Nicolas Schöffer SL-TLC

the cybernetic art exhibition nicolas schöffer TLC

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Dancoyote Antonelli Igor Ballyhoo Velazquez Bonetto Josina Burgess Artistide Despres Glyph Graves Werner Kurosawa Merlino Mayo Bryn Oh shellina Winkler

edited by velazquez bonetto artspace diabolus cybernetic art research project 2010 10

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

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

foreword by Eleonore de LavandeyraSchöffer (F)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Et ce n’est pas fini…

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

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

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

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

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foreword by Eleonore de LavandeyraSchöffer (E)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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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metaverse art

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

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

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

It changes its behaviour in an interactive way.

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

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

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

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

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

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

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

One could no longer even anounce such a project.

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

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

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

Velazquez Bonetto is László Ördögh’s avatar in SL. His artistic activity is an integrated part of a wider carrier. It is nourished by more than thirty years of professional experience gathered in such different fields as industrial design, computer graphics, virtual reality and ergonomics. It has multiple influences on his art. Owing to years in software production he has developed several new techniques that can be roughly classified as mixed media and he is a highprofile creator in virtual artistic scenes. The acquaintanceship with Eléonore de Lavendeyra Schöffer

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

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

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

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

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

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according to Schöffer’s plans.

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

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

Three thousand two hundred active scripts and

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

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

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

Dancoyote Antonelli,

Igor Ballyhoo,

Velazquez Bonetto,

Josina Burgess,

Artistide Despres,

Glyph Graves,

Werner Kurosawa,

Merlino Mayo,

Bryn Oh,

shellina Winkler.

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

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

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Atelier Picture Schรถffer 3: photography Paris 2010. is a07. way 06.of life by Artistide Despres (2010. 05 artspace diabolus benvolio)

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Atelier Schรถffer Paris 2010. 07. 06. Eleonore de Lavandeyra Schรถffer

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#bolero timeline #silence seat lift up 0.0~/-110011~/start_stream::http://artspace-diabolus.com/sounds/BOLERO/Bolero_Master.mp 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>:<0.00 1.6~/-210000001~/SCHOEFFER_SEATS_03:sr_pos_ori:<-31.125587, -3.030830, 1.000000>:<0.000 2.0~/-210000001~/SCHOEFFER_SEATS_01:sr_pos_ori:<-12.530830, 29.125603, 1.000000>:<-0.00 3.0~/-210000001~/SCHOEFFER_SEATS_04:sr_pos_ori:<-31.125587, 12.469154, 1.000000>:<0.000 # 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_ori:0:0:0.1:0.0:0.0:0.0:0.1 31.3~/-921072030~/BOLERO_02:random_pos_ori:0:0:0.1:0.0:0.0:0.0:0.1 31.4~/-921072030~/BOLERO_03:random_pos_ori:0:0:0.1:0.0:0.0:0.0:0.1 31.5~/-921072030~/BOLERO_04:random_pos_ori:0:0:0.1:0.0:0.0:0.0:0.1 31.6~/-921072030~/BOLERO_05:random_pos_ori:0:0:0.1:0.0:0.0:0.0:0.1 31.7~/-921072030~/BOLERO_06:random_pos_ori:0:0:0.1:0.0:0.0:0.0:0.1 31.8~/-921072030~/BOLERO_07:random_pos_ori:0:0:0.1:0.0:0.0:0.0:0.1 32.0~/-434111434~/BP_04:particle_on 40.0~/-434111434~/BP_03:particle_on 50.0~/-434111434~/BP_05:particle_on 60.0~/-434111434~/BP_02:particle_on 70.0~/-434111434~/BP_06:particle_on 80.0~/-434111434~/BP_01:particle_on 89.0~/-434111434~/BP_07:particle_on # 35 sec moderato 2 89.1~/-434111434~/TOWER_1:color:<0.0,0.3,0.3> 90.0~/-345090345~/PRIMSHAPE_03:FLEXI:7:3:0.5:0.5:0.0:3.0:<0.0,0.0,0.0> 90.1~/-345090345~/Bolero_color_alpha_04:color:<0.0,0.3,1.0>:0.2 95.0~/-345090345~/Bolero_color_alpha_03:color:<0.0,0.3,1.0>:0.3 100.0~/-345090345~/Bolero_color_alpha_05:color:<0.0,0.3,1.0>:0.3 105.0~/-345090345~/Bolero_color_alpha_02:color:<0.0,0.3,1.0>:0.4 110.0~/-345090345~/Bolero_color_alpha_06:color:<0.0,0.3,1.0>:0.4 115.0~/-345090345~/Bolero_color_alpha_01:color:<0.0,0.3,1.0>:0.5

