meglepetéseket, a megvásárolt animáció segítségével az avatár a szokásos szombati esti koncerten ropja a táncot. Színház, mozi, előadások úgyanúgy állanak a szórakozni vágyók rendelkezésére, mint a valós életben. Ingyen azonban ebben a párhuzamos univerzumban sem adnak semmit. Az attrakciók megteremtése sok tanulást igénylő komoly feladat. Aki ezt a munkát meg akarja spórolni, annak fizetnie kell

Metavers Art

Az elsรถ CARP metaverse kiรกllitรกs plakรกtja

Metavers Art

Az elsö CARP metaverse kiállitás plakátja

valós pénzen váltott Linden Dollárral. A kreatív réteg alkotómunkája nélkül a Metavers sivár, élheteten hely lenne. A Metaverse néhány rendkívül előnyös tulajdonsága azonban vonzza, és leköti a virtuális térben a legsziporkázóbb elméket is: 1. Mivel minden virtuális, semmi sem korlátozza a fantáziát. Bármi ami elképzelhető, azt ebben a világban meg is lehet valósitani. 2. Az asszimetrikus médiákkal szemben (rádió, televizió) a metaverzum szimmetrikus média, azaz minden résztvevő alkotója és befogadója egyszerre mindannak ami történik. 3. Az avatáron, mint speciális felhasználói felületen, keresztül a tárgyakkal és más avatárokkal

az interakciók széles tárháza áll rendelkezésre. Egy speciális skript programnyelv segitségével a környezet elemei interaktivvá tehetők. 4. Ez a technologia az egész párhuzamos univerzumot egyetlen közös nevezőre redukálja: a fénysebességgel továbbítható bináris kódra. Az avatárok virtuális téridőben léteznek. A nemzetközi kollaboráció független a résztvevők földrajzi helyétől. 5. Az államhatárok, nemzetek, vallások és politikai rendszerek, mint szügségtelen és elavult emberi absztrakciók súlytalanná válnak. Ezek a tulajdonságok a 21. századi művészeti avantgard számára tejesen új perspektivákat nyitottak. .

Metavers Art

Az elsรถ CARP metaverse kiรกllitรกs plakรกtja

Metavers Art

Forward

DanCoyote Antonelli aka. DC Spensley

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 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

Metavers Art

METROPOLIS Control Room

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 programâ&#x20AC;&#x2122;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 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.

Metavers Art

A CARP alapitótagok: Velazquez Bonetto, Josina Burgess, Caravaggio Bonetto

Metaverse művészet Art Space Diabolus / CARP Az Art Space Diabolus egy 2007. június 27-én a Second Life keretein belűl megalakított művészeti csoport. Alapítói Caravaggio Bonetto, Velazquez Bonetto és Josina Burgess avatárok, akik rendre Naomi Devil, Ördögh László Diabolus, és Jose den Burger valós művészek képviselői a virtuális világban. Nevükhöz fűződik a Cybernetic Art Research Project (CARP) elindítása. A CARP csoport 2010. januárjában arra a kérdésre kereste a választ, hogy mi is valójában a metaverse művészet. Több, mint 100 metaverse művészt, számtalan metaverse műélvezőt kérdeztek meg, hogyan fogalmaznák meg a metaverse művészet lényegét. A kérdések és válaszok sokaságát egy négy kötetes könyvben publikálták. A válaszok olyan szerteágazóak voltak, hogy nehéz lenne egy tömör definicióban összefoglalni. Talán nincs is értelme egy kategorikus definiciónak. Saját maguk számára röviden úgy fogalmazták meg, hogy metaverse művészet mindaz, amit a művészek megálmodtak, de eddig a materiális univerzumban nem tudtak megvalósítani.

Art Space Diabolus a CARP Team alapitásától kezdve az innovativ kifejezési formák kutatását tűzte ki céljául a metaverse virtuális média keretein belűl. Az eltelt 4 év alatt a három fős csoport egy több, mint 60 főt számláló nemzetközi alkotógárdává bővült. A csoport tagjai számos innovativ kifejezési formát fejleszettek ki. A következő lista néhány példát szolgáltat: adaptiv virtuális architektura, interaktiv audio installáció, komplex skriptalapú kibernetikus művészet, kollaborativ audiovizuális improvizáció, immerziv 4D online cinema, collaborative worldwide studio technika. Számos mások által létrehozott kifejezési formát fejlesztett a team új ötletekkel tovább. A csoport alkotói alapelve a hyperfunkcionalizmus, mely a hyperformalizmussal párhuzamosan, annak mintegy ellenpontjaként fogalmazódott meg. ‚Hyperform follows hyperfunction‘ vallják a CARP team tagjai. Legfontosabb művészeti kifejező eszközük az art-scripting, a speciálisan alkalmazott skriptnyelv, melyet tréfásan úgy titulálnak, hogy ‚4D virtuális ecset és festék‘. A CARP alkotócsoport összes eddigi innovációját, kiállitását és produkcióját online olvasható e-book sorozatban publikálta.

Metavers Art

A metaverse kollaboráció legfontosabb eszköze az idözóna térkép

Metavers Art

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 raggiungere 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

Metavers Art

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.

Metavers Art

Metaverse színház A metavers színház a kibernetika atyjaként tisztelt, kalocsai születésű, Párizsban alkotó művész, Nicolas Schöffer futurisztikus viziójának megvalósulása a virtuális térben. Ennek a dinamikus, totális színháznak az alapgondolatát Schöffer fél évszázaddal ezelőtt írta le könyvében térdinamikus színház néven. Víziója a mai bevásárló és szórakoztató központoknak, a funkcionális és esztétikai szabadidő töltés színhelyeinek képét vetíti előre. Schöffer térdinamikus színháza optimális akkusztikus tulajdonságú tojásdad héjszerkezet. A hyperbolikus nézőtér ennek a térnek a közepén forog egy bevásárló központot magába foglaló cylindrikus orsótér körül. A nézők páholyaikból a héjszerkezet falán körbefutó gyűrűszerű színpadon zajló eseményeket, valamint a bevetített héjszerkezeten futó képeket szemlélhetik, de bármikor megszakíthatják az élvezetet a vásárlás öröméért. A páholyok és a héjszerkezet közötti térben is időnként kibernetikus szobrok jelennek meg, projektálhátó képernyők ereszkednek le. A színpadon kibernetikus szobrok és valódi táncosok balettje párhuzamosan fut sajátosan erre a térre irt darabok előadásával. Akkusztikus, illat és klima élmények biztosítják az érzékek teljes kiszolgálását. A térdinamikus színház programját egy központi kibernetikus vezérlőtoronyban komponáják, úgy variálva a repertoár elemeit, hogy a nézőknek soha sem ismétlő totális élményben legyen részük. Min-

den nézőnek lehetősége van egy kapcsolópult segítségével a műsort befolyásolni, saját vélményét és benyomásait közvetíteni. A kibernetikus vezérlőtorony a beérkező visszacsatolásnak megfelelően dinamikusan változtatja a műsort. Igy a nézők interaktiv kollaborativ szereplőivé válnak a színházi előadásnak. A 60-as évek technikai lehetőségei természetesen nem tették lehetővé, hogy a Schöffer által elképzelt vásárló központ és térdinamikus színház megépüljön. A metaversum megszületése óta azonban minden technikai eszköz rendelkezésre áll arra, hogy Schöffer viziója a virtuális térben megvalósuljon. A metaversum technikai lehetőségei bővebbek, lénygesen meghaladják azoknak a konkrét technikai eszközöknek a teljesítőképességét, amelyeket Schöffer a 60-as években megálmodott. Az általa elképzelt színház alapelvei nem változtak csak gazdagodtak. Schöffer számára például fel sem merülhetett a gondolat, hogy a színház közönsége nem csak a bevásárló központból, hanem a világ bármely pontjáról érkezhet a páholyokba úgy, hogy közben az otthonát el sem hagyja. Az internet éppen ezt teszi lehetővé. A színház geográfiailag is totálissá vált. Színészek, balettosok, zenészek és nézők egyszerre vannak a világ egymástól távoli pontjain és azonos virtuális térben, a metaverse színházban.

Metavers Art

A METROPOLIS CARP Team: Debbie Trilling, Windy Lane, MillaMIlla Noel, nnoiz Papp, Sca Shilova Efrantirise Morane, Josina Burgess, Velazquez Bonetto

Metavers Art

MANAX A különböző audiovizuális élmények összehangolása egy valós színházban is komoly feladat. A zene, a megvilágítás stb. pontosan kell, hogy kövesse a színpadon zajló eseményeket. Lényegesen bonyolultabb szinkronizációs feladattal találja azonban magát szembe az, aki a virtuális közösségi térben akar színházat teremteni. Az audiovizuális hatások időzítése közben figyelembe kell venni a különböző felhasználók Internet kapcsolatának sebességében és számítógépeik teljesítőképességében fennálló jelentős eltéréseket. A feladat nagyságának megértéséhez azt kell tudni, hogy a felhasználó számára a színjáték információi több, a világ teljesen különböző pontjain található, szerverről érkeznek. Már a képi anyag megjelenítéséhez szükséges információ is több csatornán, a szimulációs és a kelléktár szerverről

Metavers Art

A MANAX performance

érkezik. A szimulációs szerver szolgáltatja a színen látható objektumok és avatárok helyzetét, míg a kelléktár szerver ezek megjenítendő tulajdonságait. Ùjabb szerver közvetíti a hanganyagot. A kapott információk alapján a felhasználó gépe generálja le a képernyőn megjelenítendő képet. Szakkifejezéssel élve, a képeket nem a szerver, hanem a lokális gép rendereli. A renderelés sebessége azonban nagyon eltérő a különböző gépeken. Ilyen technikai háttér mellett kell megoldani, hogy a geográfiailag hatalmas távolságokra található nézők minden pillanatban a színjáték azonos jelenetét lássák, a jelenet alkotó elemei teljes szinkronban legyenek. Az összehangolást biztosító mai masterkontroller négy éves fejlesztőmunka eredménye. Az első projektet, amelyben egy mai szemmel nézve egyszerű masterkontroller lett alkalmazva a MANAX néven ismert avatár ihlette. Aki először merül el a virtuális világokban óhatatlanul elgondolkodik azon, vajon milyen valós személyek állnak az ott megismert avatárok mögött. Számtalan támpont, ami a valós életben rendelkezésre áll a másik személyiségének egy pillantás alatt való első felméréséhez, itt hiányzik. Némi gyakorlattal azonban kialakul a virtuális metakommunikáció olvasásának képessége is. Ìgy bontakozott ki a CARP Team szemei előtt MANAX tragikus valódi személyisége. A valós személy és avatárja közötti hasonlóság mértéke szinte színtmérője annak, hogy mennyire érzi jól magát a saját bőrében az avatár gazdája. Aki elégedett önmagával, azonosulni tud saját énjével, az kevés kivételtől eltekintve humanoid

avatárt készit magának. Ezzel szemben MANAX groteszk absztrakt figurája minden pillanatban más és más vonagló formákkal jelenitette meg a lelkében dúló érzéseket és gondolatokat. Èzékeny, hatalomvágyó, a világban helyét nem találó intelligencia állt mögötte. A hasztalan útkeresés minden iránti gyűlöletben, rombolási vágyban találta meg az enyhítő szelepet. A Second Life felhasználói szabályainak rendszeres áthágása és romboló tevékenysége miatt a Linden Lab számtalanszor kitiltotta MANAX-ot a Second Life-ról, de ő új felhasználói fiókkal újra és újra életre kelt. Az általa képviselt extrem pszicho-expresszionizmus ihlette meg a Carp Team tagjait, így született meg a MANAX szinesztézia emitter szinház. Josina Burgess verset írt MANAX-ról, amelyet Simon Baker angol szinész adott elő. Cypress Rosewood pszichedelikus zenéje szolgáltatta a megfelelő auditiv hangulatfestést. A vizuális hatásokat egy 16 regiszteres particle emitter orgona biztisította. Ez volt az első interaktiv vizuális eszköz, amely téridő látvány improvizativ előállitására volt alkalmas. A 30 perces előadás kiemelkedő sajátossága volt, hogy a közönség nem kivülről élvezte az audiovizuális játékot, hanem elmerült benne. Minden avatár egyben része volt az élmények. A vizuális program a szinesztézia kutatások eredményeit használta fel a különböző formák, mozgások, színek öszeállitásához.

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A MANAX performance

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The Wall Az első olyan projekt, amelynél nem a technikai problémákkal való küzdelem kötötte le a CARP Team tagjainak energiáját, hanem végre elsősorban a színjáték üzenetének megfogalmazására, és annak a közönséghez való eljuttatására tudtak koncentrálni, a Pink Floyd zenekar ‚The Wall‘ című alkotásának aktualizált tartalommal való adaptálása volt a Second Life virtuális környezetre. A Pink Floyd együttes 1979-ben jelentette meg elsőször ‚The Wall‘ című albumát. A következő évben színpadra vitt rockopera monumentális színpadi show, amely világszerte óriási sikert aratott. 1982-ben megjelent az azonos című film, amely pszichedelikus jeleneteivel és lenyűgöző rajzfilm betétjeivel gyorsan meghóditotta az egész világot, és klasszikusként volult be az emberiség kulturtörténetébe. 1990. július 21-én, 9 hónappal a berlini fal leomlása után, Roger Waters és a Pink Floyd zenekar ismét előadta ‚the Wall‘ című albumának színpadi változatát Berlinben, a Potsdamer téren. Miközben a kerettörténet eseményei zajlottak, a színpadon felépült a mindenkit körülvevő láthatatlan korlátokat megtestesítő fal. A szimbolikus jelentőségű előadást 250.000 néző élvezhette a helyszínen, és félmillióan a televízó képernyője

előtt. Ez a berlini előadás a CARP Team adaptációjának a kiindulópontja. A Pink Floyd zenekar rockoperájának üzenete az a felismerés, hogy értelmetlen módon az emberiség láthatatlan, de áthághatatlan falakkal korlátozza az individuum életét. A mű végkicsengése komor, depressziv. Nem szabadulnak fel a falat leromboló indulatok. A Carp Team feldolgozása tovább lép. A fal felépülte utáni fagyott csendet kisvártatva megtörik a mindent felszabadító ‚Break those walls‘ című zenemű akkordjai. A fal leomlik és az avatárok - szereplők és színpadra szaladt nézők boldogan ünneplik együtt tánccal, mulattsággal az újra felfedezett szabadságot. A virtuális showt a 2008-ban bemutatott első változat óta a CARP csoport 4 éven keresztül telt ház melelett játszotta különböző helyszineken, négy eltérő feldolgozásban. Az utolsó, és egyben legsikeresebb verzió a 4-SIM Mankind Tracer Amphitheatre @ Havens Paradise 150 avatár befogadására alkalmas szimulátorain került bemutatásra.

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A nemzetközi produkciós csoport tagjai: Kreativ direktor: Debbie Trilling (Egyesült Királyság) Producer és szkriptek: Velazquez Bonetto (Németország) Wall Design: Elfod Nemeth (Egyesült Királyság) Óriás bábu kreátor: Duggy Bing (USA) Kosztümök és animációk: Caravaggio Bonetto (Ausztria) és Josina Burgess (Hollandia) ‚Break those walls‘ zene: Juniverse Stockholm (Svédország) ‚Break those walls‘ szöveg: Josina Burgess (Hollandia) Tánc: Klute Coppola (Franciaország) és Southern Reptide (USA) A produkció létrehozásában résztvettek még: Scio Kamachi (USA), Celeste Moonlight (USA), DJ Jenns (Egyesült Királyság), Haven Colville (Egyesült Királyság), George W Bush (USA) és természetesen a csodálatos Pink Floyd album ‚The Wall‘

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WALL V2 4 SIM HYPERCUBE THEATRE

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WALL V2 4 SIM HYPERCUBE THEATRE

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Montag, 21. Juli 2008 The Wall – Eine virtuelle Multimedia-Show Geschrieben von Giridevi Duranjaya Vorgeschichte 1979 erschien das Konzeptalbum The Wall von Pink Floyd, einer wegweisenden Rockgruppe, die neben Tangerine Dream, Santana, Jethro Tull u.a. besonders den Sound der 70er Jahre geprägt hat. Die Stilmittel bestanden v.a. in einem Mischen elektronisch erzeugter Klänge zu einer psychedelischen Soundtextur. Hier setzte auch die Stimme der Kritiker von The Wall an, denn die Entwicklung des spezifischen Pink Floyd Sounds zeigte keine Weiterentwicklung, vielmehr muss man wohl die inhaltliche Entwicklung zu einem Konzept der Darstellung innerpsychischer Zustände als Entwicklungsschritt betrachten. Es geht um einen identitätssuchenden Jugendlichen, der um sich herum einen emotionalen Wall (of Sound) errichtet hat, genervt und pathologisiert durch mütterliche Überfürsorge, Abwesenheit väterlicher Zuwendung und grausame Schulerlebnisse. Statt die letzte Konsequenz der inneren Emigration, den Suizid zu ziehen, wird der Protagonist zu einem gesellschaftlichen Mitläufer mit faschistischen Zügen. Er schafft es nicht, alle Emotionen zu unterdrücken und klagt sich selbst vor einem imaginären Gericht an.

Das Urteil besteht in einem Zerstören der Mauer, die er als Schutz um sich herum errichtet hat. Dieser Inhalt wurde 1980/81 zunächst in gigantischen Bühnenshows in den USA/Großbritannien und Westdeutschland dargestellt. 1982 entstand ein Film, in dem reale und Zeichentrickpassagen vermischt sind. Eine Reanimation erfolgte nach dem Fall der Berliner Mauer 1989. Im Juli 1990 wurde The Wall symbolträchtig auf dem Potsdamer Platz mit bekannten Stars aus der Rock- und Popszene neu inszeniert. Das CARP Projekt Seit April 2008 zog die erste virtuelle Variante als digitale Show im Grid von Second Life über 1200 Besucher in ihren Bann. Wegen des Zuspruchs im Juli neu aufgelegt, wird die Show zweimal die Woche, am Freitag und Sonntagabend jeweils um 2 Uhr PST noch eine Weile aufgeführt. Den Zuschauer erwartet eine minutiös synchronisierte, farblich, symbolisch und technisch überaus expressive Show, die über den Computerscreen übertragen einem wirklich das Gefühl einer LiveBühnenshow vermittelt. Man kann es als kleines Wunder ansehen, was das CARP-Team (Cybernetic Art Research Project) hier leistet. In einem Interview mit der Projektleiterin Debbie Trilling versuchte ich der Entstehungsgeschichte etwas auf den Grund zu gehen.

