REZSKY. I REZ. I SKY. KATATONENKUNST.

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R U O Y T N A W BE

E O T W

" FS E I ."

L E U BE R T REZ

KATATONENKUNST. GESTALTKUNST. THE FAKED VR.

KUNST BLUE

JEFF BEZOS, THE MAN WHO FELL TO EARTH.

ERVARE

THE GARBAGE MAN RINGS ALWAYS TWICE.

CHICKEN

ART BLUE QATSI - A PICTURE FOR HOPE.

CHICKENCHICKENCHICKEN

VJ QUANTUM

CHICKENCHICKENCHICKENCHICKEN 7CHICKEN

QUANTUM LEAP.

THE MORAL MACHINE.

TESLA BLUE

#DOGSRECLAIMINGAI

NERUVAL

I WRITE UNTIL THE END MY FRIEND.

IPSUM BLUE THE FLIGHT FEATHER.

UN:GOTT September, 2019 wu edition R E Z S K Y . I REZ. I SKY. 2019/WU/01

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CALLING REALITY CALLING REALITY BACK TO VIRTUAL ART IN A FRIDGE OCTOBER 15, 2019 1:00 PM PDT SURREAL ART GALLERY SIM CLARESSA

About the cover

wu edition

REZSKY is offering visual artists a chance to become known. It has to be a unique never before shown work of art. Play with the keywords rez and sky as you see in this production. The challenge was put on call at Fiverr.

Fiverr productions go usually nameless, the editor instructed the illustrator. Nevertheless we are happy to post the creator's gig name: kokoan.

UPCOMING EVENTS IN THE "wu" stands for the number two in Tocharian A, the oldest written HYPERGRID language on Earth, used mainly for clerical purposes.

REZSKY. I REZ. I SKY

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Editor's note

In the first issue, the sas edition, of REZ SKY, I posted an op-ed I got from Jerry Fletcher that readers of REZ SKY will be only safe as long as there are not more than seven readers. This safety net does no longer exist. The first issue went viral. 32 16 8

copies sold! Thanks to the supersharers Noob42, ViralViralViral and Juliette. 1) What to do now? We can’t keep the secrets any longer under the radar. Each issue is scanned by the NGA to “provide a decisive advantage to policymakers, warfighters, intelligence professionals and first responders.” The old question is what to do when everything is known? The new one is when each move is predicted, when “spatio-temporal thinking” takes place. 2) What has Caesar used to command his troops? What does Jeff Bezos have in mind? What would President Trump do? In their time they step forward and REZ SKY presents them in this issue. We make cryptic messages understandable. Here comes an example right now: "I think the president and a small group of people know exactly what he meant," said Sean Spicer when it came time to explain “covfefe” to the press. 3)

It is time to share the present, the past and the future of coded messages. It is time to explain Kunst.

Kunst Blue 1) 80% of all Faked News is broadcasted by 1% of the users of social media platforms. Science [Jan 25, 2019]. 32 16 8 is an Easter Egg. 2) Robert Cardillo, 6th director of the National Geospatial-Intelligence Agency at the Las Vegas Consumer Conference where he used the term spatiotemporal thinking [Jan 5, 2016].

3) White House press secretary Sean Spicer about the presidential tweet, “Despite the constant negative press covfefe.” [May 31, 2017]. Covfefe became a domain runner. All generic domains are taken. Covfefe.Art was first presented on July 11, 2019 at the Surreal Art Gallery and at Schulberg Gallery, New York, the place where Lana Newstrom presented her famous "Invisible Art" for the first time in November 2014.

imprint.rezsky.com KUNST.BLUE R E Z S K Y . I REZ. I SKY. 2019/WU/03

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wu edition

The Quantum Leap

by 9Chicken How many chickens are needed to create a quantum leap?

This question has given me headaches all the time until I heard the sounds of Doug Zongker. He was teaching advanced quantum theory at a side leg of the Milky way, a solar system with a Blue Planet, called Earth, in the city where the White House is located, the place where the power has its roots, where new ways of thinking have been set up. You shall know it is Washington D.C., the United States of America. They call themselves the centre of the Free World. I like that in this country the number of chickens can be freely chosen.