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00000, 0.000000, 0.000000, 0000, 0.000000, -0.707107, 00000, 0.000000, 1.000000, 0000, 0.000000, -0.707107,

1.000000> 0.707107> 0.000000> 0.707107>

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Atelier Schรถffer Paris 2010. 07. 06.

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Atelier Schöffer Paris 2010. 07. 06. Eleonore de Lavandeyra Schöffer, Naomi Devil, László Ördögh Diabolus

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Atelier Schöffer Paris 2010. 07. 06. Àgota Nagy, László Ördögh Diabolus, Klára Gehér

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Atelier Schรถffer Paris 2010. 07. 07.

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Atelier Schรถffer Paris 2010. 07. 07.

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Atelier Schรถffer Paris 2010. 07. 07.

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Atelier Schรถffer Paris 2010. 07. 07.

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The digital modell of the NY- ground zero - TLC by ร gota Nagy

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The digital modell of the NY- ground zero - TLC by ร gota Nagy

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The digital modell of the NY- ground zero - TLC by ร gota Nagy

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The digital modell of the NY- ground zero - TLC by ร gota Nagy

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The digital modell of the NY- ground zero - TLC by ร gota Nagy

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The digital modell of the NY- ground zero - TLC by ร gota Nagy

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Atelier Schรถffer Paris 2010. 07. 07.

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Build of the virtual TLC in Benvolio Sim

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Build of the virtual TLC in Benvolio Sim

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Build of the virtual TLC in Benvolio Sim

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Build of the virtual TLC in Benvolio Sim

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Build of the virtual TLC in Benvolio Sim

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Build of the virtual TLC in Benvolio Sim

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Build of the virtual TLC in Benvolio Sim

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Build of the virtual TLC in Benvolio Sim

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

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The SL TLC Nicolas Schรถffer exhibition

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The SL TLC groundfloor, Nicolas Schรถffer exhibition

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The SL- TLC groundfloor: cybernetic artworks by Dancoyote Antonelli

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The SL- TLC groundfloor: cybernetic artworks by Dancoyote Antonelli

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The SL- TLC groundfloor: cybernetic artworks by Dancoyote Antonelli

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

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The SL- TLC groundfloor: cybernetic artworks by Werner Kurosawa

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The SL- TLC groundfloor: cybernetic artworks by Werner Kurosawa

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The SL- TLC groundfloor: cybernetic artworks by Werner Kurosawa

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The SL- TLC groundfloor: cybernetic artworks by Werner Kurosawa

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The SL- TLC groundfloor: cybernetic artworks by Werner Kurosawa

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

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

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Glyph Graves In his first life, Glyph Graves is a geneticist and evolutionary biologist in Sydney, Australia working at the Evolutionary Biology Unit of the Australian Museum and the National Parks and Wildlife Head Office. In Second Life, he has created a wide variety of hauntingly beautiful artificial life forms, some evolving in accordance with genetic algorithms. The creation of artificial organisms has led him however into a more general aesthetic exploration of the relationship between structure, texture, and motion, and he has become one of the most popular and widely exhibited virtual artists in Second Life. In his own words: “As well as the normal digital tools of graphic and 3D modeling programs, I also freely make use of Linden Scripting Language as both my chisel and my paintbrush. I’m constantly in a state of wonder (and occasionally, despair) at the depth and the dimensionality that’s available for the art of Second Life.”

virtual in the same way that we project a fragment of ourselves into SL and call it our avatar .