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Auf der nächsten Seite findet ihr einige Bilder und die freie Übersetzung aus dem Englischen (Interview und Übersetzung: Giridevi Duranjaya). Giridevi Duranjaya: Debbie, vielen Dank dafür, dass Du Dir Zeit nimmst für das Interview; ich weiß, dass Du eine sehr beschäftigte Person in SL bist. Aber ich denke auch, dass es für Besucher Eurer Show eine zusätzliche Erfahrungsebene sein kann, über den Entstehungsprozess und den Hintergrund dieses Projektes mehr zu hören. Nach meinen Informationen bist Du als Creative Director verantwortlich für das Gesamtkonzept und unsere Leser würde interessieren, woher Du Deine Ideen genommen hast, inwieweit die vorhergehenden Inszenierungen von The Wall eine Rolle gespielt haben und was Du zusammen mit dem Team diesen historischen Vorbildern neu hinzugefügt hast. Debbie Trilling: In der Inszenierung von The Wall bei Pink Floyd kommen etliche ironische Bilder zum Einsatz, vor allem die Riesenpuppen, die gekreuzten Hämmer und natürlich die Mauer selbst. Diese haben wir in unsere Produktion übernommen. Aber es war uns sehr wichtig, nicht nur eine Kopie zu schaffen, sondern eine individuelle und künstlerische Vision und Interpretation. Insofern haben wir viele neue Elemente hinzugefügt. Auch den Soundtrack haben wir neu zusammengestellt, manchmal sehr subtil und kaum wahrnehmbar, manchmal sehr offensichtlich. Ein ausgesprochener Pink Floyd-Fan wird manches wiedererkennen in unserer Show, aber auch ganz neue Dinge wahrnehmen. Wir haben uns generell sehr bewusst mit dem Geist und der Essenz des Originals auseinandergesetzt. Unser Motto vom ersten Tag der Produktion an war die Frage “Mother, should I trust the government?” aus dem Song “Mother”. Während die ursprüngliche Version als das individuelle psychologische Problem eines jungen Mannes verstanden werden kann, der depressiv wird und sich isoliert, überträgt unsere Version dies auf eine soziale und kulturelle Ebene; sie fragt nach den Einflüssen von äußeren Kräften auf Individualität und Kreativität. Ein weiterer Leitsatz außer dem oben erwähnten ist “Eine Regierung, die wenig regiert ist eine Regierung die am besten regiert”. Beide zusammen ergeben die Vision unserer Produktion. Sie hat viel mehr (anti-)politische Untertöne als die Originalversion. Giridevi Duranjaya: Die Vision ist eine Sache, eine andere jedoch ist die Realisation. Wie sehr warst Du beteiligt an der Umsetzung der Ideen in textuelle, kinetische, visuelle, sonische und performative Ausdrucksformen? Und wie hast Du die Leute gefunden, die fähig waren, die Ideen in mediale Aktionen zu übersetzen?

Debbie Trilling: Die Wahl des Teams war vermutlich der wichtigste Faktor für den Erfolg unserer Produktion. Außer mir besteht das Kernteam aus folgenden Personen: • Velazquez Bonetto (Germany); auf ihn fiel die Wahl automatisch; er hat außergewöhnliche problemlösungsorientierte, technische und künstlerische Talente und kann großzügig mit seiner Zeit und seinen vielfältigen Begabungen umgehen, was man selten findet. Er hilft sehr, damit eine künstlerische Idee sich realisiert. • Elfod Nemeth (UK) wurde gebeten, die Mauer zu designen und zu scripten. Er hat eine unglaubliche Liebe zum Detail, sehr fortgeschrittene ScriptingKenntnisse, aber auch beim Bauen und mit Texturen in SL kennt er sich gut aus und ist ehrgeizig, was Qualitätsstandards angeht; er ist ein Perfektionist und hat die Geduld und Fähigkeit mit jemandem solange zu arbeiten, bis ein Ziel auf höchstem Niveau erreicht ist. • Duggy Bing (US) war die einzige wirkliche Wahl für die Herstellung der animierten Puppen. Als RL und SL Künstler mit außergewöhnlichem Talent, was man an seinen extrem populären “Cartoonimals” sehen kann, konnte er die Produktion mit seinem künstlerischen KnowHow anreichern. • Caravaggio Bonetto (Austria) übernahm die Verantwortung für die Animationen, die Choreographie und die Kostüme. Sie brachte ein künstlerisches Flair, Farbe und eine Gefühlstiefe in die Produktion, die wenige andere hätten in dieser Form umsetzen können. • Josina Burgess (Holland) and Junivers Stockholm (Sweden) steuerten ihr musikalisches Talent bei, um den letzten Song ‘Break those Walls’, der am Schluss live performed wird, hinzuzufügen. Josina ist auch LeadDancer in der Show. Velazquez, Josina, Caravaggio und Junivers sind Mitglieder des Cybernetic Art Research Project (CARP) und wir haben uns alle dort kennengelernt. Aber auch weitere Personen leisten wichtige Beiträge, z.B. Adec Alexandria (UK), die die Photos für die anfängliche Photoshow zusammenstellte, Scio Kamanchi (US), der für die Hubschrauberszene während des Songs “Happiest Days of Our Lives” und für die Militäruniformen während des Songs “Run like Hell” verantwortlich zeichnet, Gypsy Paz (US) und Lyddyn Tzara (US), die das Glas in der Bettszene (“One of my Turns”) zerbrechen und Klute Coppola (France) und Southern Riptide (US), die tänzerische Effekte und Freude in die Show bringen. Giridevi Duranjaya: Wie hast Du die Arbeit koordiniert? Wieviele Treffen waren nötig und wie oft wurde geübt? Debbie Trilling: Ganz ganz viele Treffen und Trainings waren nötig, um die zahllosen Elemente der

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Show zusammenzubringen. Wir üben immer noch regelmäßig, vier Monate nach der allerersten Aufführung. Für die Koordination bin ich im wesentlichen zuständig. Ich wusste, was ich mir für eine bestimmte Szene vorstellte und wer im Team das am besten ausführen kann. Ich beschrieb meine Idee skizzenartig und ließ dann das Teammitglied seine eigene Variante entwickeln. Alle Mitwirkenden sind erfahrene RLKünstler und SL-Content-Creator; sie alle waren in der Lage aufgrund meiner Andeutungen eine einzigartige individuelle Lösung zu finden.

Debbie Trilling: Unsere Produktion “The Wall” wird von der sich selbst finanzierenden CARP-Gruppe organisiert. Besitzer sind Velazquez Bonetto und Josina Burgess. CARP ist völlig unabhängig von irgendwelchen Einflüssen von außen und finanziert sich nicht aus externen Quellen. Die Produktionskosten werden von den Mitgliedern selbst getragen und alle Erlöse gehen an Hilfsorganisationen. Wir sind sehr dankbar, von NMC Campus eine Sim-Gegend zur Verfügung gestellt zu bekommen für die Aufführungen.

jeder arbeitete daran sein Vision und die der anderen Wirklichkeit werden zu lassen. Es ist eine schwierige Aufgabe, wenn man manchmal jemandem, der hart gearbeitet hat, eine Sache zurückgeben muss, um sie zu ändern oder umzuarbeiten; das machte mir manchmal Probleme; aber es muss natürlich sein, damit am Schluss alles zusammenpasst. Die Leute sind alle eigenständige und auch eigenwillige Künstlernaturen und so kamen natürlich auch manchmal hitzige Diskussionen auf. Hier war Josina stets eine sehr diplomatische und beruhigende Vermittlerin. Letztendlich kamen stets alle zu einer gemeinsamen Abstimmung. Eines der größten Probleme von seiten der Zuhörer sind die Facelights. Sie müssen unter allen Umständen ausgeschaltet werden, da sie sonst unsere Lichtkomposition auf der Bühne zerstören. Man sieht dann nur grau. Wir geben jeweils vor Beginn der Show eine entsprechende Ansage aus. Das ist ein Inworld-Problem, denn SL stellt nur 6 Lichtquellen (außer Sonne und Mond) zur Verfügung und diese werden vom Klienten nur innerhalb seiner nächsten Nähe gerendert. Wenn man also neben jemandem im Zuschauerraum sitzt, der eine Lichtquelle hat und die Bühnenlichtquellen damit einschränkt, kann es sein, dass man von der Show nichts sieht. Wenn ich jemanden im Zuschauerraum sehe, der Facelight eingeschaltet hat, dann macht mich das sehr wütend.

Giridevi Duranjaya:Welches waren die größten technischen und organisatorischen Herausforderungen im Produktionsprozess?

Giridevi Duranjaya: Was hast Du für einen persönlichen Hintergrund für diese Arbeit? Bist Du MedienDesignerin oder etwas ähnliches?

Debbie Trilling: Ohne Zweifel war die größte technische Herausforderung die Synchronisation der sieben Controller mit dem Soundstreaming nach SL. Dies kostete uns die meisten Nerven und Kopfschmerzen während der ersten Zeit. Doch haben wir inzwischen eine Menge Tricks und Techniken dazu gelernt und können nun ziemlich garantieren, dass an einem guten Tag innerhalb von SL die Synchronisation mit einer Abweichung von einer halben bis zu 2 Sekunden funktionieren wird. Das ist eine akzeptable Toleranz. An einem schlechten Tag gibt es wenig Chancen für uns, das zu reparieren, wenn es verloren gegangen ist. Manche Sachen in SL kann man einfach nicht kontrollieren. Aber das gibt es ja auch in RL und wenn es passiert, müssen wir damit leben, auch wenn es enttäuschend ist. Zum Glück kam das bisher sehr selten vor. Organisatorisch gab es keine erwähnenswerten Probleme. Als die Rollenverteilung klar war, war es nur eine Sache der Produktion der einzelnen Elemente und dann ihrer Zusammensetzung, schließlich noch die Koordination innerhalb einer Show. Meistens ging es sehr kooperativ zu; natürlich gab es auch die ein oder andere Reibung. Ich behielt mir stets das letzte Wort vor. Es gab z.B. unterschiedliche Meinungen über die Größe und Höhe der Mauer. Ich entschied letzten Endes immer zugunsten des visuellen Eindrucks. Insgesamt jedoch herrschte ein großer Teamgeist und

Debbie Trilling: Ich war Computerprogrammiererin bevor ich Software-Designerin und -Testerin wurde. Ich beherrsche etliche verschiedene Programmierungssprachen und habe viel Erfahrung mit allen möglichen Software-Programmen. Ich kann nicht malen oder mit dem Stift kreativ sein in RL, aber ich habe eine Begabung, neue Software sofort zu begreifen und damit in kürzester Zeit auf einem hohen Niveau zu arbeiten. Ich benutze den Computer, um kreativ und expressiv zu sein. Insofern würde ich mich “technischen Künstler” nennen im Gegensatz zum “natürlichen Künstler”. Meine Kunst besteht eher aus Algorithmen und Pixeln, als aus Leinwand und Ölfarbe. SL kam zu mir als ob ich schon immer darauf gewartet hätte. Und ich hatte das Gefühl, das Medium gefunden zu haben, das zu mir passt. Particle-Kunst in SL war mein erstes Kreativ-Erlebnis und damit stelle ich auch immer noch aus: http://slurl.com/secondlife/ Gypsy%20Falls/64/40/803/.

Giridevi Duranjaya:Wenn Du möchtest, kannst Du bitte auch den Lesern eine Vorstellung davon vermitteln, ob hinter diesem Projekt eine RL-Firma steht oder wie das ganze finanziert wird.

Giridevi Duranjaya: Gibt es auch Kompetenzen, die Du Dir während des Produktionsprozesses von The Wall neu angeeignet hast? Debbie Trilling: Velazquez und ich erarbeiteten gemeinsam die Kontroller und Kommando-Parser welche die Show am Laufen halten. Wir haben das so automatisiert, dass wir nur auf Start drücken müs-

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sen und alles vollautomatisch abläuft. Es gibt sechs solcher Kontroller und einen zusätzlichen von Elfod, der für die sukzessive Stein-auf-Stein-Konstruktion der Mauer zuständig ist und auch für deren Abbau und den finalen Kollaps. Alles wurde in der LindenScriptsprache geschrieben und alles zusammen genommen ist natürlich eine Arbeit wie diese mit den ständigen Verbesserungen auch eine gewisse Kompetenzerweiterung. Das ganze ist auf 160 Avis ausgelegt, auch an Tagen, an denen der Sim überfüllt ist. Giridevi Duranjaya: Weshalb hast Du speziell das Thema “The Wall” ausgewählt? Ist das eine persönliche Vorliebe oder hat es auch etwas mit dem “Wändebauen” in SL zu tun? Ich denke da auch an die roten Bannlinien, an die man stößt, die für die einen einen gewissen Schutz bedeuten, für die anderen aber ausgrenzend wirken. Debbie Trilling: Es war eher eine spontane Idee und Übereinkunft mit Velazquez, die uns kam, als wir über den Plänen zum Berliner SIM saßen. Wir legten eigentlich sofort mit dem Arbeiten los. Es dauerte eine knappe Woche, bis die Sache zu einer offiziellen CARP Produktion erklärt war und die Basiskonzeption stand, die auch heute noch das Projekt trägt. Ich denke, Velazquez und mich hat dabei vor allem sofort die Möglichkeit gereizt, das ganze als Show umzusetzen mit den entsprechenden Effekten und Scripts und somit dieses Projekt von den raffiniertesten und ausgeklügeltsten Techniken des SL-Scriptings profitieren zu lassen. Ich habe zwei Hauptkriterien für The Wall: 1. Alle Objekte, Skripte, Kostüme, Bilder usw. sollten ausschließlich für diese Show produziert sein und nicht irgendwo aus zweiter Hand gekauft. Alles

sollte erstmalig sein und noch nirgendwo in Gebrauch. Das schafften wir zu 95%. Wir erhielten einige Tanzanimationen und Kampfposen als Spende und verwendeten sie natürlich. Genau dafür suchen wir aber im Moment auch nach einem talentierten Scripter für Animationen, der Lust hat, an zukünftigen CARP-Produktionen teil zu haben. 2. The Wall sollte neue Maßstäbe setzen für Live-Aufführungen in SL, einen neuen Standard für andere, um sich motivieren zu lassen, es nachzumachen und eventuell zu verbessern. Giridevi Duranjaya: Welche Projekte sind in der Zukunft geplant? Debbie Trilling: Ich plane im Moment zwei Solo-Projekte unter der Schirmherrschaft von CARP: • V-2 ~ Gravity’s Rainbow. Das ist ein Edutainment-Projekt rund um die deutsche WW2 V-2 Rakete und Thomas Pynchon’s Novelle “Gravity’s Rainbow. Auch mein Sim in SL heißt so; hier zwei Webadressen: http://en.wikipedia.org/wiki/Gravity’s_Rainbow http://www.v2rocket.com/start/start.html • “Hubble in Particles”: Das ist ebenfalls ein Edutainment-Projekt um das Hubble Teleskop, das die Photos der Frühphase des Universums wiedergibt mithilfe von Second Life Partikeln. Die nächste große Team-Produktion wird sein “The Rings - The Metaverse Protest Musical”, wo ich als Special Effekt-Künstlerin mitarbeite. Das ist eine Produktion von Velazquez. Giridevi Duranjaya: Debbie Trilling, wir sind beeindruckt und bedanken uns für die ausführlichen Statements!

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WALL V2 4 SIM HYPERCUBE THEATRE

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WALL V2 4 SIM HYPERCUBE THEATRE

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METROPOLIS plakรกt

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METROPOLIS virtuális vezérlő computer

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METROPOLIS Storyline Virtuel Space: 100x100x200 meter Audiovisual Components: Mostly black/white Scenario in Mixed forms. - 3D rebuild of the original Metropolis (as.Heartmachine) - New visual Elements from our Time but also monochrom. Soundtrack: cca 55 min. only instrumental Music Scenes: as in the original only Gestures und Pantomime. Playground: not the usual Frontal-Theatre Concept but full immersiv Control, flying seats and 4D live-cut Camera system. Scene-Control: Master Controler V_11.0 with local Translation/Orientation Migration tool on channel -333222111 Credits: Idea: Debbie Trilling Creative Director: Velazquez Bonetto Soundtrack Creator: Nnoiz Papp Character design and Costumes: Josina Burgess Choreography: Josina Burgess Scene Design: Velazquez Bonetto, Windyy Lane, Caravaggio Bonetto Scene Build: Velazquez Bonetto, Windy Lane LSL Scripts Prologue 01_flight_to_metropolis.mp3 INSERT Rollen: Maria: Josina Burgess Marias Robot Dubble : MillaMilla Noel Joh Fredersen : Efrantirise Morane Freder Fredersen: Debbie Trilling Rotwang: Debbie Trilling Josaphat: Efrantirise Morane Grot: Efrantirise Morane The Little One (spion) Efrantirise Morane Young girl: Klute Coppola Child: Klute Coppola Seats + Camera Control: ON (PRELUDIUM) Scene 1: The City In a overdimensioned and technically fully free city named Metropolis are the 2 comunities living toatally separated. The Upperclass lives in a paradise and enjoys in the amusementsparts addicting pleasures. In the Club of the Sons, the young elite lives in absolute luxury, where the â&#x20AC;&#x153;normalâ&#x20AC;? worksmen live underground and slave in 10 hourshifts at a overdimensioned machine. The brain of Metropolis is Joh Federsen, who rules and dictate from his steeringcentre in a new Tower of Babel over the city. INTRO METROPOLIS 02_INTRO_METROPOLIS.mp3 MACHINERY Intrecate Machines Only visuable for Camera system closeups Avatars: -Muybridge Figures: -Seats + Camera Kontrol: ON Seats in start position

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SWITSCHING SHIFTS Start in Level 2 seats in position level 2 Sirene, Glock Fence rises, the worker groups (muybridge) move Lift scenario camera rides along Workers square Avatars: -Muybridge Figures: Worker Groups Seats + Camera Control: ON FALLING IN LOVE The son Freder Fredersen meets one day Maria, a mysterious woman from the underground city and falls in love with her. 03_FALLING_IN_LOVE.mp3 CLUB OF THE SONS Level 3 Club of the Sons Garden, Fountain, Entrance Avatars: Freder Fredersen( Debbie), Maria (Josi) , Young Girls (Klute, Milla) Muybridge Figures: Children group, Group in crazy fantasy clothes Seats + Camera Control: ON MARIA Level 3 Club of the Sons Garden, Fountain, Entrance Avatars: Freder Fredersen( Debbie), Maria (Josi), Young Girls (Klute, Milla) Muybridge Figures: Children group, Serving personel Seats + Camera Control: ON MOLOCH MACHINE In his search for her he sees the need of the workers and tries without succes to let his father stop with his heartless and exploiting regime. 04_MOLOCHMACHINE.mp3 FREDER FEDERSEN in Workers city Level 2 Moloch Machine Avatar: Freder Fredersen (Debbie) Muybridge Figures: Worker figures at work Molochmachine Explosion Seats + Camera Control: ON ROTWANGS LABORATORY & CATACOMBS 05_THE_LABORATORY.mp3 Federsen and Rotwang have a special bonding. One day Rotwang took away the beloved wife of Joh federsen. When giving bearth to Feder she died. With the Machine-Human Rotwang wants to create his own hell. Out of revenge he abort Federsens plan and makes the robot in the appearing of Maria to lead the workers into revolution. Maria tells the workers during a religionkind of meeting in the catacombs of the city the coming of a Mediater that will build a bridge between Brain (the leading level of metropolis) and Hands (the workers). Joh Federsen sees the danger of revolt by the influence of Maria and calls the scientist Rotwang to build him a machine-human and let it look like Maria so that it can influence the workers.