The solution, when you have it in hand, is often simple, so simple. It needs a new word that in the future everyone will use. It will change everything. You know it when you ask someone and the answer is one word. It is always the same word. You ask, “Where did you find it?” Then you hear it. You ask, “When?” Then you get, “I don’t know when, but where.” You ask, “When was it first used?” You get, “On May 31, 2017, six minutes after the solar pitch which stands for midnight.” You ask, “How much?”

You hear, “That’s a secret.” Then you open your check book, “What about 10,000 Dollars for the domain?” You get a laugh, “That’s for suckers, add a zero, or better two.” You ask for meaning. You hear, “That’s classified, only a few know it.” After some hard work you move to the inner circle and you get told, the word. You nod, you fall in awe, you have spoken to one knowing, uncovering the secrets of the world, the universe and everything. When all falls into place you are happy and you smile. You are full like after a perfect dinner. You say, the word.

Now say it.

You don’t know the word?

I give you a hint. The word stands for Art. You say, “I have no clue of Art.” You have to ask the speaker in Capitol Hill. You hear, “The President and a small group of people know exactly what he meant.”

Now you know it is not just a word, it is “The Word.” It is The Word of The President.

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The word is the new internet. The word is applied Katatonenkunst. The word has 7-digits as predicted by the Two Corinthians.

That’s the Bible. And the Bible has some magic on Earth. Many say they believe in the Bible but fact is without the word all stays hollow. They have to go to therapy, Gestalt therapy. They lost the big picture.

“Gestalt therapy is an existential/experiential form of psychotherapy which emphasizes personal responsibility, and focuses upon the individual's experience in the present moment, the therapist–client relationship, the environmental and social contexts of a person's life, and the self-regulating adjustments people make as a result of their overall situation.” These lines I found in the book of wisdom called Wikipedia.

Gestalt is a word that each chicken understands. I am needed. I can give them halt. I know the word. I understand the word of the President. I will bring you to the inner circle. You will become part of a small group who will know exactly what Doug Zongker meant when he introduced me at the American Association for the Advancement of Science.

Listen to my code and decipher the formula of Art.

9chicken.rezsky.com

From the proceedings at the AAAS. copyright Dr. Doug Zongker, University of Washington.

Doug was hired after the presentation of CHICKEN by Google.

CHICKEN, CHICKEN, CHICKEN, CHICKEN, CHICKEN, CHICKEN, CHICKEN, CHICKEN, CHICKEN ...

Watch Doug Zongker at 9chicken.rezsky.com The video has 2.4 million views youtu.be/yL_-1d9OSdk

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wu edition

Jeff Bezos, The Man Who Fell To Earth

by Ervare

Promotional photograph of the Mercury Theatre production of Caesar, featuring George Coulouis (center) as Marc Antony [1937].

"Friends, Romans, countrymen, lend me your ears" is the first line of a speech by Mark Antony in the play Julius Caesar, by William Shakespeare.

Occurring in Act III, scene II, it is one of the most famous lines in all of Shakespeare's works

Every story needs a headline, mostly to draw attention but this time it is to lure you away. You shall think that this is a joke.

The Man Who Fell to Earth is Bowie, right -- and Jeff does not sing. I dare to predict he will go into a singer’s career, nor he will go into a writer’s career. Others sing for Jeff Bezos, like Frank on 96.1 KLPX sings his chat messages to Lauren Sanchez, so Jeff gets text to voice for free. Others write for him, also for free. I am one of them. I support his mission to head to the stars and leave Earth behind. Thomas Jerome Newton, the man David Bowie plays in the movie The Man Who Fell To Earth, brought a dozen core patents to Earth to make the money he needed to launch a rocket that would bring him back to the stars where his family suffered on Anthea, a planet hit by a man-made climate change. Did he make it back home? You are lucky that I write for REZ SKY so you will not get a message: "If you want to read the full story, upgrade to Prime."

You read that the story is written by Ervare who claims to be some sort of a God, or at least a successor of Caesar where he stole the ways to code secrets so only true believers who hold the code to decipher in hand will understand. When you enter Ervare in the decipher machine ROT13.com then you get his rotating identity. When having the deeper knowledge of time it is a piece of cake to unveil Jeff's code. Check it out and you get "Wrss". The question now is what does Wrss stand for, right? We’re super super? But let's take the task seriously. Let us go the Amazon way.