It speaks as a symphony of music that is generated by the wind direction from location across its body.

Its form is described by the height and position of its parts. Its skin ( the thin layer of air just above the ice) coloured by its temperature.

As this is real time the composition will change from hour to hour, day to day as the conditions at each of the 19 locations on the continent change giving a song of Antarctica.

While the discs are visible as well as touching the disc there is also a colour scale that will tell you the temperature at each site at a glance.

This piece has two phases Phase One

Antarctica - an individual existence

The first incarnation personifies the continent ice cover as a human figure.

Antarctica .. a continent of of ice, rock and wind that for most of its frozen expanse rises above the sea as the Antarctic High Plateau around 3000 meters. This piece brings the continent into a virtual world and poses the question : What is an avatar?

It stands then breaks into its component parts. Each part is a real location on Antarctica, the site of an weather station that is streaming real time data on the conditions.

The word avatar is not a new word –noun 1. Hindu Mythology. the descent of a deity to the earth in an incarnate form or some manifest shape; the incarnation of a god.

2. an embodiment or personification, as of a principle, attitude, or view of life.

3. Computers. a graphical image that represents a person, as on the Internet.

This piece is a personification of a continent, and a fragment of its current (real time ) existence is projected into

Phase Two The second incarnation transforms into separate discs and takes the last 20 readings from each of the 19 weather stations (about the last 5 hours with the last being current).

Each disc represents an automated weather station and contains a set of individual notes. The direction of the wind at that location determines which note from each set is played at each location. NB there are no sound loops rather notes are generated one

nicolas schรถffer TLC at a time.

The direction of the wind is also given by the direction of the texture animation and the particle stream. The speed of the wind is given by the speed of the texture animation and the density of the particle stream. The temperature is signified by colour - red is the hottest and bright blue the coldest. If it goes over 0 degrees it will begin to drip. The relative height of the discs conform to the height of the weather station.

Technical aspects and Acknowledgements I take the data from the web, pipe it though my hosted web site and transform it into music and colour.

It uses several transformations that are facilitated via scripts that modify the primitive parameters of each unlinked prim in the piece.

For the height of the station I have used the barometric pressure in the same way it is used by an aeroplanes altimeter. Any difference due to temperature or local air pressure changes is negligible compared to the variation caused by altitude.

The data is provided by the University of Wisconsin Madison through its AWS site and I gratefully acknowledge their permission to use it.

I pull the information from that site and then preprocessed on my hosted site ( I learnt php for this project) Each element in the piece then request the last 20 readings ( about the last 5 hours ). I use the temperature, wind speed, wind direction and barometric pressure.

All scripts (off world and inworld), sculpts and textures are my own.

The music come from sets of notes in each element.

I utilize 4 instruments to create the symphony.

Ghost Blow notes created by Jovica - www.freesound.org flute - by Lorin Tone

Chord set by Lorin Tone.

Violin notes London Philharmonic

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

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

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

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

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

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

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

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

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

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

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

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

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

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The SL- TLC 5th. floor: cybernetic artworks by Artistide Despres

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The SL- TLC 5th. floor: cybernetic artworks by Artistide Despres

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The SL- TLC 5th. floor: cybernetic artworks by Artistide Despres

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The SL- TLC 5th. floor: cybernetic artworks by Artistide Despres

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The SL- TLC 5th. floor: cybernetic artworks by Artistide Despres

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The SL- TLC 5th. floor: cybernetic artworks by Artistide Despres

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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The SL- TLC 10th. floor: the tower BRAIN by Velazquez 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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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