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ROTWANGS LABORATORY Level 2.5 Rotwangs Laboratory Avatars: Joh Fredersen( Efran), Rotwang (Debbie), Robot Maria (Milla) Projektion: Hel Seats + Camera Control: ON CATACOMBS Level 1.5 Workers Chapel Avatare: Maria (Josi) , Joh Fredersen (Efran), Rotwang (Debbie) Muybridge Figures: Worker Groups Projection: Babylon vision Seats + Camera Control: ON (INTERMEZZO) CATHEDRAL 06_KATHEDRALE.mp3 Cathedral Level 2.5 Cathedral Avatar: Freder Fredersen (Debbie) Muybridge Figures: Worker Groups, Space Projection: the 7 Sins and Death Level 2 Glock Machine: Avatars: Freder Fredersen( Debbie), Worker 118811 (Efran) Seats + Camera Control: ON METAMORPHOSE 07_METAMORPHOSE.mp3 Rotwang follows the orders of Joh. Fredersen, he keeps Maria locked in and in Metamorphose he gives his Robot the looks like Maria Metamorphose Level 2.5 Rotwangs laboratory Avatars : Maria (Josi), Robot Maria (Milla), Rotwang (Debbie) Seats + Camera Control: ON ROBOT MARIA When Freder Fredersen finds out that Maria is at his fathers he collapses and becomes sick. In this condition he becomes terrible visions. In the same time is Rotwang demonstrating his new Maria Robot on stage at the Yoshiwara Club of Sons. DANCE AND NIGHTMAIRE Level 3 Yoshivara Stage Avatars: Robot Maria (Josi), Joh Federsen (Efran), Rotwang (Debbie) Muybridge Figures: Groups of Elegante Gentleman in Club Level 2.5 Katedrale the 7 sins projection Seats + Camera Control: ON (FURIOSO) REVOLUTION 08_REVOLUTION.mp3 Out of revenge Rotwang aborts Federsens plan and makes the robot in the appearing of Maria to lead the workers into revolution. The Mob storms into the underground fabrics and damages the Heart-machine, therefore the underground hausing of the workers will be overfloated with water. The real Maria however can, together with Feder and Josaphat that freed himself, save the children of the workers and bring themin safety in the â&#x20AC;&#x153;Club of Sonsâ&#x20AC;? Destruction Level 1.5 Workers Chapel

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Avatare: Robot Maria (Josi)(Milla), Grot (Efran) Muybridge Figures: Worker Groups In Lift:Muybridge Figures: Worker Groups Level 2 Destruction of the Heartmachine Seats + Control: ON SAVING Level 1 Workers|City Avatars: Freder Fredersen (Debbie), Maria (Josi), Josaphat (Efran) Muybridge Figures: Children Groups Special Effects: Gong, Water flud Level 3 Club of the Sons Seats + Camera Control: ON ENDCOMBAT Grot, the chief of workers manages to calm down the revolting workers. They understand it went to a catastrophe and think their children have drowned. Now the hate turns to the one they think started all this; Maria. The Robot appearing as Maria is captured and burned on a woodpile near the Cathedral. In the same time Rotwang is after Maria and hunted her on the roof of the cathedral. The scientist went nuts and sees Maria as belonging to him . Feder Federsen saves Maria and has a final fight with Rotwang. With the motto: “The Mediater between Brain and Hands is the Heart” Joh Federsen and the workers make piece, helped by Feder. Verbrennung Level 2.5 Kathedrale AvatarS: Robot Maria (Milla), Freder Fredersen (Debbie), Joh Fredersen (Efran), Josaphat, Grot, Spy (Klute)(Josi) Muybridge Figures: Worker Groups Seats + Camera Control: ON COMBAT Level 2.5 Cathedral Avatars: Robot Maria (Milla), Freder Fredersen (Debbie), Joh Fredersen (Efran), Josaphat, Grot, Spy, Rotwang( Klute), Maria( Josi) Muybridge Figures: Worker Groups Seats + Camera Control: ON ENDPEACE 09_The_END_PEACE.mp3 With the motto: “The Mediater between Brain and Hands is the Heart” Joh Federsen and the workers make piece, helped by Feders Mediation . RECONSILIATION Level 2.5 Cathedral Avatars: Freder Fredersen( Debbie), Joh Fredersen (Efran), Grot (Klute), Josaphat (Milla), Maria (Josi) Muybridge Figures: Worker Groups Seats + Camera Control: ON

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METROPOLIS helyszín beosztás

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METROPOLIS timeline

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CHANGE: the future vision opera virtuĂĄlis szinpadkĂŠpek

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The change The CHANGE the future vision opera (subject and philosophical content draft)

Lorenzetti code (Siena 1338)

the 3th part of the CARP trilogy (The WALL (past) The Rings (present) The CHANGE (future)) The true future vision has no example in the past

Vogliete gli occhi a rimirar costei, vo‘ che reggete, ch‘è qui figurata e per su‘ eciellenzia coronata, la qual sempr‘ a ciscun suo dritto rende.

„The ability to think about what will be is a basic condition for successful evolution of “humanoids“. With the development of cognitive competence, the brain learns to estimate its options for action – it changes from being a unity controlled by instinct to a complicated forecasting instrument. To argue with the future is part of the human nature. Early in the history of mankind came the wish to look ahead beyond our own action horizon and to be able to foresee developments which one cannot influence. Shamans, high priests and other mediators tried to make the people‘s future visible to steer their path smoothly. Some cultures failed in this attempt to reason. Others, which used forecasts as an impulse to ordered self evaluation and self regulation, succeeded.“ (Mathias Horx) We introduce ourselves to a vision of the future only as a hollywood-booster-movie apocalypse, consumption hell or absurd comic strip. Once we are there, however, she will turn out to be a quite normal place to love, marry, drive a car, working, or give birth to a child.............. .......... and this simple all-days future is our subject and content. The Lorenzetti code The Lorenzetti code (the future has the roots in the past) The fresco cycle on good and bad government by Ambrogio Lorenzetti in the Siena Palazzo Pubblico was created in the years 1338/40, while Siena was establishing itself on the Italian peninsula as an independent city republic. The thesis attempts on the one hand to position this fresco cycle in time and space, describing the historical and political environment with particular emphasis on the association between Siena‘s politics and urbanism, architecture and culture at the time. Included are the contemporary interactions between an artist such as Ambrogio Lorenzetti and his patrons, the Sienese government. On the other hand, the research status on the hitherto available interpretations of the fresco cycle is analyzed. Finally, the thesis offers a new Dantesque view of the city hall pictures: it is shown how in Ambrogio Lorenzetti‘s fresco cycle the purgatory process of Dante‘s Commedia is visually transposed to the terrestrial sphere of the Italian city states, and Dante‘s universal design reduced to the political domain of the fledgling Sienese territorial state. In particular, the three murals of the fresco cycle are described as modifications of Dante‘s Inferno, Purgatory and Earthly Paradise. Due to the reduction of Dante‘s universal design to the level of the Italian city state, special importance was attached in Siena to the republican concept in politics, which is also dealt with in the thesis.

Guardate quanti ben‘ vengan da lei e come è dolce vita e riposata quella della città du‘ è servata questa virtù ke più d‘altra risprende. Ella guarda e difende chi lei onora e lor nurtrica e pascie; Da la suo lucie nascie el meritar color c‘operan bene e agl‘iniqui dar debite pene. (refren 2x) Pax Fortitudo Prudentia Sapientia Magnanimitas Temperantia Justitia Concordia Là dove sta legata la iustitia, nessuno al ben comun già mai s‘acorda né tira a dritta corda; però convien che tirannia sormonti, la qual, per adempir la sua nequitia, nullo voler né operar discorda dalla natura lorda de‘ vitii che con lei son qui congionti. Questa caccia color c‘al ben son pronti e chiama a sé ciascun c‘a male intende; questa sempre difende chi sforza o robba o chi odiasse pace, unde ogni terra sua inculta giace. (refren 2x) Tyramnides Crudelitas Proditio Fraus Furor Guerra Divisio e per effetto che dove è tirannia è gran sospetto, guerre, rapine, tradimenti e ‚nganni, Prendansi signoria sopra di lei, e pongasi la mente e lo intelletto in tener sempre a iustizia suggietto ciascun, per ischifar sì scuri danni, abbattendo e‘ tiranni; e chi turbar la vuol sie per suo merto disciacciat‘ e diserto insieme con qualunque sia seguacie, fortificando lei per vostra pace. (refren 2x) Pax Fortitudo Prudentia Sapientia Magnanimitas Temperantia Justitia Concordia Questa santa virtù, là dove regge, induce ad unità gli animi molti, e questi, a cciò ricolti, un ben comun per lor signor si fanno.

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lo qual, per governar suo stato, elegge di non tener giamma‘ gli ochi rivolti da lo splendor de‘ volti de le virtù che ‚ntorno a llui si stanno. Per questo con triunfo a llui si danno censi, tributi e signorie di terre, per questo senza guerre seguita poi ogni civile effetto, utile, necessario e di diletto. The name of the game Josina Burgess/Velazquez Bonetto Panic is the word on Wall Street. and richness is only just a skin deep. Now banks are fighting for survival. And poorness that has now no rival. crisis leads to cancel trip Hey! Don‘t give up the sinking ship. Don‘t give up the sinking ship. Finance crises, panic, recession Its a black deadly obsession. economists have theories and also offer you their fees Administrations give the tip Hey! don‘t give up the sinking ship. Don‘t give up the sinking ship don‘t understand why we are in it. Maybe its all just bankers bullshit. They have golden handshake contracts And these are all the well-known facts. A planet where the vips eats vip But! don‘t give up the sinking ship. don‘t give up the sinking ship. Stock exchange: the rich can‘t lose Indeed all that for them good news. easy to destroy, and done There‘s nothing new under the sun. Animal nature in a dip But! don‘t give up the sinking ship. don‘t give up the sinking ship. Future exchange: sell off your life And set it into overdrive Options that convey the right Any time of day or night. Only the money is the vip We don‘t give up the sinking ship. don‘t give up the sinking ship. no more exchanging will exist, the way to deal is just a list to dissapear and turn and change new things that has to be arranged we people are the ones that plan that „money“ was the better scam that money was the better scam now here we sit on what we’ve done and future is about to come to show us all we have mistaken all what we planned it has been taken we have to find a better way no more delay, no more delay no more delay, no more delay

change is in our hands for now and in the future it will grow into a better world to live in not only taking but more givving to share and understand some more just act couse death is at the door change systems before its killing it just depends how much we are willing it just depends how much we are willing We don‘t give up. We don‘t give up.

THE DIVISION PARADOX Idea: Vealzquez Bonnetto. Lyrics: Josina Burgess spread weapons, people will turn wild and start to kill each other spread some believes, you will get lost, and noone seems to bother spread bread, you will be full but bread it will be gone spread gold, wake greed and gold is gold and that is never done spread money its a airballoon that flies in wind and thunder and dissapears into the storm that finally takes him under When you cave give to nature back, all that you have taken It will return into a space to live and that’s forsaken When will you share your wisdom. The wiser we become, And When you spread your love it will come back as it belong When you will share just everything you have and clear your mess, It brings back to you inner peace and gives you happiness The future is a balance between nature, between man and knowledge is producing all the future yes it can create for all the people that will recognize it well that love is all there is and love is not an empty shell You cannot change the world without changing first yourself When you believe in dreams, your dream is like a ghost or elf When you share your dreams with others all together It can change everything and and it will really matter Let all that falsehood far behind just put it in a box Only think on what it true: the division paradox Only think on what is true: the division paradox Only think on what is true: the division paradox

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The Cave Medora Chevalier The dark outside The cold outside The beast outside The fear outside Make the journey Make the journey Here we rest and laugh and love Firelight dancing high above We are warm together We are bright together We are human together We are fearless together Make the journey Make the journey Here we talk, debate and plan Wise old women, strong young man. Hear our drums are sounding Hear our voices calling Hear our feet are pounding Hear our spirits lifting

Shall our dust dry fruitless, pointless, Shall our death be cowering? Shall we take the path where others mock us, Shall we take it take it knowing? Every time we draw a breath in See the future here is flowing. Feel your wings spread in the dark winds Feel their sweep, their power. Feel each feather take its own place Feel your spirit tower. Greater than the greatest tempest Smaller than the smallest atom Hereâ&#x20AC;&#x2DC;s the force deep in your being If you only reach to touch it Reach and touch and taste and love it Fly upon its shoulders. It is all you are and can be See the future flowing It is wildness still to think so We can lie here sleeping. Why should life be any other Than the life weâ&#x20AC;&#x2DC;re keeping? Yet we know our fingers reach out Reach out still in wonder If the dream is shining there If it is calling us If it is wonderful See the future here is glowing.

Make the journey Make the journey See our hands are twining Deep in colours glow See our marks are shining Make our soul world show Make the journey Make the journey Come inside the cave Leave the dark outide Come inside humanity Leave the fear outside Make the journey Make the journey

The future flowing Medora Chevalier Looking at the evening sunlight Spy the shadows growing. High up on the mountain ranges Feel the sunset glowing. As we breathe the chilling air in Know above all knowing, Every time we draw a breath in That the future here is flowing. Every time we draw a breath in That the future here is flowing. So it is our choice to make here In our one brief flowering:

Weapon cemetery Idea: Vealzquez Bonnetto. Lyrics: Josina Burgess Why all the fighting, why killing each other, Why do they destroy someones garden and home? Is it because of the others religion, That they cant stand it, cant leave him alone? On television they say this is evil, And evil puts everyone in a deep hole, Evil is greedy , is hopeless, is empty, Evil just wants to eat everyones sole I long for a future where people are trusting each other again without anger or fear. War has no use it is only discusting, and doesnt solve anything that is well clear. Why is there war? Tell me what is the reason? Is it a solution for you or for me? Where is it good for? What is the illusion is everyone blind and can nobody see? War, follow orders, kill innocent children? Is that the illusion in what you believe? Is it the oil that the land is destroying, And making rich richer and others in grieve? On television they say this is evil. The oil and the diamonds, the copper and gold. The thieves among us they are counting their money. In jail are the little ones that did was was told I long for a future where people are willing to help out each other just as it should be. A future without all the wars and the killing, the murder for money and murder for fee. War uses your blood as the ink to print money and

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blood is the payment for every new gun. Guns to kill people and innocent children and making whole continents go on the run I believe in a life where is peace all around us. Where nobody tells us to break someones door. Because his religion and language is different And therfore to kill and leave dead on the floor. Or maybe the skin is again a good reason To abandon and hate and letting you fear. The fools and the crazy they follow the orders The big ones, the rulers? They dont shed a tear. I long for a future where doors are all open, no reason to close them theres nothing to hide. I long for a future with peace for all mankind and religion and language go side by side I want to dig graves for the weapons to barry, and on it i will put a big golden cross. Where is war good for? Tell me what is the reason? Loosing those weapons? It is no loss! HSv2 Education Medora Chevalier Sit down Be quiet Look here Concentrate! Still still Don‘t talk Watch me Concentrate! Outside the sky is grey Outside the street is grey The clouds and birds all grey Outside the future‘s grey. Sit down Be quiet Look here Concentrate! Still still Don‘t talk Watch me Concentrate! Outside my mind is wandering Outside I search for something For something lovely flying For something that‘s ALIVE! Sit down Be quiet Look here Concentrate! Still still Don‘t talk Watch me Concentrate! There! What was it? There! Is that what colour is? There! Is that what music is? There! Is something that‘s ALIVE!

Sit DOWN! No I stand tall Look HERE! It‘s not beautiful Sit STILL No I‘m dancing Watch ME Now I feel ALIVE! Don‘t give up Medora Chevalier When you‘re feeling weak and lonely Don‘t give up When the world is hard and phoney Don‘t give up If you feel that change is needed There are others who will feel it Don‘t give up Don‘t give up Don‘t give up When you see our planet dying Don‘t give up If you hear the statesmen lying Don‘t give up Let our banners be unfurled Let‘s unite and save the world Don‘t give up Don‘t give up Don‘t give up If you see the people starving Don‘t give up If you hear the wealthy laughing Don‘t give up Against every cold warmonger There‘s a thousand fighting hunger Don‘t give up Don‘t give up Don‘t give up When you see them cold and homeless Don‘t give up When you hear them mocked as worthless Don‘t give up Reach your hand and see them true Let their talents come shine through Don‘t give up Don‘t give up Don‘t give up When the partying is over Don‘t give up When you‘re home and with your lover Don‘t give up Make your own connections wider Act together, make things better! Don‘t give up Don‘t give up Don‘t give up Don‘t give up Don‘t give up Don‘t give up !!!

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CHANGE: the future vision opera virtuĂĄlis szinpadkĂŠpek

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Not possible in the real life Friday, October 17, 2008 http://npirl.blogspot.com/2008/10/rings-homosapiens-version-20-protest.html Alpha Auer The RINGS is a work created in Second Life® by a multinational team within the Cybernetic Art Research Project (C.A.R.P). Josina Burgess, one of the minds behind the production tells that this has been developed through months of collaboration by a creative team drawn from Germany, the Netherlands, Sweden, Austria, Italy, France and the UK. Taking its principles from hyperfunctionalism as well as H.J.Krysmanski‘s Power Structure Research.

RINGS comes from the Power Structure Research. We used as a content base the description of H.J Krysmanski. In the themes we added a 5th ring. In this ring are the victims of the system. The form we used always has to do with the themes from then. But it was never the goal or the intention to use styles from what ever direction. Better to use fitting formats that helped to understand the content of the message. We call that Hyperfunctionalism...

Says Josina Burgess:

... All together this 4 ring system shows and describes the worldwide experimentation to re-organize the ruling class; that without a strong state and under the conditions of regulation of economic, collective forms have to survive. The absolutely designated personnel of this „Ring castle“. In fact a few thousand in the outside ring, operates more and more in a environment of absolute corruption: „The relation of corruption in the Antiques and in Modern times towards world-relations were named as falsifications. Corruptions (as a statement) cant play any role in the governance forms of today, because they themselves are the substance and the totality of the Empire. Corruption is the true performing of commands, without any relation or adequate subscription to the Demimonde (Hardt u. Negri 2002, 398).“

„Every scene has a real concrete RL Inspiration, not a formal one but more the content of it. The title

The Rings is an impeccable production, which would do any Real Life theatrical venture proud; taking

This team has put together an impeccable musical production which utilizes cutting edge technologies such as collaborative worldwide song composition/ recording/ mixing techniques, automatic audiovisual timeline controlling systems, flying seat systems as well as a 4d live-cut camera system and puppet animation record/play system.