The first clue comes by asking Alexa, the Amazon super smart always listening device. You don't even need to wake it up after you have sent it to sleep. It never sleeps. So in case you don't get an answer you say, "Don't play dead Alexa" and instantly you get that Wrss is a radio station that sends with 1,000 watts unlimited from San Sebastian, Puerto Rico to space what Jeff thinks about the future. His mission statement of Blue Origin. That the Arecibo Observatory is close comes handy to get the response Jeff is waiting for.

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"Amazons, friends, coders, lend me your ears."

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wu edition Jeff Bezos, The Man Who Fell To Earth

by Ervare

Brutus and the Ghost of Caesar Copperplate engraving by Edward Scriven from a painting by Richard Westall. London, [1802].

Such an “Out-of-space” response Jeff got at the last shareholders meeting of Amazon in Seattle. It looks like he was totally unprepared. Would he have read The Gods of Informatics he would have known the basics where old and modern ways of leadership intertwine. Julius Caesar commanded his troupes by a code leading them to the future. How could the Caesar coded dot com domain wrss.com slip through Jeff's fingers? The Waiting Room Subscription Services could have been his, but he hesitated. Now he sits there in the waiting room and others do his job. Amazon employee Emily Cunningham, an UX designer, took his own motto, "Speed is everything" and pointed to climate change. Amazon is still promoting to use fossil power to run their AMS data enters where other players already turn to solar panels. 7,934 Amazon employees called for leadership. "You have the money, be our leader," that was the cry of the masses, but the voting of the shareholders struck them down. Jeff stayed backstage when Emily said, “Amazon has the resources and scale to spark the world’s imagination and redefine what is possible and necessary to address the climate crisis.”

Julius Caesar would have stepped forward and shouted, "Amazons, friends, coders, lend me your ears." Is Jeff Bezos not the Reborn One Earth has been waiting for, for so long? The one to make politicians act? Not the man who fell on Earth?

Don't be flaky, he is.

Sadly he is right, Jeff Bezos. We must head to the stars. Blue Origin, his space company will make it that the human race will survive. Until this time, people have to be kept in the dark. Also President Trump is right, that the truth need to be called fiction, that Global warming is a myth. Then people will do business as usual until Jeff Bezos has settled things. Then The Man Who Fell To Earth will be gone, up to Mars, via the moon.

I was there in the Yale Club in New York, at an invitation only event where Jeff outlined the mission to head to space. Now the Bilderberg Foundation is in charge to check out who will make it to take off to Mars. I set my name on the list. My seat is marked with a Blue Dot. It is number # 3. Want to know who is on seat # 2? Easy to check out. A matter of courtesy. I said it, Jeff is not a singer, he just fell to Earth.

Get a list of Findings I created for you. Take this shortlink jeff.rezsky.com By seeing the long list you may ask, “What to start with?” Search for the hashtag #feathertheorem. It shall bring you to a 51 minutes event with Jeff Bezos: “Going to Space to Benefit Earth.”

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"Speed is everything" 7,934 Amazon employees to Jeff Bezos

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wu edition

Katatonenkunst. Conservative.

The Mathematics Of Tears.

by Kunst Blue “If hope is the engine of the soul, Then duty is the navigator...

And love is the fuel." ~ High Guard Supreme Commander, Sani nax Rifati Persuasions and Exhortations, C.Y. 4279 Andromeda, Episode: The Mathematics of Tears.

I stand in front of a picture showing various angels of catatonic rods that fell from the sky. I digitally signed it as “Stangen 4.”

A tiny note next to it explains the code for what it stands: A times four Randomatica bombardment in a World of Sand. One of the best-preserved works of Katatonenkunst.

Will it be seen as an orbital bombardment in the Libyan desert? As an extinction of the Tocharians?

I turn toward a voice close to me.

"What does it mean Sir, Katatonen, do you know?" asks the soft voice, and I think I must look as if I am someone who knows.

"Oh," I say and step back behind the marking on the floor, the one that is supposed to keep visitors from stepping too close to the exhibit. "I should have stayed behind the line."

The museum guard stands within eyesight, he has not called me back, so it must be obvious that I have a role at the museum.

No one knows that I am the one who recoded the artwork. If anyone knew that this work was not the original, I could not afford to live in Evergreen Terrace.

"An Avatar living in a machine made it long ago," I say. “It is an original." More people are joining us. Enwezor, the chief curator, is one of them. Looks are cast at him when he speaks.

"You are asking the right person. He made the catalogue," says Enwezor.

"I did not notice a printed catalogue, I would like one," said someone from the crowd. I look at the man and see he is wearing a Turnton Gazette press badge.

"Sadly, you can’t get one now," Enwezor states. "Our legal department insists that the catalogue not be handed out until 2057... the discussion of intellectual property on unknown creators and all that, you know." People in the crowd nod. Enwezor looks to me, everyone looks to me now. "We don’t know the real identity of all the artists who have contributed to the collection on exhibit in the Temple of Kitsune," he says directed to me.

"There is a simulation of the Katatonen world presented in the Blue Room,” I interject. “It is indistinctable from the real world where the pieces of art were created." Someone smirks and others are making faces. I say, "We simulate opensimulator in VR Unity as best we can. We want everything to look like originals."

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The one who smirked raises his hand. ”Yes?” I acknowledge him. ”What about the advanced light model?” he asks.

“And what about the Kata-Stangen script?” asks another person. “LSL does not run in Unity, not even in the R7 engine.”

I smile and nod. Shall I tell them? Of course not. I glance around the crowd and notice confused expressions on many of the faces.

Kata-Stangen is a semi-military icon that has not yet made it to the avant garde. ”I was asked by this Lady in Black,” I say, gesturing to the woman beside me.

“Florence,” she says.

“Welcome Florence of 84,” I smile at her and then notice the badge “84” she is wearing in honour of the bot avatar Florence84 Resident who appeared quite often in immersive shows during the early days of Katatonenkunst. I look back to the crowd and repeat her question. “What does Katatonen mean and what is the code?”

Florence nods and says, ”I would like to know.” Others are agreeing with her. ”Well,” I begin. “In his novel, Anathem, Neal Stephenson describes metal rods. One of the German translations for metal rods is Stangen. Neal postulates in his novel that a kinetic bombardment of metal rods will happen to Earth by an alien race during a hostile attack. To make such an attack work, one needs to be able to manipulate the form of randomness that defines objects stalling in outer space. He speaks of a species that is based on advanced mathematics. I shall add, not in the easy way of the Apophis Asteroid in 2029.” I spot Claire Markham in the crowd. ”Hello, Claire.” She was the one who reported for CBC exclusively on the Kata-Stangen mission. She still looks stunning at 70. ”I have something for you to write about, but it will be for everyone also.”

“Hey there, Kunst Black. So great to see you.” Her smile is warm, infectious. “Now, what do you have for me?” she asks.

“We coded the Stangen in multi shades when they hit Apophis. The code has become part of the installation. It is very colourful and touching. At the end, in the moment of impact, all Stangen turn to Zima Blue. It is a simulation, but from the view of an art historian, you could say it is more a re-coding of a prediction made in the year 2020. The code was written by Art Eames and hidden in an Easter Egg within the installation.”

“That sounds interesting, indeed,” agrees Claire.

I hear the audience mumble in astonishment; now the gathering has increased. I should have kept my mouth shut, I realize, as I glance at Enwezor, who moves his finger to his lips. I understand his silencing; he wants this information kept for the press conference later. I shall not uncover too many details. So I play innocent and add, ”As I’ve already shared, the military term “KataStangen” which has its roots in Science Fiction has made it into the arts, but we don’t know for sure if Katatonen is meant the same way. William Gibson, who wrote Count Zero in 1986, and Neal Stephenson, who wrote Anathem in 2008, both used terms similar to the same effect on pieces of art, known now as the controlled randomness of the impacts.” I point to the picture Stangen 4 and the side note next to it.

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wu edition Randomatica in the Sand

Sneaking into the Art of Peter Seibt in the Temple of Kitsune created by Venus Adored

“Randomatica. Random math gives fluid impact in the arts.” I step over the line to get closer to the exhibit and use a pen to point to the areas I describe. “Do you see here the holes where the plotter pen broke through the paper and scratched the surface of the rotating drum on which the paper was mounted? This is a wrong loop coding, and the moving of an ink pen, a falsely programmed repetition of a draw-move sequence, ripped the paper off. This work literally defines the beginning of the Digital Anthropocene, when art went catatonic.” The audience laughs and Enwezor shows me a thumbs up as he quietly slips away.