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the fundamental concepts of Real Life scenography and stage production into a virtual dimension particularly through the usage of the controlled camera system. Indeed for me there were immediate Real Life associations, one being the Laterna Magika from Prague. Thus I could not help but wonder how it‘s creators Alfréd Radok and Josef Svoboda would have used the technology in relation to the multilingual social milieu of the metaverse. The underlying premise of Laterna Magika was the seeking of a universal non-verbal theatrical language, which Radok and Svoboda considered to be of essence in view of the emergence of a global culture - and this as early as in the 1950‘s. Thus the entire lavishness of the stage constructions as well as the extensive usage of media elements were used to this end, i.e., they carried an inherent mission which went far beyond the pursuit of a merely spectacular visual display. Radok and Svoboda were in pursuit of developing a visual language of narrative, capable of expressing far more than the obvious: One of a level of sophistication and complexity that would render the spoken word obsolete in its ability to convey layers of meaning and narrative. So, I cannot help but wonder whether the theater producers of the metaverse might not give this consideration also: Today, in the metaverse we are indeed faced with a multi-lingual culture. The delightful neko designers whose devoted customer I am and whom I often try to engage in conversation are usually Japanese and not in good command of English. Another good example to this conundrum would be the colony of French Chris Marker aficionados that seems to have grown in my neighbor sim Ouvroir, which houses the Chris Marker exhibit of the Gestaltungsmuseum, Zurich. Again, I find that, more often than not, communication in English with these new neighbors proves to be a problematic proposition. The visuals of the Ring are indeed beyond any reproach. The stage sets, the special effects, the usage of shape, texture and color satisfied even a stickler for perfection like myself. The animations that bring together the choreography are impressive and then most importantly the quality of the music is of such a level that I felt compelled to ask Josina Burgess additional questions with regard to its creation. Having voiced my admiration for the production of the Rings - and again, I am truly impressed with the high level of professionalism and perfection here, I nonetheless have questions: The all important one is the reliance upon the spoken word to the extent that the performance does. And yet another one is the usage of an enclosed auditorium: Since we are in an

environment where as far as creativity is concerned the sky seems to be the limit, why not take this into the very skies of Second Life? Or under the water? Or indeed both? Wouldn‘t this also not go towards some truly unexpected, if not downright magical usages of the controlled camera system which contributes so hugely to the viewing experience of the Rings? This is a truly talented team of people that have put together a performance that is definitely a must see in Second Life. And in the end, I would love to see them move further into the development of a purely visually narrative language as well as into the realization of content material that is more in the nature of a free fall rather than one which materializes as the conveyance of a somewhat direct message. In short one that leaves more room for the associative, the ephemeral, the complex, the alluded. I have no doubt whatsoever that their combined creativity is more than amply equipped to accomplish even far more substantial feats than the mere realization of my hopes in this regard. Here is a video by Gary Hazlitt and his Just Virtual Film of C.A.R.P.‘s first musical production: The Wall, V-2 The all original score is the work of Junivers Stockholm (S) and Josina Burgess (NL), while the lyrics on which this is based too originate from Josina Burgess, together with Medora Chevalier (UK) and again Junivers Stockholm. Indeed looking at the credits list much of the creative momentum behind this work can be ascribed to Josina Burgess who has also been instrumental in the design of the sets and costumes and Junivers Stockholm who has also been effective in scripting and special effects, the script writing and direction to KoTW and camera directing. Velasquez Bonetto is the creative director/producer as well as the builder and scripter of the Rings. The songs are sung by Josina and Junivers working together from a distance by sending files over to each other from Holland to Sweden and vice versa. Other names involved in the creative effort are Debbie Trilling and Elfod Nemeth (both from the UK) for special effects, Caravaggio Bonetto (A) for scenario, building and graphics, Medora Chevalier (UK) for the concept of the King of the World song which she co-authored with Junivers Stcokholm, beyond which Medora was also the narrator, script and supervising editor to KoTW. Panorama photography has been undertaken by Jan van der Woning (NL), the animations by Sca Shilova (NL). The actors and dancers of the Ring are: Blanche Argus (S), Josina Burgess (NL), Medora Chevalier (UK), Klute Coppola (F), Efrantirise Morane (I), MillaMilla Noel (I), Junivers Stockholm (S), Sca Shilova (NL) and the sax was played by Jazzoru Otoole (S).

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Why RINGS? The RINGS concept based on the descriptions model of the ruling class today from H.J.Krysmanski. (Power Structure Research) In general you can deduce a certain description model out of the Power Structure Research of the ruling class or elite. Beyond there are 4 groups linked by a function covenant where you find 4 sub systems of systems like: functional relation - ownership – administration – distribution and employer relations. The CARP creative team add a 5th ring: the looser and the victims of this system, and describe for the free world-citizens the changing strategys. The original Text: H.J.Krysmanski Power Structure Research: Descriptions model of the ruling class today A Version was published in ‚Wissenschaft und Frieden‘ 4/2004: http://www.uni-muenster.de/PeaCon/global-texte/ globalws0203.htm Four Authority’s In general you can deduce

a certain descripti-

on model out of the Power Structure Research of the ruling class or elite. Beyond there are 4 groups linked by a function covenant where you find 4 sub systems of systems like: functional relation - ownership – administration – distribution and employer relations. In the heart of this functions covenant is the group of the personal richness. For example the Super Rich: they represent the Power of Money. In every occasion and through micro – networks, or “Philanthropy”, or the power machine of Foundations an Institutions this group has a huge influence in businesses and worldwide community’s in live. This new form of Philanthropy stands above the normal capital market in their way of functioning. They cant be ordered in somehow capital fractions and is mostly busy with trans capitalistic forms of capital destruction to withhold power competition. With the disappearing of the Sovereign forms of the modern time still this group, as the only ones, can use a upper sovereign state form to reduce “the Regime of private removal , universally. (Hardt u. Negri 2002, 313) The next group represents the power of the companies. There are the Chief Executive Officers of Industry, Finance and Militairy, that form a kind of securing wall around the core of the super rich and form together with them the pact of „Corporate

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Community/Upper Class“ (Domhoff ). This companyelite has a priority in increasing and administration of the capital of the super rich and has many multi millionaires between them. The can be seen as the Capitalistic class in the traditional form. In between this administration elite there are of course capital fractions and economic grounded interest contradistinctions, specially between the big trans national companies that go beyond national borders and function as connections in global systems and the restricted modern economy of earlier years. (Hardt u. Negri 2002, 165) The third group, already more derive, represents the Distribution Power. Here it is commonly the political class, a real serving class, able to preserve the distribution rightouseness of the company-elite and their appearance. In the core of this political class the Oligarchy’s or the “Political Management` (Mills) are acting. Election wars mostly to get people on certain positions. Further the distribution politics has reached a step in the global, conditions where the universal values of justice cant play any role anymore and the “art of governance” exist.. “ Do not integrate conflicts, only when they submit to a coherent social dispositiv, or when the differences can be controlled(Hardt u. Negri 2002, 348) The complex ring on the outside builds finally the

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

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SL TLC A metaverse színházi produkció eredeti címe Second Life Tour Lumière Cybernetic. Mivel az alkotók egymás közt egyre gyakrabban hivatkoztak a projektre az első betűk felsorolásával, végül a rövidített SL TLC cím vált természetessé. Ez megfelel az informatikai szakzsargonban szokásos rövidítési szokásoknak is.

Nicolas Schöffer özvegyét, Eleonore de Lavendeyra Schöffert. Igy vált lehetővé, hogy Nicolas Schöffer álma a virtuális világban megvalósuljon a világ minden részéről érkező team munkájának eredményeként. A Second Life keretei közt felépitett torony kiállításnak ad teret, mely bemutatja, hová fejlődött a kibernetikus művészet az elmúlt 60 év alatt.

A Tour Lumière Cybernetic Nicolas Schöffernek, a kibernetika atyjának, Párizs városa számára tervezett kibernetikus fénytornya, melyet a kor eszközeivel, részben az Eiffel-tornyot túlszárnyaló méretei és hatalmas energia igénye miatt, valamint a döntéshozó helyen bekövetkezett kedvezőtlen személyi változások miatt, nem sikerült megvalósítani.

Az SL TLC produkciót 2010. Október 9-én mutatták be először az Imagine Fesztivál keretein belül. Az Imagine Fesztivált Joko Ono kezdeményezésére John Lennon születésnapján rendezik meg minden évben.

A tervek szerint a torony kiemelt, mindenhonnan jól látható helyen épült volna meg. A város és a torony a kibernetika alapelveinek megfelelően bonyolult kapcsolatok rendszerén keresztül befolyásolták volna egymás életét, működését. Schöffer fő célkitűzését, azaz a műalkotás dematerializálását, olyan anyag nélküli művészeti kifejezőeszközök használatának segítségével kívánta elérni, mint a fény, illat és hang. A torony építéséhez roppant mennyiségű tükörre, reflektorra, hang és szag emitterre, valamint szenzorokra és kontrollberendezésekre lett volna szükség. A Second Life virtuális világa segített olyan valós emberi kapcsolatok megteremtésében és ismerkedési alkalmak, találkozások megszervezésében, melyek az Internet léte nélkül a térbeli távolságok miatt soha nem jöhettek volna létre. Ez a fórum hozta össze a CARP csoport tagjait és

Koncepció: Nicolas Schöffer RL project koordináció: Naomi Devil és Gehér Klára 3dsMax digitális model: Nagy Àgota SL kreativ direktor, content creator: László Ördögh Diabolus aka. Velazquez Bonetto Zeneszerzök: Nnoiz Papp (Németország) és Junivers Stockholm (Svédország) Particle effektek: Josina Burgess (Hollandia) Bolero koreográfia: Medora Chevalier (Anglia) Kiállító művészek: Dancoyote Antonelli (USA), Igor Ballyhoo (Szerbia), Velazquez Bonetto (Németország), Josina Burgess (Hollandia), Artistide Despres (Belgium), Glyph Graves (Ausztrália), Werner Kurosawa (Belgium), Merlino Mayo (Olaszország), Bryn Oh (Kanada), Shellina Winkler (Olaszország)

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SL TLC kibernetikus művészeti kiállítás 2010

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SL TLC kibernetikus művészeti kiállítás 2010

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SL TLC kibernetikus művészeti kiállítás 2010

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#bolero timeline #silence seat lift up 0.0~/-110011~/start_stream::http://artspace-diabolus.com/ sounds/BOLERO/Bolero_Master.mp3 0.1~/-272070474~/CARP SCHOEFFER_09:goto:0:0 0.2~/-272070474~/CARP TOWER_CAMERA_06:goto:0:0 0.3~/-210000001~/REFLECTORS:play_loop 0.4~/-434111434~/TOWER_1:color:<0.0,0.0,0.0> 0.5~/-434111434~/PARTICLE_101:particle_off 0.6~/-434111434~/PARTICLE_102:particle_off 0.7~/-434111434~/PARTICLE_103:particle_off #seats up 1.5~/-210000001~/SCHOEFFER_SEATS_02:sr_pos_ori:<-13.469170, -19.125580, 1.000000>:<0.000000, 0.000000, 0.000000, 1.000000> 1.6~/-210000001~/SCHOEFFER_SEATS_03:sr_pos_ori:<-31.125587, -3.030830, 1.000000>:<0.000000, 0.000000, -0.707107, 0.707107> 2.0~/-210000001~/SCHOEFFER_SEATS_01:sr_pos_ori:<-12.530830, 29.125603, 1.000000>:<-0.000000, 0.000000, 1.000000, 0.000000> 3.0~/-210000001~/SCHOEFFER_SEATS_04:sr_pos_ori:<-31.125587, 12.469154, 1.000000>:<0.000000, 0.000000, -0.707107, 0.707107> # 60 sec moderato 1 31.0~/-434111434~/TOWER_1:color:<0.0,0.0,0.5> 31.1~/-921072030~/BOLERO_01:play_loop 31.2~/-921072030~/BOLERO_01:random_pos_

Foreword by Eleonore de Lavandeyra-Schöffer (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, transformant 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… 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’avant-garde, 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-ouvrierpenseur… 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. 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

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SL TLC 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 2010

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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Eleonore Sch0ffer , Naomi Devil Párizs Schöffer műterem 2010. 07. 07

Foreword by Eleonore de Lavandeyra-Schöffer (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 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.

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Eleonore Sch0ffer , Naomi Devil & Diabolus (Ördögh László ) Párizs Schöffer műterem 2010. 07. 07

Undoubtedly the SL TLC does not have to be “the same” as the TLC. She is the image of to-day 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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The SL TLC 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.

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.

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.

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 adapted this cybernetic principle when he realised his spatiodynamic and luminodynamic 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.

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 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.

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

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

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

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

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

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. 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! ;-)

Metavers Art

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

Metavers Art

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

Metavers Art

SL TLC video Koncepció: Nicolas Schöffer RL project koordináció: Naomi Devil & Klára Gehér , 3dsmax digitalis modell: Àgota Nagy SL kreativ direktor, content creator: László Ördögh Diabolus aka.Velazquez Bonetto zeneszerzök: nnoiz Papp (Németország) & Junivers Stockholm (Svédország) particle effects: Josina Burgess (Hollandia) bolero koreográfia: Medora Chevalier (Anglia) táncosok: Medora Chevalier (Anglia), Eronoele Galicia (Franciaország), TheDove Rhode (Anglia), Southern Riptide (USA), Sunschine Vayandar (Délafrika), Isabella Alphaville (USA), Angelique Menoptra (USA) A kiállitó müvészek: Dancoyote Antonelli (USA), Igor Ballyhoo (Szerbia), Velazquez Bonetto (Németország), Josina Burgess (Hollandia) Artistide Despres (Belgium), Glyph Graves (Ausztrália), Werner Kurosawa (Belgium), Merlino Mayo (Olaszország) Bryn Oh (Kanada), shellina Winkler (Olaszország) artspace diabolus cybernetic art research project 2010

A megnyitó utolsó programpontja egy virtuális kibernetikus művészeti kiállitásról készült video levetítése. A film népes nemzetközi alkotógárda olyan együttműködésének az eredménye, melyet a játékos kedv, a teremtés öröme hívott létre a Second Life nevű, Interneten elérhető virtuális világban. Erre a világra gyakran hivatkoznak metaverzum néven, a ‘meta-’ görög eredetű előtagból (jelentése ‘valamin túli’) és az universum szó angol megfelelőjéből alkotott mozaikszóval. Neal Stephenson 1992-ben irt Snow Crash cimű science fiction novellájában szerepel először a metaverse kifejezés. A novella szereplői a valós világ metaforájaként létrehozott háromdimenziós virtuális világban második életet élnek az Internet közvetítésével. Avatárjaik segitségével lépnek interakcióba a virtuális világ digitális tartalmaival és egymással. 1992-ben még senki nem gondolta, hogy a reális univerzumon túli univerzum, a valóssal párhuzamos világ egy évtizeden belül science fiction vizióból hétköznapi realitássá válik. Ma számtalan Second Life-hoz hasonló párhuzamos világ létezik. A video címe magyarázatra szorul. Second Life Tour Lumière Cybernetic lenne a teljes cím, de az alkotók egymás közt egyre többször hivatkoztak a projektre az első betűk felsorlásával, igy végül az SL TLC cím vált természetessé. A Tour Lumière Cybernetic Nicolas Schöffernek, a kibernetika atyjának, Párizs városa

számára tervezett kibernetikus fénytornya, melyet a kor eszközeivel (részben az Eiffel-tornyot túszárnyaló méretei miatt) nem lehetett megvalósitani. A Second Life virtuális világa segitett olyan valós emberi kapcsolatok megteremtésében és találkozások megszervezésében, melyek az Internet léte nélkül a térbeli távolságok miatt soha nem jöhettek volna létre. Igy vált lehetővé, hogy Nicolas Schöffer álma a virtuális világban megvalósuljon egy a világ minden részéről érkező team (CARP csoport) munkájának eredményeként. A Second Life keretei közt felépitett torony kiállításnak ad teret, és a létrejött produkció egyben bemutatja, hová fejlödött a kibernetikus művészet az elmúlt 60 év alatt. Az SL TLC című video 2010 Október 9-én került először bemutatásra az Imagine Fesztivál keretén belül., melyet Joko Ono kezdeményezésére John Lennon születésnapján rendeznek meg minden évben. A kibernetikus művészeti projekt alkotógárdájának motorja volt többek közt a megnyitón jelen lévő Nagy Àgota, Ördög Noémi és Ördögh László, akik örömmel válszolnak kérdésekre, illetve beszélnek az érdeklődöknek a CARP alkotó csoport többi Second Life projektejéről.

Metavers Art

Metaverse Art kiállítás Szombathelyi Képtár 2011

Metavers Art

V-JAZZ előadás Velazquez Bonetto (Németország)

A metaverse improvizáció Az online interaktive audiovizuális kollaboráció felfedezése egy szerencsés baleset következménye volt. Josina Burgess csinált egy virtuális szobrot és hogy egy kicsit érdekesebb legyen a látvány néhány véletlenszerüen kiválasztott programszkriptet rakott a szoborba. Az eredmény valóban nagyon érdekes volt de Josina nem tudta megmondani hogy hogyan csinálta. Megnéztük együtt a programszkripteket és kiderült, hogy az egyes szkriptek vizuális hatásai összegzödtek, ettöl lett a szobor annyira érdekes. Ebböl egyenesen következett, hogy ezeket a hatásokat egy menüböl is lehet vezérelni és az vizuális hatásokat mint egy zongora billentyüzetén el lehet játszani. Ezzel megszületett az interaktiv vizuális improvizáció eszköze. Hamarosan rájöttünk hogy az effektusok sokkal érdekesebbek ha két vizuális készletet két vagy több avatár vezérel. Meghivtunk ezekre az eseményekre zenészeket, akik a vizuális látvány hatására improvizáltak egy zenét. Ezzel létrejött az online interaktive audiovizuális collaborativ improvizáció mint metaverse müfaj. A nevét azomban túl hosszúnak tartottuk ezért V-JAZZ-nak neveztük el. Az uj eszközhöz épitettünk egy környezetet (V-JAZZ DOM) ahol rendsze-resen szerveztünk VJAZZ elöadásokat. A V-JAZZ egy interaktiv virtuálsi szobor. Ebböl fejlödött ki késöbb az interaktiv

virtuális környezet amit LA-nak neveztünk el. (LA = Living Architecture = élö arhitektúra)

A V-JAZZ projekt résztvevöi voltak: Zenészek: nnoiz Papp (Németország) Kourosh Eusebio (USA) Al Hofmann (Hollandia) Cypress Rosewood (USA) Junivers Stockholm (Svédország) Vizuális müvészek: Josina Burgess (Hollandia) Caravaggio Bonetto (Austria) Velazquez Bonetto (Németország) Juria Yoshikawa (Japan) Calimera Lane (Németország)

Metavers Art

Living Architecture előadás Caravaggio Bonetto (Austria) Velazquez Bonetto (Németország)

V-JAZZ előadás Josina Burgess (Hollandia) Velazquez Bonetto (Németország)