”If this was a class I was teaching, I would go into the various terms of stochastics, of controlled randomness, that can be seen in the center of cybernetic aesthetics, which is where artists give the computer degrees of freedom for creation. Such freedom, of course, makes the end result unpredictably predictable -- or as the University of Western Australia stated as a guideline for their virtual art challenge Pursue Impossible, in 2015, artists were to make the Impossible Possible. As it happens, this was during the time when this installment was created.”

I point to the mostly vertical Stangen in the picture. ”A spectrographic scan has shown that beneath this area layer, there is another title—” I glance at the crowd. “Perhaps a former title that was decided against and so overwritten with a white pen brush? We found out it was Katatonen in Sand Zero. Was it a tribute to Count Zero? However, we don’t know why it was overwritten by Stangen 4. Perhaps for legal reasons, who can say? What we do know is that the word, Katatonenkunst,” was never again used by Willi Gibson. After 30 years of no use, a term becomes free, some experts say, even in a much shorter time span. Virtual worlds were not yet invented at this time, so a new way developed and that is what you see in this exhibition, the real beginning of Katatonenkunst.”

I step back from the work and look around. The group stays, no one leaves. I say, “May I suggest that I explain Katatonenkunst by focusing on this concrete work. Any objections?” I look around and see no one objecting; indeed, I see them nodding in unison.

I continue my lesson. ”I spoke of Stangen, the metal rods, controllable uncontrollable, with an applied impact force depending on the speed of the mass of the objects. So, what you see is Anathem, Neal Stephenson’s influence in enraptured art. On the other hand, you also see Katatonen in Count Zero, in a more conservative way.” I hear a murmur in the group. I move my hand up as a call for patience. ”Before the jury begins a heated debate, let me read from the story some lines that are not commonly quoted. The part I quote is about a room in which the character Fraulein Krushkova enters.”

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Computer Minimal Art The art of Randomness published in dot.94

by Reiner Schneeberger

”Who? Fraulein?” the journalist from Tambury Gazette interrupts, then seems to visible shrink as everyone looks at him. ”Sorry, I will Google this,” he mutters. No one wonders how can a guy from an advertisement paper know anything about art.

But the paper became well known in history. Who has not heard the words of the former lead editor. They became motto of Universal Gazette, the Being-in paper, distributed from the tax haven on Tuvalu:

“It’s a good place to work. Even with these idiots. And the little things do matter.

This sh*tty little… free, local newspaper. It kills a few minutes, in a good way. A smile ’cause someone saved a blind kitten from a tree. It’s not for reading, it’s for being in. Everyone should be in the local paper at least once. I was ‘ere. It’s sweet.” [from After Life, An original Netflix series]

”No, no,” I say, smiling at the man from Tambury. “My mistake. I shall elaborate.

What I am sharing with you is very old, known only by art historians. I will first show what is behind the common focus, before I go on about the room.” I look at my watch. “Do we have enough time?” I glance around the crowd as some people look at their watch while others are already nodding. I quickly add, ”We have another 24 minutes before conference begins. I can let you enter via the press entrance so you don’t have to worry about the queue.”

I search my jacket for my ocular blue, the feather light version, and finding it, pull it out, temporarily flashing it to my little audience before slipping it on my head.

On my command, the text illuminates inside on my screen, and with another command, the voice of Don LaFontaine that I have pre-set to speak, emanates from the speakers:

“The room was bare and white. On two walls hung unframed sheets of what looked like rain-stained cardboard, stabbed through repeatedly with a variety of instruments. Katatonenkunst. Conservative. The sort of work one sold to committees sent round by the boards of Dutch commercial banks.”

I take my ocular off and say, “This text is also printed on the invitation. It is taken from the book Count Zero when Katatonenkunst is set in place. This is also the novel that created the genre of Cyberpunk. Eliot Handelman, a philosopher and musician, gave some thought to this. I like to share something interesting he wrote about it.

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wu edition “‘. . . cyberpunk wants to see the mind as mechanistic and duplicable, challenging basic assumptions about the nature of individuality and self. That seems all the better reason to assume that cyberpunk art and music is essentially mindless garbagio.

Willy certainly addressed this idea in Count Zero, with Katatonenkunst, the automatic box-maker and the girl’s observation that the real art was the building of the machine itself, rather than its output.’” ~ Eliot Handelman

I look around, knowing the text has some density and that a person often needs to read these lines twice – as well as the novel – to get the full impact. I say, “You may have heard various ways to describe Katatonenkunst. All of them go beyond the old term Immersive Art. It is not only that the virtual art becomes real. ‘You and the room become one. The room you enter immerses to art,’ stands at the entrance of the Blue Room. Lines like these lead back to Katatonenkunst the way described in Count Zero. I want to add that the future is near where everyone sees the art the way the art wants to be seen. Artworks fitting to the mental state of the person exploring it. Artificial Art. The Brain of Art.” “Cyberphoria?” someone says. I answer, “This will go beyond the current view. Avatarkunst might merge with Katatonenkunst.

The ways towards such a world we find in The Sand Bible, where Cyberphoria is described as the ultimate beauty because she generates herself for you the moment you meet her.” The person who made the interposed question raises her hand and I nod, “Please.” It takes a moment and I notice a change. “Gina Inviere,” my name. I turn pale. I look around but no one seems to have noticed, “Only you know,” Gina says and my brain refreshes. I continue like nothing had happened.

“In Count Zero, we find a lot about the room, which is in fact a machine,” I go on. “Here is the full passage after Katatonenkunst is set in place.” I slip the Ocular Blue on my head again and the tools speaks. The text projects into the air and the voice reads:

“Fraulein Krushkhova,” the receptionist said. “Herr Virek is unable to be in Brussels today.”

Marly stared at the perfect lips, simultaneously aware of the pain the words caused her and the sharp pleasure she was learning to take in disappointment. “I see.” “However, he has chosen to conduct the interview via a sensory link. If you will please enter the third door on your left.”

The room was bare and white. On two walls hung unframed sheets of what looked like rain-stained cardboard, stabbed through repeatedly with a variety of instruments. Katatonenkunst. Conservative. The sort of work one sold to committees sent round by the boards of Dutch commercial banks.

She sat down on a low bench covered in leather and finally allowed herself to release the telefax. She was alone but assumed that she was being observed somehow.

“Fraulein Krushkhova.” A young man in a technician’s dark green smock stood in the doorway opposite the one through which she’d entered. “In a moment, please, you will cross the room and step through this door. Please grasp the knob slowly, firmly, and in a manner that affords maximum contact with the flesh of your palm. Step through carefully.

“There should be a minimum of spatial disorientation.”

She blinked at him “I beg.”

“The sensory link,” he said, and withdrew, the door closing behind him.

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Swordcoder: code is my weapon, sword is my defense. You act autonomously in the world you selected. You are the character you choose. Now choose.

I wait a minute before speaking. I do this to allow the story to be absorbed. Someone

Swordcoder first time published in rez Magazine April, 2017

this name before. It is a great voice, sounds like thunder and storm. We all know the

"... You are now using the headset for more than 10 minutes. By now the nano filaments from the headset should have made it to your brain.

Your personality capture is complete."

raises their hand. I wink, “Please” and the person says, “Your ocular displayed during the reading of the parts that the synthetic voice of Dan LaFontaine is used. I’ve never heard Fountain machine, is there a connection?“ I nod, “Dan LaFontaine is the name giver for the machine and it was originally named after him. He gave his voice to over 5,000 productions at the time where natural voices could not be generated by software, at least not in a fitting way. His nickname was Thunder Throat and the Voice of God.” I hear one saying, “In a world where…,” the catchphrase of Dan LaFontaine. I take the ball and say, “Katatonenkunst brings us in a world where we have to grasp the knob firmly.”

We created, in our own retrospective, such a knob, and you have to grasp it. You have to water your fingers for this first.” I pause, grinning, and wiggle my fingers in the air. “It is the Swordcoder language our programmers used. The water has nano particles in it. We want to make your experience of The Temple of Kitsune as real as it was in the year 2020.”

I look at my watch. Still 15 minutes. I see another one put their hand in the air. “Yes, Sir. You have a question?” The people around him step away and I see he wears an ExpoTime!

Badge, which is the international issue of Museum Aktuell. I know the magazine well. I know this face. Is this SR Hadden? He does not write for ExpoTime! The suit he wears is from Kiton.

“You wrote that the art was stabbed, rotten, dried out, then found recycled and brought to dynamic life and presented like a Masterpiece found in a trash bin. Do you think that Banksy is a follower or a trendsetter for Katatonenkunst? I think back to his show at Sotheby’s, The Girl with Balloon.”