Metavers Art

Why is the Metaverse as a medium interesting to you and why have you chosen this as a platform to express yourself? because...... -It is a Paradigm shift for understanding time-space continuum, -It has a special quality between the Real World and the Visionary World, -It means the basic Paradigm exchange in communication and collaboration , -We are fascinated by the new dematerializing display options, -We are fascinated by the possibillities of borderless vision transfer, These are the technical reasons ...and yes in spite of all, something remains a constant since 135000 years: the Joy of Creating. We must not forget that behind every avatar there is a human being, with feelings, his ambition to have a better world and life, with his joy and fear, with his intellect. The Human brain is capable with its capacity for abstraction to view our world in a special way, to understand and change it. With the help of our Sensory we are capable to accumulate the world in a dematerialized form and to insert that into a succesfull surviving strategy. To that we have to mobilize the cognitive abilities of our brain, rebuild our dematerialized world in a spiritual world of thinking. In comunication with other people temporarily our thoughts have to be materialized again, the lesser we use material resources to communicate, the faster and more direct we can exchange ideas and thoughts with other people. The virtual worlds are part of this since the cultural revolution of the 21th century. Metaversum is a new kind of language. In a complex mechanism we are able our thoughts to display as visions and to communicate with other people in real and worldwide. I work since 30 years as a designer, content-creator and programmer on virtual worlds and virtual humans (avatars) that help to display visions as simulations in many Industrial areas and make our material future more comprehensible. For me it was always clear that the Virtual Reality as a Elite technology will transfer as a linked vision machine (http://issuu.com/diabolus/docs/avatar_history), metaverse technology is ready now to open and available for concepts, visions etc, worldwide-for all that possess a computer and internet access. Culture was in the past, in the present and in the future a primary surviving strategy. The possibilities to investigate this media was founded together with Josina Burgess and Caravaggio Bonetto on June 27th in the Diabolus Artspace and

the Cybernetic Art Research projects (CARP) Art space Diabolus CARP Team stand since its founding for Experimental Art on the most modern medium for Art. Our goal is: to produce technicaly and contentualy attempting and innovating ART with the possibilities of the worldwide web virtual media. In one word we call this: HyperArt (HAtr). The artistic creations we represent we name: Hyperfunktionalism. CARP Creators have created since then many innovations like: Virtual Architecture, Audio Art, Interactive Kinetic Art, complex Cybernetic Art, Worldwide collaborative Audiovisual Improvisation, Presentation Technics, Virtual Theatre, 4D cinema, Video, Collaborative Creations and Art-scripting. The CARP Team has published all their work, creations, creators and developments in the CARP e-book Series . (website: diabolus.ning.com) Basically for me is all what human a displaying theme. Regardless of the media. The range of topics reaches from subjective emotional themes till political protest actions and social future visions. I always try to ask the right questions, The key for a right answer is always to ask the right question and that is the greatest art. If I get the right answers in the area of Art, Science or whatever donâ&#x20AC;&#x2122;t really matter. The metaverse structure is the ideal media to experiment with creative ideas without material consequences I am not searching for themes, the themes find me. You only have to walk around with your eyes open. The virtual worlds have become a natural part of the real world. For me a important goal is: To create a always vivid communication between reality and virtual reality. I donâ&#x20AC;&#x2122;t think of formal and technical connections, like 2 camera images sending form here to there. I think in contextual connections. Use a new media for real problem solving, generate future visions. In the area of Science, Technics and construction it is already a long time practice. In the area of Art, Culture, Politics and Social Life the first steps are taken. If a metaverse creation is a success is easy to measure from reactions of the audience. With attentives from the public like: - i love the colours and the textures, - nice visuals, - congratulation great exhibition I know its better to pack my stuff into my inventory and never rez it again. In such a case I know that what I have made has never touched someone and has no impact power When after a production like THE WALL, THE RINGS, EMOTICON, LIVING ARCHITECTURE or V-JAZZ these or similar texts appear on my screen:

Metavers Art

[15:01] Foscos Barbosa: bellissimoooooooo [15:01] Giulia Janus: fantastico! [15:01] iTony Pleides: APPLAUSE!!!! [15:01] Foscos Barbosa: braviiiiiiiiiii [15:01] Giulia Janus: braviiiiii [15:01] Elin Egoyan: amazing!!! [15:01] Aloisio Congrejo ruft: BRAVIIIIIIIIIIIIIIIIIIIIII [15:01] Henkie Barbosa: ..:::APPLAUSE:::.. [15:01] Giulia Janus: applause [15:01] Thirza Ember: wonderful [15:01] Myra Goodliffe: Great [15:01] Foscos Barbosa: fantastico [15:01] iTony Pleides: BRAVO!! [15:01] Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:01] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) [15:01] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) [15:01] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) [15:01] Thirza Ember: applause [15:01] Eliza Wierwight: ~applauds~ wonderful ~smiles~ [15:01] Sistagrlro Wei applauds! [15:01] Giulia Janus ruft: BRAVIIIIIII [15:01] Elin Egoyan: me bows her head humble to the creators [15:01] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:02] Annabelle Fleury: .-’`’-. APPLAUSE APPLAUSE .-’`’-. [15:02] MicheleR Wrigglesworth: APPLAUSE!!! [15:02] MicheleR Wrigglesworth: Applause!! [15:02] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:02] Tani Thor: FANTASTICOOO BRAVIIIIIIIII [15:02] iTony Pleides: THANK YOU!!! [15:02] Tani Thor ruft: BRAVIIIIIIIIIIIIIIIII [15:02] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:02] Elin Egoyan: /applause [15:02] Annabelle Fleury: Hoooo! [15:02] Thirza Ember: braviii [15:02] Tani Thor ruft: BRAVIIIIIIIIIIII [15:02] Foscos Barbosa: bravissimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii [15:02] Giulia Janus ruft: BRAVI [15:02] Dubby Loon: fantastic [15:02] MicheleR Wrigglesworth: ?(`’•.¸(`’•.¸ * ¸.•’´)¸.•’´)? [15:02] MicheleR Wrigglesworth: «´•..?WOOHOOOOO!?..•`» [15:02] MicheleR Wrigglesworth: ?(¸.•’´(¸.•’´ * `’•.¸)`’•.¸)? [15:02] iTony Pleides: APPLAUSE [15:02] Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:02] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) [15:02] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) [15:02] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) [15:02] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:02] Foscos Barbosa: braviiiiiiiiiiiiiii [15:02] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:02] Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:02] Elin Egoyan: CHAPEAU!!!! [15:02] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:02] Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•* [15:02] Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•* [15:03] Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•* [15:03] Tani Thor: braviii braviiiiiiii [15:03] Aloisio Congrejo ruft: fantasticiiiii [15:03] Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•*

Metavers Art

[15:03] Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•* [15:03] Tani Thor: BRAVIIIIIIIIIII [15:03] Josina Burgess ruft: THANK YOU!!!! [15:03] Velazquez Bonetto ruft: THANK YOU CARP TEAM FOR THE FANTASTIC PERFORMANCE [15:03] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) [15:03] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) [15:03] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../) [15:03] MicheleR Wrigglesworth: *•.¸(‘*•.¸ ? ¸.•*´)¸.•* [15:03] MicheleR Wrigglesworth: ??? FANTASTIC ??? [15:03] MicheleR Wrigglesworth: ¸.•*(¸.•*´ ? `*•.¸)`*•.¸ [15:03] Annabelle Fleury: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:03] Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:03] Elin Egoyan: HOW DID YOU DO IT!!! [15:03] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:03] Ariana Mirabella: Amazing!! Thank you... So talented!! [15:03] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:03] Tani Thor: la cosa piu’ bella vista in sl....braviiiiiiiiiiii [15:03] Myra Goodliffe: Absolutly Great !!!!!!! [15:04] Foscos Barbosa: grandissima arte in sl [15:04] Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:04] Winston Ormega: wow !!!! [15:04] MillaMilla Noel: grazie [15:04] iTony Pleides: APPLAUSE! [15:04] Giulia Janus: SI DAVVERO [15:04] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE*********** [15:04] Giulia Janus: UNA COSA FANTASTICA [15:04] Foscos Barbosa: che bello [15:04] Giulia Janus: si [15:04] Tani Thor: BRAVISSIMIIIIII ..TANTO DI CAPPELLO PER IL LAVORO FANTASTICO..QUESTA E’ ARTE PURA.....BRAVIIIII [15:05] Tani Thor: braviii grazieeeee dello spettacolooooo.....GRANDIIIIIIIIIIII [15:05] Foscos Barbosa: sempre a questa ora giusto [15:05] Giulia Janus: fantastico! [15:04] Foscos Barbosa: bravissimi [15:04] Vel Alchemi: APPLAUSE!!!! APPLAUSE!!!! APPLAUSE!!!! APPLAUSE!!!! [15:04] Foscos Barbosa: bravi [15:05] Rux Anatra: **********APLAUSE!!!************** [15:05] Radiance Rosewood: yaaaaa woooooot [15:05] EdDereDdE Laval: ?(`’•.¸(`’•.¸ * ¸.•’´)¸.•’´)? [15:05] EdDereDdE Laval: «´•.¸¸.•HOOOOOOOOOO!•.¸¸.•`» [15:05] EdDereDdE Laval: ?(¸.•’´(¸.•’´ * `’•.¸)`’•.¸)? [15:05] MillaMilla Noel: grazie a tutti [15:05] EdDereDdE Laval: «´•.¸¸.• ?(`’•.¸(`’•.¸ * ¸.•’´)¸.•’´)? «´•.¸¸.•>> [15:05] EdDereDdE Laval: «´•.¸¸.ARTIST IS DOING AN AWESOME JOB •.¸¸.•`» [15:05] EdDereDdE Laval: «´•.¸¸.• PLEASE SHOW YOUR APPRECIATION! •.¸¸.•`» [15:05] EdDereDdE Laval: «´•.¸¸.• ?(¸.•’´(¸.•’´ * `’•.¸)`’•.¸)? •.¸¸.•`» [15:05] Tondy Treves: :::::::::::APPLAUSE:::::::::::::::::: [15:05] Betty Tureaud: great work . . [15:08] blanche Argus: . .. ...? ? _ ? ? ? ¦ ? ???? APPLAUSE!!!!???? ? ¦ ? ? ? ? ?... .. . [15:08] blanche Argus: ? ¦ ? ? ? _ ? ???? ? APPLAUSE!!!!? ???? ? _ ? ? ? ¦ ? [15:08] blanche Argus: . .. ...? ? _ ? ? ? ¦ ? ??? ?APPLAUSE!!!!???? ? ¦ ? ? ? ? ?... .. . [15:08] Olympia Fizzle: FANTASTICI!!!! . . [15:16] Imnotgoing Sideways: Thank you all very much for a very wonderful show. It was simply beautiful. I’m left speechless and breathless. You have truly created magic in Second Life™ (^_^)

Metavers Art

[15:16] Elynni Jewell: I can’t even imagine how much work has gone into this .... 15 minutes standing ovation , Then I know the message has arrived in the emotional and rational level. The production hat the needed aesthetic impact power, the audience is enthusiastic whatever nationality, age, culture or language. To follow a “style” is the certain sign of lack of imagination. From the other site it is in my opinion needed to have an artistic concept. What kind of expression I use depends on the content what I want to communicate. So it gives a close functional relationship between communicated content and expressions. For example: when it is about a audiovisual artwork that has musical components, I like to use hyperformal, emotional effects and expression forms. When it is about concrete rational messages I try to use easy to recognise, all popular icons, for all to use -understandable for everyone-forms. The possibillities in the metaverse are endless. I only use 1 rule: First the communication content. Then I choose the for me best fitting expressionform. HFFHF = Hyperform follows the Hyperfunction. That is the only rule of Hyperfunctionalism. The message of an artwork comes on several channels and addresses both the emotional and the rational side of the viewer. Every work may have many different interpretations. There is nothing more boring than explanations how it should be understood

and nothing more exciting and thrilling than a simple and clear artistic language that can talk in a second of visual delight about human questions of huge magnitude. My works are all reflections of such moments that have forced me to think and to talk on my own language. I have achieved my goal if my metaverse creations have launched a chain of thoughts in the viewer’s mind. Very important, I try to link the attention on important themes. Attention is a very limited resource of the human brain. It does matter what for this important resource is used for. It does matter if we surrender for commercial media. Do we allow to occupate our thinking of the world by Multi nationals or do we aim our attention towards important themes that influent our life, our social life, surroundings primarily. I don’t think much of the sterile artistic masturbation. L’art pour l’art is nonsense. Maybe in the 20th century it was a interesting beginning. Art for People is absolutely more interesting and Meaningful. For that it is extremely important what the public thinks and how they react Very important. We ask always for reflections of the audience and it is important to know if my communicative goal was succesful or not. The best is when the audience is so enthusiastic that they react from themselves without asking. Nothing is better then a spontaneous aesthetic emotion or a positive aesthetic judgement.

Metavers Art

In RL I work daily with virtual reality and avatars. In SL i developed many ideas that today help in RL products. It starts as a idea, playing around with different possibilities. Then the ideas are coming of from what is born as Art can be used in industrial vision machines. Most of the time it helps to fit in a simulation method. SL frees from the daily work routine and simply helps to be free in the creating process. The trends for the metaverse are already visible, in fact there are 2 essential concepts. 1. Linden Lab is stuck in a rather restrictive system. When LL is not able to change its concept on many levels it will die like the dinosaurs. Secondlife is just still at this moment the only good and stable functioning metaverse system. 2. Open grid has a significant more open and flexible concept, but still with many operational problems. When the OSG developer community succeeds to stabilize this technically, this environment will have a significant better development potential. I am following the development on both platforms.

Also very important. In Diabolus/CARP projects most of the time many different artists work together on a project. (soundtrack creator, content creators, text content creators, scripters, animators, machinematograper, art director, producer etc. very artist has its own style and way of thinking. Still all have to work together. Without hearing and listen what the others feel or think, what concepts they have , is not possible. A major production is based on the consensus of many different artists. Often we invite colleagues that are not participate in a production, just to ask for feedback. And also it is important how our work is described in publications. I use all and everything this technology offers, build space structures, textures, script writing, develop kinematics and more then that all what is installed on my computer from photo manipulation, sound, video editor till 3D visualisation programs or sculpti programs. As a professional Graphic and Industry designer and VR software developer I use all the competencies I also use in RL and for me working and fun is the same. It is obviously that Metaverse art is very technical oriented. The artistic experiences and ideas are very important but not enough. You need more technical competency to raise an idea to a higher level.

I prefer to develop new artistic ideas or technics alone. For smaller objects or for architecture there is no need to work in bigger groups. I simply need the concentration for that. In such a case I use my alt or I work in a OSG at the Metropolis grid or in my local simulator. There is a special way to work together, where new ideas arise, by brainstorming. With communication and wild trying out many different possibillities, the most interesting pieces of art or techniques were created. With Josina, Caravaggio and Debbie together we developed and implemented many new ideas. There are also very complex productions that without the collaboration of many avatars would not be possible to make. Here the many competencies need to be integrated in a production. This kind of creating needs a lot of communication from all participants, precise work and coordination. The participants often are in different continents, we never set a deadline for completion and still all comes together. I find all possibilities and technics to express great as long it has a meaningful function. Even RL art displaying in SL has a function; to discover and learn art pieces they otherwise never would see and would stay unknown. Artworks have the primary function to bring a message to the rational and emotional level. All these are possible to be shown in many forms. But yes I prefer primary immersive art, like everything that is not possible to create in RL.

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When you tell a person who never heard of Secondlife about this Metaverse, they look at you as if you are some “game” addict and dont take you all to seriously. It is a fact that explaining SL is not all to easy, you really have to go there and find out yourself, and then not go for a glimpse but really look around and search the right communities that have your interest. For me my first steps on Secondlife came from curiousity, I saw a programm on television that mentioned SL and so I searched for the site, made me an avatar and landed in SL on a space called ‘Help Island”. There I did spend a week or so to really learn how to move and wear clothing and put 1 prim on the ground. I was a total newbe, had no idea how things worked, was not used to this new way of “being”, exept I played ‘Runescape” for some time. I found out this was NOT a “game” at all, this was a total new world that opened slowly and my interest grew by the day. After the Help Island I thought I was ready to search for the “real’ SL and stepped over to the big wide metaverse. Here I started soon to learn more by visitting NCI learning spots set up by Linden Lab (the providers of SL) and then I found my way to the galleries and musea. I write 2006 here, Sl was still very young, also the Art community was still small, RL paintings were shown in buildings similar to what we have in real life. I visited several “openings” of exhibitions at a “sim” (a piece of so called land/space you can buy or rent on SL) and started talking with several gallery owners, introducing myself as a artist and yes, soon I got my first exhibition where I hanged my photographed paintings on walls. Before I could hang them up, I had to go through several stages. How do you put a photograph on a prim? How do you modify? What is editting? What is linking? All that I had to learn and those very first steps were not easy, nobody helped me in that time, all was to find out by myself, but I was eager and tried again and again, learned from mistakes and became more familiar with the tools there were. Time passed,and I met many people interested in art or artists themselves, I rented a little space for myself and got a idea….SL has also sims full with

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all kind of stores, avatars like to “look good” and they buy or get “freebees” to dress themselves up or get them a animal, dragon, elf or whatever shape. So I started with some freebee skirts I found and by editting them I discovered how I could modify them. Then I added the textures of a real painting of myself on the skirt and that was very interesting. I made more different skirts and attachements to wear and called it ‘Wearable Art”. All of the sudden I had a small “store” besides my paintings and form zero money on SL I started to earn a little by selling them. Being the first with Wearable Art, later many others started to sell Wearable Art but they used paintings from van Gogh or Monet, I used my own.

Picture 2: Artspace Diabolus 2006

In Cetus, a place where many smaller and bigger galleries were gathered I visitted a new exhibition of a avatar called Caravaggio Bonetto, she did bring her RL father into SL that day and some of his paintings as well. The paintings had my interest I was surprised of the great technique Caravaggio had and more surprised about the work of her father. He was standing aside and Caravaggio told me they were Hungarian and her father could speak german. Her fathers avatar name was Velazquez Bonetto and he became later a very important person for me as well in SL as in RL, but I did not know that at that time. I started to speak with Velazquez in german and he told me a little about his work and the techniques he used. It was a interesting conversation and since he was brandnew on SL I did my best to let him feel more comfortable there, not knowing that he was a very experienced person that knows all and everything about building and scripting and programming!

Picture 3: Artspace Diabolus 2006

Now and then I saw Velazquez at Cetus when there was another exhibition and one of those times he told me he had gotten himself a space at the benvolio sim and called it “Diabolus” Of course I went over to see the place and was stunned by the way he was building there. Nothing remembered of RL buildings, forms were different, shapes were different , all looked light but sturdy in the same time, it was all floating on a platform in the air and light and surrounding was totally facinating. Of course I went there more often and every time we spoke about art, avatars and exhibitions he wanted to have there. Also he was experimenting with all kinds of building, scripting and my interest grew.

Picture 4: The MANAX theatre

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I stood long times next to him, watching how he did build , asking questions and with unendless patience he teached me what scripts are, what they do and how to use them. Also he was doing a study on several avatars on SL, some of them were very strange shaped , unique in the way they looked and Velazquez told me about a certain caracter on SL called MANAX. He showed me some pictures he made of this caracter and we agreed we should do “something” with this image and caracter, the idea to do a project on him raise and so we started working as a team. MANAX Picture 5: The MANAX theatre

When Velazquez and me started with the MANAX Project we were discussing in what form we should do this. First it was important to tell the story and second , it had to be interesting for the viewers. The figure MANAX itself was already very interesting, the way his avatar looked was very special, an almost abstract figure and when he moved and posed for the pictures Velazques made the abstractness was even more. Like a Picasso painting. The way he acted however was not very friendly all the time. He had a satanic sense of humor. Liked to play with weapons and evil scripts that did harm to other avatars or lands.

Picture 6: the MANAX theatre (immersion, interaction, colaboration

His place in SL was build in rough, iron materials, with many traps verywhere, the people that surrounded him got used to fell in pits or being orbited away just as a joke. He made it rain, but the rain was like blood and covered the land you were standing on. He let bombs explode everywhere and enjoyed to surprise you with all kinds of strange buildings and they were never the same. His intelligent way of building and using scripts for his creations were stunning, even the fact that Linden Lab banned him from SL didn’t keep him away from coming back every time with a different figure and every time this avatar was more complicated. Velazquez used a part of the collection of pictures he made from MANAX for an installation telling the story in black and white pictures, you could walk through and see how the avatar changed when he posed in different positions. Like drawings, like pieces of Art, no more like an avatar in SL. Later on I used many of these pictures as textures on dresses and named it the MANAX Collection.

Picture 7: Cypress Rosewood

The MANAX project was started with a poem I

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wrote, telling the story of Manax, I found an actor from England 5imon Baker who did read the poem and send it to us on MP3, also I asked Cypress Rosewood , a musician living in the USA to compose music for the project. He writes beautiful etheric music with a filosophical background. Sometimes very soft , then again with power and undertones of darkness. He also agreed to play live on stream when the Project would be ready. Velazquez started to invent a total new Light Organ. It spitted out images of the Manax caracter in many colours together with particles of light in many shapes and forms. It worked on commando as well on automat and the particle emitter was build in such a way that the particles were coming from all around, even underneath you. The whole Project was also based on the knowledge of Synasthesia. Together with the music, the Poem and the particle show the whole project was like an experience the viewer went through and all together the whole project was a great success. We also learned a lot again from this project, what was very helpful later on with new projects.

Picture 8: MANAX project meeting with Cypress Roosewood

The MANAX story MANAX mc Millan was his name He knew his powers were perfect Would SL ever been the same Without his Evil intellect? There in his world of lonelyness His kingdom ruled by hate and fear Disciples following his mess He made an island dissapear.. Yet banned He was by Second Life And Linden Lab thought that He was gone No one that knew His evil drive He wasnâ&#x20AC;&#x2122;t ready, wasnâ&#x20AC;&#x2122;t done..

Picture 9: MANAX Project test

And XANAM yes he incarnated With even more of angriness And Secondlife now really hated By Him and only Him I guess The Heavens started raining blood And Avatarts just innocent Exploded..oh He burned them good And Xanam, no He never bend.. His brain so bright, full innovations Did let him seek for new events And with all of his great creations He started like it never ends Again He was eliminated Again He came and was reborn

Picture 10: MANAX avatar

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Now DEADLY was the one that hated And MANAX / XANAM not forlorn In animation told his story His hate, his sadness and his grief No ego, not a seek for glory An intellect beyond believe.. He at the end had to decide That Real Life was Seconds close.. To execute his suicide Eternal Real now I suppose..

Picture 11: MANAX avatar

I witnessed MANAX ‘s final end.. And learned that nothing can compare To what You are or what You ment To be, to want, to hope or dare Its who You are. Your Innerbe The only one You ever know The Second Mirror let you see That only You can make You glow.. Synesthesia is a neurologically based phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway.

Picture 12: MANAX

Many people with synesthesia use their experiences to aid in their creative process, and many non-synesthetes have attempted to create works of art that may capture what it is like to experience synesthesia. Psychologists and neuroscientists study synesthesia not only for its inherent interest, but also for the insights it may give into cognitive and perceptual processes that occur in everyone, synesthete and non-synesthete alike. After the Manax project Velazquez and me started working together on several small and bigger projects, he did build a “store” on Diabolus land and I learned how to make “alpha’s” of the photographed clothes I made and put them on a prim, this way the displays were looking much nicer and way more interesting then all the flat pictures hanging on walls in other stores. We started with several exhibitions that brought people to Diabolus and we got in contact with great artists also pioneering and experimenting on SL The Diabolus space became to small and we decided to look for more space. Also we decided to split 50/50 of all the incomes from the dresses so it helped a little by paying the “tier” for the land/ space. Caravaggio, Velazquez rl daughter also participated, she was in RL very busy still with her last year of studies at the Academy of Vienna, and she used

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SL for several projects that helped her with her RL study. The 7Up Exhibition All over Second Life you find all kind of clubs and places where you can “dance”. Its something people like to do in real life so also in this world.. “Dance balls ”to stand on makes your avatar moves like you were the best dancer in the world, so we decided to grab a few of those “balls” and place them around for an exhibition we held. The exhibition was showing a few of the first sculptures I made in SL. To make it more entertaining for visitors we made a stage with instruments and streamed in music from some records I made in RL.

Picture 13: /up Josina Burgess Diabolus/CARP

One of the very first sculptures I made was a transparent sphere with 2 transparent ovals inside, I learned how to use scripts with objects and got my first rotation script to let them move slowly. I copied the first sphere to become 4 of them and gave them soft pastel colours. Placed inside a black box the colours and movements were very beautiful and walking through them, you walked inside art and got different views from different angles. I was exited about the effect and used it later often for other sculptures and installations. Most of the sculptures were reacting indirect or direct on avatars coming close. Velazques showed me how to make a scarecrow and left me to find out on my own to make new ones. He wrote scripts to let them hop and jump and dance at orbit or at random. I made several and they looked pretty funny. Going in collision or reacting on avatars passing by and giving off funny sounds. We did put them in give away boxes as presents to visitors.

Picture 14: /up Josina Burgess Diabolus/CARP

We hanged images of my real paintings in the air but turned them into peaces and put them on flexi prims so new SL art was made. The paintings went “dancing” as well in space and were floating and circling around. From sculpted prims I created colourful “rocks” and added thunder sounds so when you walked in you heard thunder rolling. From a real painting I used the texture on a sculpted prim and it came out very interesting looking, so I made a sculpture from that and called is “Birds”. From that sculpture I made pictures and used those again as textures on a new dress that I animated with a rotating script so it moved all around the avatar.

Picture 15: /up Josina Burgess Diabolus/CARP

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I did build a big sphere with a change texture script inside and different textures. Inside the sphere a pose ball to sit on and getting a meditation pose. Inside the sphere the textures changed colours and with some sweet sounds the experience was complete. Later I made another one for 2 people to sit in and meditate together. The Ghost Cave

Picture 16: /up Josina Burgess Diabolus/CARP

I had the idea to build a cave with ghosts inside. Velazques and me used sculpted prims we made in the Wings program to make the cave look “slnatural” . For the textures I used blue light and inside every prim I put a blue light script to give it a more sinister look. From 5 prims I made a “ghost”, in photo shop I designed the faces and made them very transparent and the robes flexi. Velazques created a script that let the ghost react on every avatar, following it and wrapping around you. I also added some particle scripts inside the ghost that made them look like floating in transparent, misty clouds. A terrible “humming” sound that gives you the shivers completed it. In the cave I placed some particles I learned to made giving transparent mists of green, black and white light. Some ghost lights were also floating around in the cave. The whole experience was really nice and inside the “ghosts” nice transparent colours and images shown and made every ghost a piece of art again.. Asll the total cave looked great and very “SL” `Black Widows`

Picture 17: Ghost by josina Burgess

From 4 sculpted prims I first designed in the Wings program I did build abstract statues. That rotated slowly changing forms that way. I added some particles like tears and also fire particles. On the floor white mist coming up and burst out particles to make the scene more dramatic. `Birds 2` Just 1 sculpted prim, made it transparent and used the texture from the sculpture I made earlier for the 7UP exhibition. I added some particles as well to make it more spectacular. All was moving, changing and rotating. “Twinkling Stars”

Picture 18: Windows by Josina Burgess Diabolus/CARP

In Wings I made a sculpted tweaked prim with many small branches coming out. In SL I used a texture on it that made it look like some sort of star. With a texture change script it started to twinkle.

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Some ghost lights added to it made it an abstract Christmas tree. “Sculpted space” Again made in Wings and used with a change colour script a sculpture that changed shape and colours in an interesting way. “Changing Flower” Made from 1 sculpted prim, I added texture change and a small fire particle in the middle. Also a rotating script to let it rotate slowly. “Turning Sculpted Rose” A sculpted prim made as a kind of “rose”, just a rotating script on it and the right texture was enough to give it the right look.

Picture 19: Changing Flower by Josina Burgess Diabolus/CARP

“Breathing Sculpt” One sculpted prim with a nice texture and a “breathing script.. A rotating script.let it move slowly and the script let it go bigger and smaller, like breathing. NEW HORIZON, and more.. I did build a huge sphere and inside I used a RL painting that slowly rotated…made a dubble floor, one half transparant and a bit higher. On that I used a rl painting texture too….the outcome was amazing…all of the sudden I found myself INSIDE my own painting that slowly moved around me ..it was emotional and I was very exited about it. After that I did build some more big spheres with different emotions and atmospheres. Musicians played in it and gaved concerts.

Picture 20: immersive/interactive particle space CARP 2 Josina Burgess

For Kourosh (a musician) I created a total surrounding that fit to the music he plays, I did also for Al Hofmann. Later Velazquez and me created more of these surroundings with textures we specially made for the music and emotions. It was no longer V-Jazz but more… JOSINA’S WEARABLE ART AND MORE.. The Idea of using my RL paintings as textures on the dresses I design was a good idea. After me many designers in SL called their designs also wearable art but use textures of known painters like van Gogh or Matisse. Still I was the first and I like that ? My dresses, suits, capes etc did not only show textures of my RL paintings, I also created many new

Picture 21: Wearable Art

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Picture 22: Wearable Art

textures in Photoshop and used them as well, all unique and one of a kind. The more I got familiar with using scripts, of course I looked how to use them in dresses and capes and fringes, texture change was great, also particles inside the dress or worn on the body created a great new look. Velazquez did build us a fantastic mega “store”where I displayed the dresses in a different way as usual on SL, I made apha channels from the pictures I took of the dresses and placed them on 4.50 meter hight prims, it was much better and showed the dress in a optimal way. I did not advertise but the “mouth to mouth” way of selling was good and this way I kept all exclusive. For the projects as THE WALL V-2, THE RINGS, and METROPOLIS I designed the costumes and textures. For METROPOLIS also all the avatars. Making avatars was a new challenge, the shapes but most of all the faces and expressions on them was fun to do. For METROPOLIS I made over 30 different avatars, all with their own specific looks. Also for METROPOLIS Velazquez wanted to make so called “Muybridge” figures. They had to be animated and placed on transparent prims to give a illusion of a crowd. I posed in many different poses and Velazquez photographed them and used them with the programm he wrote for the project. It was spectacular and really made the image of many people on stage come true. ALL THAT SCRIPTING….

Picture 23: CARP meeting, Josina Burgess, Caravaggio Bonetto, Velazquez Bonetto

Without Velazquez I never ever would had imagined what I could create more on SL. every time I had an idea he wrote the scripts for me, sometimes I had so called “happy accidents” like the time that I used different scripts together in a sculpture and found that all of the sudden the particles started to stream.. Velazquez saw the possibilities and wrote a new script combining all together. That streaming also gave me the possibility to create a exhibition called FACE of the SKY where Velazquez build a fantastic surrounding on 7 platforms with all the different moving sculptures, particles, streaming, rotating, flowing and changing… We got a new tool that gaved us entrance of making new particles and movements and we both started to work with that, again we went on a journey of exploring and creating particles in different ways, great fun and great outcome!

Picture 24: cable biothops interactive sculptures by Josina Burgess Diabolus CARP2

Without scripts its no fun to create something in SL anymore, art least for me and for the work I create there. I learned a lot, still dont really write them

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totally myself, but I know how they work and I can make changes in scripts so they do what I want them to do. Thanks to Velazquez! CARP By showing art in exhibitions from several artists we met many creaters and became good friends with them, we discussed with them music, art, building, scripting and learned from each other. Collaboration was here the magic word and Velazquez and me liked it very much to speak with others about ideas they or we had and the idea raised to work more together in teams. From this all CARP was born. CARP stands for “Cybernetic Art Research Projects” and this name was in fact the idea of Velazquez . The word: “Cyberspace” is known now as an artword, its born from the word “Cyber” (a shortform from the english word “Cybernetic” that again comes from the greek word „Kybernetike“; „The art of navigate“ and the word „Space“. On the worldfamous Macy-Conferences in the years 1946 till 1953 Cybernetik was something of high interest. Wellknown and famous scientists as Alan Turing, John von Neumann and Heinz von Foerster started here from scratch the modern computertechnics and the programm-architecture, today an example for Cyberspace. The real Cyberspace was opened by Secondlife. So you speak of web 3-D or so called Metaverses. The Metaverses are Internet-based virtual time-space-infrastructures. The miracle that we are experiencing today: the Cyberspace, the dematerialized virtual time-space, the worldwide webbed society. where we „surf around „with lightspeed. An artist that is NOT using this virtual universe as a challenge and a goal doesnt deserve the name „ Avantgarde“

Picture 25: weather, immersive, interactive environment by Josina Burgess Diabolus CARP2

Picture 26: cable biothops interactive sculptures by Josina Burgess Diabolus CARP2

This e-book dedicated to the pioneer of Cybernetic Art Nicolas Schöffer. He was one of the most important artists of the second half of twentieth century. Father of Cybernetic Art, thus of so-called „interactivity“, he wanted to bring a prospective and non-backward-looking vision of Art, which could help mankind to develop itself with a good hold on true creative and liberating possibilities of our times. How we Work: 1. Open communication, co-laboration and co-operation 2. Open idea and know-how exchange 3. Open audiovisual component and script exchange Rules:

Picture 27: interactive sculpture by Josina Burgess Diabolus CARP2

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1. There are no rules. Inovation is not bind to any rules. 2. Out of the first rule there are no further rules. THE CARP MATRIX

Picture 28: VJAZZ (immersion, interaction, worldwide collaboration) Diabolus/CARP3 J. Burgess, V. Bonetto

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

Picture 29: VJAZZ (immersion, interaction, worldwide collaboration) Diabolus/CARP3 J. Burgess, V. Bonetto

I did build a sculpture and added a lot of different scripts together in the prims, the outcome was pretty spectaculair and I called Velazquez over. He looked at it for a while and said : What did you doooooo, but I have a idea! Like this many “ideas” came to Velazquez, he rewrote scripts, wrote new ones so they really did what we wanted them to do and all at once. He also made a menu that we could use to steer live and by hand, life on the spot and improvise with forms, textures and colors. We asked musicians to come and play live and in the same time we played the V-Jazz. Musicians and us were improvising both live and inspiring each other. Evere time we do this its new and different. The audience loves it and dances inside the colors and enjoys the music. In the virtual world visual effects will be freed from the matter Consequense : it is possible to work with visual effects in the same way as with abstract knowledge. Virtual Jazz is a collaborative-creative-technique what is most easy to realize on SL. From a characteristic view it has similarities with brainstorming or with the Semantic Intuition.

Picture 30: VJAZZ (immersion, interaction, worldwide collaboration) Diabolus/CARP3 J. Burgess, V. Bonetto

Brainstorming is an idea of Alex Osborn and developed as a method by Charles Hutchinson Clark to build ideas that produce new, eccentric ideas, formed in a group of people. He called it after the

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idea of this method: “Using the brain to storm a problem”. The Semantic Intuition is a creativity technique, where from the combination of words and wordimages new ideas will be generated. Very well to use in generating new product-ideas. The difference: Due a brainstorm session or with Semantic intuition there will be a concept-improvisation with the goal to get new semantic combinations out of concept improvisations. To solve problems. During a Virtual Jazz session (VJS) collaborative components will be combined and varied to create new audiovisual effects. The essence of this Art-technique is: to call the unexpected and let it help in the creative process.

Picture 31: VJAZZ (immersion, interaction, worldwide collaboration) Diabolus/CARP3 J. Burgess, V. Bonetto

Improvisation: ( f. ital. Improvviso: unexpected. Proviso : expected) means: to build, act or create something without planning but ad hoc, spontaneous in the momentum. Improvisation means in normal language the spontaneous, practical use of creativity to solve problems at the spot. Improvisation as a creative method was used until now in music, dance, theater, television moderation etc. Our Virtual JAZZ Band exist from one or more musicians and two or more visual artists. An abstract concept could be the lead, a theme and basis for the participants, to bring together their musical and visual components. Such as: black and white, love, nature and so on. Absolute spontaneous versions are also possible. In a Virtual jazz session its important that the participants have no idea what the other participants have in mind as audiovisual components. The goal is: use the collaborative creation process as a work of art. Improvisation is the practice of acting and reacting, of making and creating, in the moment and in response to the stimulus of one’s immediate environment. This can result in the invention of new thought patterns, new practices, new structures or symbols, and/or new ways to act. This invention cycle occurs most effectively when the practitioner has a thorough intuitive and/or technical understanding of the necessary skills and concerns within the improvised domain. The skills of improvisation can apply to many different abilities or forms of communication and expression across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines. For example, music, cooking, presenting a speech, sales, personal or romantic relationships, sports,

Picture 32: The WALL V1 virtual theatre, Diabolus/CARP4

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flower arranging, martial arts, psychotherapy, the arts, and much more. ..Wikipedia.. THE WALL

Picture 33: The WALL V2 virtual theatre, Diabolus/CARP5

Picture 34: The WALL V3 virtual theatre, Diabolus/CARP10

Then….Debbie Trilling came with the idea to make a “show” using the music of Pink Floyd’s THE WALL, but with our own “message”and interpretation of the music and the words. So we gathered a team of great people from all over the world, UK, USA, Holland, Germany, Austria, Italy and used each others skills to start this all:) It was a big challenge, Debbie had the artistique direction, Velazquez developed new programms and scripts together with Debbie and Elfod created a WALL that could fall down on a certain moment. Duggy created big dolls with the images of the judge and schoolmaster. All was controlled and in such a way that it could run automaticly on command. The team had to learn to listen to “cues” and react immidiately on that, als we needed to replace avatars, skins, shape and costume in a short moment, we had to find animations or make new ones for special parts. Together with Junivers Stockholm I wrote a song, I wrote the lyricks, Junivers the music, Junivers is in Sweden I am in Holland , so we had to send files through e-mail to each other.This way we composed and worked together in a not easy way but the resutl was fantastic and later when we did THE RINGS we worked more together and sang together. All in all it was a huge challenge and the first big show we did set up as CARP. From the moment we started with performing the show the sim was full and the audience screamed for more, also we got invitations from sim owners to bring the show on their sim, so we played the WALL on a 4-sim where more then 100 people could come in the same time, later we played it on anothr sim, specially emptied to make it lagg-less for us. And every time we changed sims, Debbie , Velazquez and the team renewed the performance and added new technology and developments. From making the Wall we learned a lot and used all that knowledge and new skills in every new Show we did later on. We started like: Cybernetic Art Research Project proudly presents... “THE WALL” by Pink Floyd at the Berlin sim

Picture 35: The WALL V3 virtual theatre, Diabolus/CARP10

On July 21 1990, nine months after the dismantlement of the Berlin Wall, Roger Waters and an allstar cast performed “The Wall” at Potzdamer Platz in Berlin. The performance was watched by a live

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audience of 250,000 and half-billion people on TV. And now, the Cybernetic Art Research Project (CARP) bring “The Wall” to SL... CONCEPT: A specially commisioned mix of 6 to 8 songs from “The Wall” album. Approx. 40 minutes duration. 40m x 20m wall made up of 160 bricks that will be indivdually placed in position as the performance proceeds. First the bottom few rows, then building up at the sides to leave a “V” shaped opening. Thro’ the opening will be seen all sorts of effects. This “V” gap will itself be filled in, and as the last brick is placed in position the arena will plunge into blackness. A few seconds wait. Bright spotlights out towards audience from the top of the wall...and....”Is Anybody Out There?”...you get the idea..... Immediately in front of the wall will be placed three alpha phantom objects of 10m x 10m x 0.05m. This will be raised 5m off the ground so that their centrepoint is exactly level with the centre of the wall. These will be used as a ‘screen projector’. By changing textures will can give the illusion of graffiti/slideshows etc and other such effects as being on the bricks themselves. The area in front of the wall, and up to its full height will be wholely given over to spontateous aerobatic dancers. With accompanying effects, ofc.... During certain songs, in front of the left and right flanks of the wall will be animated prim puppets of 5 to 8 m height. (probably the schoolteacher and judge). With accompanying effects, ofc.... At the climax of the performance we’ll apply a lil force to each brick in the wall and let the whole thing collapse. With accompanying effects, ofc....

Picture 36: The WALL V2 graphics by Elfod Nemeth

Picture 37: The WALL V2 graphics by Elfod Nemeth

Ambitous? You bet!! But we have a collection of the most talented people in their respective fields here...so if it can be done, let us be the first to do it! “Mother, should I trust the government?” WALLS. By Josina Burgess / Jose den Burger They build Walls between countries They declare each other Bad They say: There is the enemy But the Walls are in their head… There are Generals and there are Presidents And they all speak out to the crowd To convince just everybody That there´s a war that is allowed… Look in your heart...to see

Picture 38: The WALL V2 graphics by Elfod Nemeth

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if there is a wall to break and let your mind be free just be real not another fake All these men, great and mighty Tell us “others” they are bad But what real is and what is certain Are the Walls right in their heads… It is time to awaken It is time that it is said give us back what you’ve taken Break those Walls in your head…

Picture 39: The RINGS 4d cinema Diabolus/CARP6

Break those Walls.... Break those Walls.... additional lyrics junivers stockholm THE RINGS

Picture 40: The RINGS the first 4d cinema Diabolus/CARP6 Global Wood

The RINGS was an idea of Velazquez and Josina and soon Junivers and Medora Chevalier joined in and we brainstormed a while about what form it had to be. We wanted to bring a message, a strong one and still easy to understand. From making the WALL we learned a lot and again we gathered a team from all over the world and worked together. It was great fun, again a bigger challenge and a great spectacle, Every time again the sim was full and CARP’s name was growing. We also made a book about it that we gaved away as a gift, and from the RINGS also a new group arised the RINGS discussion group that now has a big amount of members that stand strong for all injustice in the world and try to find ways to reach pwople from all over the world to create awareness. The Rings or Homo Sapiens V2: 4d cinema or Virtual reality rock opera grown from new forms of international artistic collaboration 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 way we become divided from each other.

Picture 41: The RINGS the first 4d cinema Diabolus/ CARP6 KoTW

The Rings is a work created in Second Life by a multinational team within the Cybernetic Art Re-

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search Project (C.A.R.P). It has been developed through months of collaboration. The creative team is drawn from Germany, the Netherlands, Sweden, Austria and the UK. The performers are based also in Italy and France. It takes the form of a rock opera with composed lyrics and music, building and scripting, costumes, shape changing, flight, dance and drama underpinned by new use of in world cinematic techniques. The Rings celebrates the miracle of the Metaverse, the dematerialized virtual time-space. It asks - is this where humanity can at last unite: to overcome the forces that push us towards global destruction and blames victims for the pain they feel. It reminds us that we can be guided towards optimistic action by great humanists and philosophers.

Picture 42: The RINGS the first 4d cinema Diabolus/CARP6 Break those walls

It ends on a note of optimism. We are invited to unite and change the world. After alternate performances there will be Rings discussion circles, involving campaign organisations active in Second Life. Velazquez Bonnetto, CARP co-founder and virtual reality artist said: “It is our responsibility as artists to call the public attention to questions where further thinking and searching for solutions is needed. The message of this artwork comes on several channels and addresses both the emotional and the rational side of the viewer. The Rings may have many different interpretations. There is nothing more boring than explanations at how it should be understood and nothing more exciting and thrilling than a simple and clear artistic language that can talk in a second of visual delight about human questions of huge magnitude.”

Picture 43: The RINGS the first 4d cinema Diabolus/CARP6 The Forest

Junivers Stockholm, composer and director, said: “For a long time I have believed in the potential of the Metaverse to connect people in new and powerful ways: to take humanity to a future of cooperation instead of competition. Music has the power to draw people in to work on the answers to the major questions of our time.” Josina Burgess, CARP co-founder, lyricist and vocalist said: “We should never underestimate the power of song to wake people up and to mobilise people to change the world. From the beginning of time it has brought people together in unity and strength.” Medora Chevalier, lyricist and choreographer, is a campaigner against homelessness. She added: “Many of the evils of our world can be tackled if

Picture 44: The RINGS the first 4d cinema Diabolus/ CARP6 The Forest

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we open up our sense of connection to other people and to nature in its beauty. Then we can stop the exploitation of people and living things that so threatens our world and future generations” The Rings will be premiered at the Artspace Diabolus, Benvolio Second Life on Saturday 6 September 2008 at 1pm SLT (10pm CETs, 9pm GMT) with a 2nd showing at 2.30pm (11.30pm CETs, 10.30 GMT). http://slurl.com/secondlife/Benvolio/143/109/663/

Picture 45: The RINGS the first 4d cinema Diabolus/ CARP6 7 2 12

Audiences are advised to arrive early as the open rehearsals that have been held have attracted full sims. Thereafter it will be performed on Sundays and Thursdays at 2pm SLT. Audience reaction to the open rehearsals: “I have never been so amazed in SL as I was when I saw your project today. For the first time I realised the great challenges of SL for the real world, thanks to people like you. If you need some day a helping hand for a project just IM me. Bye and go on like this!” “GREAT awwwwwwwwwsoooome show!!” “Why can’t every Monday evening be like this?” “If I could create 1/10 of yr scripts .. I’d very happy !!!!” “Its very very awesome !!!! “I’m very impressed” “I crashed twice but ran back” “I’m really touched” The RINGS (Homo sapiens Version 2.0) protest rock opera: Credits

Picture 46: The RINGS the first 4d cinema, after show party

Lyrics: Josina Burgess(NL), Medora Chevalier (UK), Junivers Stockholm(S) Music: Junivers Stockholm (S), Josina Burgess(NL) Creative director/producer/builder/scripting: Velazquez Bonetto(D) Costumes: Josina Burgess(NL) Special effects: Debbie Trilling (UK), Elfod Nemeth (UK), Junivers Stockholm (S) Scenario design and graphics: Velazquez Bonetto(D), Caravaggio Bonetto(A) Camera direction : Junivers Stockholm (S) Concept KoTW: Medora Chevalier (UK) & Junivers Stockholm (S) Script writer and director KoTW: Junivers Stockholm (S) Narrator: Medora Chevalier (UK) Panorama Photography: Jan van der Woning(NL) Choreography: Medora Chevalier Actors and dancers: Blanche Argus(S), Josina Burgess(NL), Medora Chevalier(UK), Klute Coppola(F), Efrantirise Morane (I), MillaMilla Noel(I), Junivers Stockholm (S), Sca Shilova(NL)

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The following animations are by Sca Shilova: *the granny pushing the trolly *the animation where everyone warms their hands at the fire *blanche jumping away from the knife and up against the bus shelter *blanche hugging her shoulders after being attacked as she walks to the fire *the animation of medora inviting juni to come to fire *the animation of sca inviting josi to come to the fire The technical innovations of the RINGS 4d cinema production 1. The collaborative worldwide song composition/ recording/mixing technics. 2. A new automatic audiovisual timeline - recording and controlling system. 3. The flying seat system 4. The 4d live-cut camera system 5. A new space animation record/play system

Picture 47: Metropolis, Rotwangs Avatar, designed by Josina Burgess

METROPOLIS After an idea of Debbie Trilling to do a re-make of “METROPOLIS” the fist science fiction movie made in 1927 by Fritz Lang. Velazquez Bonetto and Josina Burgess started with working out this Idea to bring it to Second Life. Here the challenge was even bigger, then now we wanted to create a 4d cinema/Play that was totally new and technicaly a high stand. Of course the team was eager to work on this new show as well and we found new amazing people with great skills to work with us. Velazquez wanted to use a controlling system better then what we tried in the RINGS. The audience had to fly in their seats from scene to scene, also camera’s were build in every seat so the audience had nothing more to do then lean back in their seats at home and watch. The camera’s showed every close-up, overlooks and great views. The team learned to work with the “personal messenger” Velazquez developed so every actor became through IM the cue to react on and to teleport right away to the scene where he or her had to act. All the music for METROPOLIS was specially written by nnoiz Papp and we tried to let the whole show stay close to the Icon metropolis is and not force it into a total different message. All was kept in black/white and grey, only the actors were full colour. Also for the first time the so called “Muybridge” figures were introduced. There where a crowd had to be in a scene we placed many prims with animated images of avatars, like “workers” or “disco guys” or

Picture 48: Metropolis 4d cinema, the Moloch Machine diabolus CARP 8-9

Picture 49: Metropolis 4d cinema, the Heart Machine diabolus CARP 8-9

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“people in garden” or “children”. Josina made the avatars and gatered the animations, Velazquez Photographed all the positions and activated them on the prims. It was a ideal solution and the impact was overwhelming. We played Metropolis from march till december 2009 with a full sim every time, where people came on the sim 21 hour early to be sure to have a seat. Debbie did filmed every show and they are all to see on YouTube.

Picture 50: Metropolis 4d cinema the worker city diabolus CARP 8-9

Velazquez Bonetto: rebuild the Whole Metropolis, wrote programms and scripts, situated every scenery at its place and brought new technology into SL . Josina Burgess: created all the caracters, avatars, costumes and together they used Muybridge simulations for mass groups where needed. nnoiz Papp: wrote and composed the music specially for Metropolis. Windyy Lane: build the upperclass scenery and made all the animations Sca shilova: build the robot and the animations for it. the actors are: Debbie Trilling MillaMilla Noel Efrantirse Morane Josina Burgess Velazquez Bonetto A Camera system is build in the seats where the audience will sit , also the seats, with audience in it, will fly around in Metropolis form scene to scene to be a “part” of the whole.

Picture 51: Metropolis 4d cinema, Rotwangs labor diabolus CARP 8-9

Its so far the biggest project ever done on SL, it took months of working, building,creating, rehearsing and animating. The actors/avatars playing the key figures teleport from stage to stage and perform in between camera close-ups. The whole Metropolis is a 1 hour breathtaking experience on SL, but not only on SL even in RL people will be able to watch this via You Tube as a new way of making a artistique event going beyond borders. To give you an idea of the work that was put in to make this project work: some ïnside information.. http://secondarts.wordpress.com/2009/04/19/ carp-presents-metropolis-in-second-life/ Morris Vig

Picture 52: Metropolis 4d cinema, the Chatedral

CARP presents “Metropolis” in Second Life

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Posted on April 19, 2009 by Morris Vig SECOND ARTS I’ve been hearing that the CARP/Diabolous team responsible for the inworld tour de force of Pink Floyd’s The Wall was at it again, this time making an inworld version of Fritz Lang’s classic 1927 science fiction silent motion picture, Metropolis. Today, I finally got around to attending a performance. [Side thought: It’s like Josina Burgess, Debbie Trilling and their partners in the SL theatric arts at CARP know exactly what trips my artistic trigger. I love Pink Floyd and Roger Waters’ work, hence my enjoyment of The Wall. In the Viggy collection of classic movie DVD’s, Metropolis (even my crappy version of it) sits right alongside Citizen Kane and Casablanca. The history of the Metropolis movie is really something interesting, too...click here for more info on that. But I digress...]

Picture 53: Metropolis 4d cinema, the the soundtrack creator nnoiz Papp

My verdict (like mine is important…a debatable point)? CARP’s Metropolis is at least the peer of their version of The Wall, if not its superior. The subject matter for both stories is equally grand, and CARP uses Metropolis as an allegory for the state of the world much like they did with The Wall: So we see Lang’s vision of the future…the everlasting difference of the rich and poor, the elite and the worker, the greedy people on the top and the suffering masses…very much alive today as now we see what greediness of the elite did to the world- economics and us, the people.

Picture 54: Metropolis 4d cinema, the Robot by Sca Shilova

Today we are living a crisis that is maybe worse then the one just after the War. The main message of Metropolis was that it gave a solution to Post-War Germany to attempt a Social Market. This in fact is what Metropolis as a movie created at that time. And this was exactly 60 years ago! Are we powerless and resigned ? Or do we change this future? Do we change our own Metropolis? With that as foreshadowing….there’s MUCH more after the fold, including a 100-plus piece slideshow to document this visual treat… Technically, you have to start with the theatrical set. This is a dense build that minimizes the use of prims (perhaps CARP needs to be in a doubleprim sim like those in Bay City and Nautilus!) and

Picture 55: Metropolis 4d cinema, the Robot by Sca Shilova

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maximizes the use of textures to achieve the dramatic effect. As you will see below, the textures are both rich and grand. They also use textures as a means to demonstrate masses of characters – the chorus, if you will – and accomplishes this with impressive effect. How to ensure that the many, many textures load in a reasonable amount of time in a full sim? Easy – they took the first six minutes of the show to display credits and literally pre-load the entire pack of textures used in the show. Genius.

Picture 56: Metropolis 4d cinema, the Moloch Machine

This compact build also allows for attendees to sit in custom-scripted seating and be “physically” (this is a virtual world, so it can’t be physical,but hopefully you get my meaning) moved from scene to scene. The seating also is a marvel – three sets of seats, flying around the set like a choreographed guided tour of the property. Viewers also place themselves at the mercy of the flying seats – no need to use flycams or mouseview…just sit back and enjoy the ride. Lastly, the one thing you can’t see in the slideshow below: Music. The score for this show is really strong. It’s electronic in nature and complements the show quite well…just like the textures, the animations, the costumes… So here’s the slideshow. It’s quite a show, all 60 minutes of it. And, like The Wall, the Metropolis company invites the attendees down to the floor to celebrate the show once it’s done. Can’t beat that! http://www.flickr.com/photos/22475787@N04/ sets/72157615929909533/

Picture 57: Metropolis 4d cinema, the Muybridge animation

Helfe Ihnen (leader of the odyssey art) posted in flickr 28 mar. 2009 Metropolis is a ‘must see’ in SL! What the team has made is absolutely stunning and at the top level of what is possible in SL. On the other hand you see sometimes what is missing in SL in technical and esthetical possibilities. Acting seems to stay very difficuilt.

Picture 58: Metropolis 4d cinema, performing in camera closeups

Information by the team: After an idea of Debbie Trillling to do a re-make of METROPOLIS the fist science fiction movie made in 1927 by Fritz Lang, Velazquez Bonetto and Josina Burgess started with working out this Idea to bring it to Second Life. Velazquez Bonetto rebuild the Whole Metropolis, wrote programms and scripts, situated every scenery at its place and brought new technology into SL .

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Josina Burgess created all the caracters, avatars, costumes and together they used Muybridge simulations for mass groups where needed. Nnoiz Papp wrote and composed the music specially for Metropolis. Windyy Lane build the upperclass scenery and made all the animations Sca shilova build the robot and the animations for it. the actors are: Debbie Trilling MillaMilla Noel Efrantirse Morane Josina Burgess Velazquez Bonetto A Camera system is build in the seats where the audience will sit , also the seats, with audience in it, will fly around in Metropolis form scene to scene to be a â&#x20AC;&#x153;partâ&#x20AC;? of the whole. Its so far the biggest project ever done on SL, it took months of working, building,creating, rehearsing and animating. The actors/avatars playing the key figures teleport

from stage to stage and perform in between camera close-ups. The whole Metropolis is a 1 hour breathtaking experience on SL, but not only on SL even in RL people will be able to watch this via You Tube as a new way of making a artistique event going beyond borders. Andâ&#x20AC;Ś.still we are looking for new challenges, never ready, never tired to create, work together with many great and talented, professional people. The all live far away from each other, in fact in RL it would be totally impossible to work together like this, all are comitted, all give a lot of free time volontairely to create new ways of Art, new ways of entertainment and work together, sharing ideas and same time have a lot of fun as well. Its something to be gratefull for. The metaverse makes all this possible! Josina Burgess/Josina den Burger

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formalism->hyperformalism

History of formalism (wikipedia)

formalism (wikipedia)

The concept of formalism can be traced as far back as Plato, who argued that ‘eidos’ (or shape) of a thing included our perceptions of the thing, as well as those sensory aspects of a thing which the human mind can take in. Plato argued that eidos included elements of representation and imitation, since the thing itself could not be replicated. Subsequently, Plato believed that eidos inherently was deceptive.

The concept Formalism calls an art-historical method of the interpretation of a piece of art. Besides, the value of the work lies in the autonomy of the form. The formalistic consideration of art stresses qualities as for example composition, colour, lines and texture. Content aspects and relations like subject, history of the origin of the work, historical context and biography of the artist, are secondary or are not treated. The formalists, as the most important representatives Heinrich Wölfflin and Alois Riegl, aimed at a comparative style analysis which is freely from personal evaluation and is able to solve the *hermeneutics problem of the art history. The formalistic ideas of 19. Cent. served the modern painting as an impulse to develop more freely and to concentrate upon the aesthetic effect from form and structure. The concept of the formalism leaves open itself therefore also on the fine art expand, e.g. in the 20th century from the art-historical methodology has become an art creation methodology. Formalism dominated modern art from the late 1800s through the 1960s.

In 1890, the Post-impressionist painter Maurice Denis wrote in his article ‘Definition of Neo-Traditionism’ that a painting was ‘essentially a flat surface covered in colours arranged in a certain order.’ Denis argued that the painting or sculpture or drawing itself, not the subject of the artistic work, gave pleasure to the mind. Denis’ emphasis on the form of a work led the Bloomsbury writer Clive Bell to write in his 1914 book, Art, that there was a distinction between a thing’s actual form and its ‘significant form.’ For Bell, recognition of a work of art as representational of a thing was less important than capturing the ‘significant form’, or true inner nature, of a thing. Bell’s work harkened back to the Aristotelian concept of general forms and ‘species.’ For Aristotle, that an animal was a dog was not important; that a dog was a Dalmatian or an Irish wolfhound

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

blurred the boundaries between various art forms. This led to a ‘confusion of the arts’, he wrote, and a lack of purity in artistic endeavor. Defining a work of art by its ‘art form’, or medium, limits a work’s artistic possibilities to the nature of that medium. Yet, this also allows the work of art to stand alone on its own merits. Formalism today The concept of formalism in art continued to evolve through the 20th century. Some art critics argue for a return to the Platonic definition for form as a collection of elements which falsely represent the thing itself and which are mediated by art and mental processes. A second view argues that representational elements must be somewhat intelligible, but must still aim to capture the object’s ‘form’. A third view argues for a diale-discursive ontological knowledge. Instead, structuralists focused on how the creation of art communicate the idea behind the art. Whereas formalists manipulated elements within a medium, structuralists purposely mixed media and included context as an element of the artistic work. Whereas formalism’s focus was the aesthetic experience, structuralists played down response in favor of communication. Structuralism’s focus on the ‘grammar’ of art reaches as far back as the Post-Impressionist work of Marcel Duchamp. In many ways, structuralism draws on the

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Velazquez Bonetto Living Architecture Performance SL

tools of formalism without adopting the theory behind them. What Is Hyperformalism? DCSpensley, 17 May 2006(created 4 April 2006) â&#x20AC;&#x153;Hyperformalism is an aesthetic philosphical construct that may be employed by to describe a late 20th century, early 21st century mass art phenomena consisting of scores of personal computer users generating abstract, often spacially unique artworks with software tools. These spacial realities have no analog in the physical world, and instead of making reference to physical reality, create a unique continuum of reference; a rearrangement of photons to illuminate alternate worlds of form, shape, color and space. The term Hyperformalism is derived from the combination of the words Hyper and Formalism (as described by WikiPedia) and is being used here to describe aesthetic self expression without anthropomorphic, or representative context. This seperates Hyperformalism from digital collage, aesthetic photo manipulation and other forms.â&#x20AC;? Hyperformalism is a critical construct that may be employed by to describe a late 20th century, early 21st century mass art phenomena consisting of scores of

personal computer users generating abstract, often spacially unique artworks with software tools...these spacial realities have no analog in the physical world, and instead of making reference to reality, create a unique continuum of reference; a rearrangement of photons to illuminate alternate worlds of form, shape, color and space.

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Velazquez Bonetto Cybernetic Performance Metropolis GRID

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Dancoyote Antonelli SKYDANCE 3

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Caravaggio Bonetto The Money Tree performance

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Velazquez Bonetto Living Architecture performance

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Josina Burgess V-JAZZ Performance

Josina Burgess is an artist, a singer and a designer from Amsterdam. She saw a SL commercial on Dutch TV and entered the virtual world on 12 December 2006 from curiosity and eagerness to learn “what they did there with art”. Her first motive to explore the new technological platform was her interest in art and later the possibility to build an international network to show her real life paintings. Josina had no prior knowledge of scripting but started learning fast. Her first project appeared shortly after her entering and was individual: Josina’s Wearable Art. It is a virtual shop for attractive and innovative avatar clothes, and the quality and uniqueness is ensured by using her real-life paintings as a texture. She started building up her virtual network by taking part in social clubs of interest and participating in SL exhibitions for fashion and art. At an exhibition in the virtual gallery Cetus where she exposed her art, she met Velasquez Bonetto, a Hungarian master programmer, architect, and engineer. Having sound prior knowledge and experience, Velasquez started teaching Josina how to build and create. Their first collaborative project Diabolus appeared as a virtual gallery for new technology and art, where through their creations the two partners could spread around brand name and reputation. Their regular exhibitions brought them the interest of

other artist-experimentators in SL and opened a sequence of collaborative projects with a rising number of participants. The current network-based entrepreneurial venture Josina takes part in, is the CARP (Cybernetic Art Research Project), which unites a network of international professional artists, engineers, programmers, scientists, musicians and architects. The Wall is a subproject of CARP, constituting a “fully automatic, scripted and animated performance” with dance and visual effects on Pink Floyd’s “The Wall” soundtrack. The idea is conveying a message in an innovational unique way and allowing for real- time networking and socialization of visitors. All raised money go to charity. The creators of The Wall are from Holland, the UK, the USA, and the Switzerland, and have not yet met in Real Life. CARP network is constantly improving, innovating and experimenting, not only in terms of art and ideas, but in terms of implementation. They plan their next project The Ring to be a completely new innovational theatre using an A5 SIM and overcoming the laggings of the currently used A4 one. Other future projects include VJazz, or virtual real-time performance of Jazz musicians via the platform of Second Life. Since revealing of information and constant improving of their creations is the philosophy of CARP, they are running a website, a blog and an electronic book

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to allow for feedback and discussions. Moreover, they intend to teach broadly what they do in RL through a research project called Cybernetic Educational Research Project. A future research with Texas University is being currently discussed. Josina Burgess has established a strong interconnection with Real and Virtual Life. Advertisement of her real life paintings through SL and a project for Global Justice in New York have accounted for real life profit. Her virtual partner Velazquez Bonetto, whom she has never personally met yet, is planning to visit her in Holland, thus merging the boundaries between RL and SL and opening the gate for future Real Life collaboration. Summary: Prior knowledge: Prior knowledge affects both type and scope of innovation. Josina’ s being an artist and a designer in Real Life predicts that her first project is in the fashion industry. Her competitive advantage was that she used her real life paintings as textures, ensuring inimitability and uniqueness. The lack of prior knowledge of the means of operation with the platform of Second Life was compensated by the highly valuable technical and experiential real-life knowledge, which shaped the innovative extent of her creations. With growing

of her SL presence and gathering of more experience, Josina started experimenting with choreography and lyrics too, thus expanding the scope of her entrepreneurial acts and innovation. Collaborative social networks: The case of Josina Burgess illustrates how the growing number and size of social networks can affect type and scope of user innovation. The more the number of networks and the number of people within a network are growing, the more the scope of innovation is increasing. Josina started alone with separate entrepreneurial acts, within the scope of her previous knowledge and experience as an artist and designer. As her network expanded she was able to incorporate other people’s knowledge and resources into her projects, expanding the scope and the variety of innovations. From her partnership with Velasquez Bonetto in Diabolus to her collaborative social network in CARP, her projects grew bigger in scale and more complicated in terms of design and techniques. Throughout this process she gathered significant knowledge, which as discussed above has a direct correlation with type and scope of innovation and entrepreneurship. Networks seem to have in this case another interesting effect; they bring together other networks, by arousing awareness and procreative action among cothinkers. “That is our philosophy”, she says: ”to share and collaborate”.

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Free transfer of information: Collaboration without free communication wouldn’t be possible. That is why in the philosophy of all the projects of Josina’s stand out visibility and openness, as well as willingness to inform and teach. The main channels of transmitting information are the project of CARP themselves, which serve as networking platforms from co-thinkers all over the world. CARP encourage user feedback through discussions in their website, their blog and their electronic book. They communicate actively their vision of “sharing and collaboration” via their Cybernetic Educational Research Project, which transmits knowledge and experience to young eager to learn residents. As far as the role of gatekeepers is concerned, Josina clearly describes her partner as such one: “ if I need something, I ask Velazquez”. Scripting language: Scripting language was characterized as easy and fun, and creating in SL an excellent opportunity to learn building and designing. Real life painting textures, as well as Photoshop ones are transmitted, expanding the scope of the creations out of the means of Second Life. In CARP, however, they find the normal A4 SIMs too ”laggy” to support the graphics of their

creations. The introduction of a new A5 SIM with the next project The Ring is a completely new technology to “make things easier”. It will significantly reduce the loading time and increase the quality, thus enhancing the opportunities for further improvements and experimentation. Merging the boundaries with RL and SL: Josina found a real life market for her art through the platform of SL. Exposition of her paintings in SL proved to be an fast and easy, cost-effective and profitable way of marketing. There is no need of conventional advertizing anymore, she says, her art is now exposed internationally and speaks for itself. The project of CARP for Global Justice was shown on a screen in New York, taking Second Life art into the RL and spreading further the breath of the entrepreneurs’ projects.

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Josina Burgess Wareable Art

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Caravaggio Bonetto The Money Tree performance

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Caravaggio Bonetto Emoticon

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Merlino Mayo Installation

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ALIEN BOLERO The dancing prims of Uqbar

The dancing prims of Uqbar Posted on February 2, 2011 by Thirza Ember

nicola reinerman: Well, one year ago it was impossible even to imagine what are we doing here now!

This is sim Uqbar on Craft grid, the home away from home of CARP Diabolus. Two guesses who I met there. Josina Burgess: This is a project of Vela. He made the theatre and the dancing prims. It is called Alien Bolero. It will change a little here and there. The music is the final part of Ravel’s Bolero, arranged and played by Junivers stockholm.

It’s clearly far above my pay grade – complicated stuff – but Vela’s a quick worker, and in just an hour and a half, he had brought the whole thing over from SL and set it up here. The dancing prims was part of the Cybernetic tour in the Nicolas Schoeffer Tower, but as Josina pointed out, ‘of course not the same but improved’.

We sat down, turned on our stream. Velazquez set the whole thing in motion. The prims began to dance and you could feel the glee radiating from his avatar.

But why Craft? With less than 700 people enrolled on the grid, it’s not likely to offer the sort of capacity crowds that CARP productions usually attract in Second Life. So what’s the appeal of this much smaller world, and other boutique platforms that make up the OpenSim grid?

Velazquez Bonetto: What I find absolut great , this is the first theatre production in OSG what works perfect! We tried one year ago to build the Metropolis theater on the Metropolis grid, but it was not OK. Here it works perfect!

Velazquez Bonetto: OSGrid has much more potential in the future as SL. First, this is an open source soft-

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ware. SL is a closed system with many restrictions. I hate restrictions. In many components OSGrid is better as SL, but it must in the future to be safe and stable, that’s all. Josina Burgess: Even with no audience, artists will create because they can’t exist without creating. We try to develop other ways of entertainment – other than is possible in RL, or in a movie – another kind of experience. Velazquez Bonetto: Theatre in the metaverse is something other than in RL. Here, can you really imagine. The story is always something human, but the new virtual tools makes the difference. Velazquez and Josina are still playing with textures, transparencies, and they need a ‘new master timing controller’, whatever that is – because things don’t exactly translate between SL and other worlds. But the tweaking won’t take long, and they plan to put on a show some time in the next week or so.

Josina Burgess: Yes, we will have a party afterwards as well! Be there. And in the meantime, if you want some good theatre, go over to Youtube and see L1aura Loire’s brand new Machinima Open End. It’s a meditation on a number of things, including irresolution and the navigational skills of leopards. Not to be missed.

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Milla MIlla Noel Alien Glow

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Metaverse Art Szombathelyi KĂŠptĂĄr 2011

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RINGS in the Hyper Cube Theatre

Hyperfunctionalism Form Follows Function (FFF) Hyperform Follows Hyperfunction (HFH) “It is the pervading law of all things organic and inorganic, Of all things physical and metaphysical, Of all things human and all things super-human, Of all true manifestations of the head, Of the heart, of the soul, That the life is recognizable in its expression, That form ever follows function. This is the law.” Henri Labrouste, Louis Henry Sullivan Louis Henry Sullivan (1856 04 14 - 1924 04 14) „The tall office building artistically considered“, 1896 „Whether it be the sweeping eagle in his flight, or the open apple-blossom, the toiling work-horse, the blithe swan, the branching oak, the winding stream at its base, the drifting clouds, over all the coursing sun, form ever follows function, and this is the law. Where function does not change form does not change.“ – (Sullivan, 1896, S.111)

Form follows function is a principle associated with modern architecture and industrial design in the 20th Century, which states that the shape of a building or object should be predicated by or based upon its intended function or purpose. Functionalism (design) In architecture and design, functionalism means the withdrawal of purely aesthetic design principles behind the intended use of the building or device, which determines the shape. Hence the famous saying “Form follows function” (“the function determines the form”) by Louis Sullivan, which arose from the popular view that a contemporary beauty in architecture and design already results from its functionality. The beginnings of this view go back to the aesthetic theorists of the 19th century (Lotze, Semper, Greenough), but in Germany it was only with the founding of the German Werkbund that subject matter and purpose were elevated to the rank of an artistically serious design. After the First World War and after the interplay of Expressionism, functionalism again received greater attention as a design principle under the terms new building, Bauhaus style or new objectivity.

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RINGS in the Hyper Cube Theatre

However, functionalism in Germany did not become the genuinely universally binding epitome of modern building until after the Second World War, thus largely shaping the architectural language of reconstruction. Since the beginning of the 1970s, the formal poverty and inhumanity of functionalist planning has increasingly been subject to public criticism, which is why post-modernism in the 1980s finally attempted to counter functionalism with completely new design principles.

Of all things human and all things avatar, Of all true manifestations of the intellect, Of the heart, of the soul, That the life is recognizable in its expression,

Functionalism in architecture gained renewed relevance as a design principle in the second half of the 1990s after the so-called deconstructivism had subsided.

Henri Labrouste (* 11. Mai 1801 in Paris; † 26. Juni 1875 in Fontainebleau) Dankmar Adler (* 3. Juli 1844 in Lengsfeld; † 16. April 1900 in Chicago) Louis Henri Sullivan (* 3. September 1856 Boston; † 14. April 1924 Chicago) hyperfunctional extensions by Velazquez Bonetto

Deconstructivism is an art style that claims to replace postmodernity. In line with the deconstruction of Jacques Derridas, structure and form in architecture are to be simultaneously subjected to destruction and redesign. Manifestation of the hyperfunctionalism hyperform follows hyperfunction (hyper-behavior and the hyper needs defines the hyperfunctions in the metaverse) “It is the pervading law of all things organic, inorganic or generic, Of all things physical, metaphysical or virtual,

That form ever follows function. This is the law in the real world. That hyperform ever follows hyperfunction. This is the law in the metaverse.”

We need olny define: what is a function, hyperfunction If we change the use of an object, it may change dramatically functions without changing any of its own physical or virtual properties. Engineering design In the lifecycle of engineering projects, there are usually distinguished subsequently: Requirements and

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Functional specification documents. The Requirements usually specifies the goal attributes of the requested system, and “The Functional Specification defines what the functionality will be, but not how that functionality will be implemented. “( Functional Specification from the EPRI Institute Portal), and the next Design Specification document describes physical or software processes and systems which realize (are carriers of ) the requested functions. a functional definition is the set of the different aspects of the requested behavior of a generic system. The definition typically describes what is needed by the system user (design-goal), which internal functions are necessary, as well as, requested properties of inputs and outputs. Functional descriptors describes the different aspects of the requested behavior of a generic system (not relevant that the generated virtual construct named as art or science or any conventional historical category of the human abstraction) The requested behavior derived from the given environment where the system successfully survive. The requested set of function descriptions derived from the description of the given environment where the system successfully survive.

Usability Aesthetical function Spiritual function Communicative function can survive if binds the human attention, and realise a long time storage of the MEM-s in the central neuronal system (attention is one of the limited cognitive resources of the human brain) Commercial function Social function Emotional function Rational function The mathematical concept of a function expresses dependence between two quantities, one of which is given (the independent variable, argument of the function, or its “input”) and the other produced (the dependent variable, value of the function, or “output”). A function associates a single output to each input element drawn from a fixed set, such as the real numbers. There are many ways to give a function: by a formula, by a plot or graph, by an algorithm that computes it, by a description of its properties. Sometimes, a function is described through its relationship to other functions (see, for example, inverse function). In applied disciplines, functions are frequently specified by their tables of values or by a formula. Not all types of description can be given for every possible func-

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SL Artspace Diabolus Benvolio

tion, and one must make a firm distinction between the function itself and multiple ways of presenting or visualizing it Hypermedia Hypermedia is a term first used in a 1965 article by Ted Nelson.[1] It is used as a logical extension of the term hypertext, in which graphics, audio, video, plain text and hyperlinks intertwine to create a generally nonlinear medium of information. This contrasts with the broader term multimedia, which may be used to describe non-interactive linear presentations as well as hypermedia. Hypermedia should not be confused with hypergraphics or super-writing which is not a related subject. The World Wide Web is a classic example of hypermedia, whereas a non-interactive cinema presentation is an example of standard multimedia due to the absence of hyperlinks. The first hypermedia system was the Aspen Movie Map, while the first truly universal[weasel words] hypermedia was Hypercard. Most modern hypermedia is delivered via electronic pages from a variety of systems including Media players, web browsers, and stand-alone applications. Audio hypermedia is emerging with voice command devices and voice

browsing

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CYBERLANDIA exhibition space

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CARP ISSUU publikรกciรณk

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CARP publikรกciรณk az interneten: http://issuu.com/diabolus/docs/mdm_internet http://issuu.com/diabolus/docs/schoeffer_tlc_web http://issuu.com/diabolus/docs/avatar_history_v2 http://issuu.com/diabolus/docs/pirats_art_kahos_net http://issuu.com/diabolus/docs/emoticon http://issuu.com/diabolus/docs/rinascimento_metaverso http://issuu.com/diabolus/docs/metaverse_art_book_01_internet http://issuu.com/diabolus/docs/metaverse_art_book_02b_internet http://issuu.com/diabolus/docs/metaverse_art_book_02a_internet http://issuu.com/diabolus/docs/metaverse_art_book_03_internet http://www.blurb.com/books/1368230 http://www.blurb.com/books/1368125 http://www.blurb.com/books/1368011 http://www.blurb.com/books/1367929 http://www.blurb.com/books/1522505 http://www.blurb.com/books/2359506 http://issuu.com/diabolus/docs/ma_artistide_despres http://issuu.com/diabolus/docs/ma_shellina_winkler http://issuu.com/diabolus/docs/ma_josina_burgess http://issuu.com/diabolus/docs/ma_ali_and_artee http://issuu.com/diabolus/docs/ma_merlino_mayo_inet http://issuu.com/diabolus/docs/ma_igor_ballyhoo http://issuu.com/diabolus/docs/ma_bryn_oh_inet http://issuu.com/diabolus/docs/carp_creators_calimera_lane_flower_exonar http://issuu.com/diabolus/docs/carp_creators_caravaggio_bonetto http://issuu.com/diabolus/docs/carp_creators_debbie_trilling http://issuu.com/diabolus/docs/carp_creators_elfod_nemeth http://issuu.com/diabolus/docs/carp_creators_josina_burgess_1 http://issuu.com/diabolus/docs/carp_creators_josina_burgess_2 http://issuu.com/diabolus/docs/carp_creators_junivers_stockholm http://issuu.com/diabolus/docs/carp_creators_juria_yoshikawa http://issuu.com/diabolus/docs/carp_creators_nnoiz_papp http://issuu.com/diabolus/docs/carp_creators_sca_shilova http://issuu.com/diabolus/docs/carp_creators_velazquez_bonetto_1 http://issuu.com/diabolus/docs/carp_creators_velazquez_bonetto_2

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http://issuu.com/diabolus/docs/carp_creators_velazquez_bonetto_3 http://issuu.com/diabolus/docs/carp_creators_milla http://issuu.com/diabolus/docs/carp-01 http://issuu.com/diabolus/docs/carp-02 http://issuu.com/diabolus/docs/carp-03 http://issuu.com/diabolus/docs/carp-04 http://issuu.com/diabolus/docs/carp-05 http://issuu.com/diabolus/docs/carp-06 http://issuu.com/diabolus/docs/carp-07 http://issuu.com/diabolus/docs/carp-08 http://issuu.com/diabolus/docs/carp-09 http://issuu.com/diabolus/docs/arena_1 http://issuu.com/diabolus/docs/arena_2 http://issuu.com/diabolus/docs/consume http://issuu.com/diabolus/docs/camera_obscura_millamilla_noel http://issuu.com/diabolus/docs/camera_obscura_divaolina_kirax http://issuu.com/diabolus/docs/camera_obscura_sennaspirit_coronet http://issuu.com/diabolus/docs/camera_obscura_miskat_qinan http://issuu.com/diabolus/docs/camera_obscura_thess_writer http://issuu.com/diabolus/docs/camera_obscura_cienegga_soon http://issuu.com/diabolus/docs/camera_obscura_therese_carfango http://issuu.com/diabolus/docs/camera_obscura_feathers_boa http://issuu.com/diabolus/docs/camera_obscura_sanam_sewell http://issuu.com/diabolus/docs/camera_obscura_tim_deschanel http://issuu.com/diabolus/docs/camera_obscura_stereo_foto http://issuu.com/diabolus/docs/camera_obscura_sarima_giha http://issuu.com/diabolus/docs/sarima_giha http://issuu.com/diabolus/docs/camera_obscura_saveme_oh http://issuu.com/diabolus/docs/camera_obscura_frieda_korda_and_maxxo_klaar http://issuu.com/diabolus/docs/camera_obscura_del_may http://issuu.com/diabolus/docs/diabolus_portfolio_01 http://issuu.com/diabolus/docs/naomidevil_portfolio_01_web

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