I laugh. “One Million Sterling was the price paid, and it was not even fully trashed, right?

The Shred Girl Banksy called his biggest failure, because the machine design got stuck in the deletion process.” I pause and study the man’s face, shall I ask? I cannot hold myself back. “But do you know that Pest Control, a firm acting on behalf of the elusive artist, renamed the piece, Love is in the Bin?” No one gives a reaction, so I continue. “You will see at the Grand Opening how strongly these things are connected. Catatonic behaviour in the arts started with Rembrandt. His most famous painting Night Watch had two sides cut off so it would fit where a new owner wanted it to go, and because the man simply did not have the needed space for the paintings original size.

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wu edition So big pieces of the painting were cut-off, just like that, and are now lost to us. There is speculation that the missing parts are the most important ones as they gave space and proportion to the piece. About 500 years later, the Rijksmuseum was built for this exact Rembrandt. Thank God it wasn’t cut down more, right!”

I smile at the crowd, continuing. “Same happened with modern art. The Tea Cup with Tutti was restored to the value of a Bansky and to keep a work of art from the pre-mesh times alive. Nomi, living inside the prim world, cried on the glitches after an upgrade of the servers, claiming to be seen as a catatonic life form that needed to become part of the cultural digital heritage. She could no longer login and logoff - - has to be always in.” I notice by naming Nomi that some of the ladies in the crowd take out a tissue and dab at their eyes, for the heart-breaking story of Nomi Blue that was tossed around from one conservator to the next until the Smithsonian finally bought the installation had become a well-known plight to many people.

Luckily, at this moment, Juliette, Enwezor’s assistant, appeared holding a transparent acryl box in her hands.

Well actually, she was trying to keep it balanced in her hands. Our eyes met. I smiled and winked at her, asking, “Are these the entrance chips, freshly cleaned?”

“Sure,” she replied and held up the box as if she were presenting a birthday cake to us. She looked great in her circular blue dress, wearing a gypsy headband in contrast with the white gloves. “You may take one,” she offered, “so you are already equipped when the show starts.”

“Yes, everyone, please take one for the show,” I say and motion to the box she holds. Everyone is eager to get one. The box is filled with water. Everyone has to put their fingers into the water to retrieve one of the long cylinders. “Stangen in miniature size,” I say, watching their excitement. “A fitting metaphor,” I add.

Once everyone has taken one, the effect happens. Swordcoder releases the nano bots into the body and crawl with the bloodstream up into the head, connecting directly with the nervous system, immediately causing a frozen state. This is when the swarm notices they are all in place.

I look to the man who asked about Banksy. He is wearing a Cyberglove, a nano bot protector on the hand in which he holds the Stangen piece, the knob for Katatonenkunst. “I am SR Hadden,” he says, then adds without emotion, “I heard Love is in the Stangen and that you guys coded real tears.”

Time seems to stand still. I am a coder, they are users. A memory flashes through my mind: ‘Coders shall not be users. Users shall be rain.’ Words by Art Blue. Tears begin to fall through the roof. “The code is in the rain,” I whisper.

The dome of the museum opens, turning in to a Blue Room in which Andromeda Blue performs Pax Magellanic, known as The Mathematics of Tears. They will hear the ship intelligence speaking to Reverend Behemiel about tears. I insisted not to go back in time, not to repeat the words of Roy Batty, Tad Williams, David Bowie or Jasper Fforde, but to reach forward as a true simulation shall do.

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The Temple of Kitsune Tears preventing to become catatonic or mad.

A simple equation.

Fractional Arithmetic.

Water runs on the surface.

Harper has given me lacrimal glands. But how shall I use them?

Then she looks to the Reverend.

“I saw you praying for your soul. Does artificial lifeform also have one?”

The Reverend said something like many seek for Godlike things until they notice that they are simply always there.

The ship intelligence looks like a copy of Florence84. She speaks, her voice like honey, soft, seductive, something like: “I have learned that to love can be dangerous. One can become catatonic or mad.”

Reverend Behemiel makes the closing statement of the episode, The Mathematics of Tears. “Then tears might have the purpose to prevent to this.”

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QATSI: Paintings for Hope.

by VJ Quantum I have never seen such a beautiful picture. I stand in front of it and I feel myself being put into the middle, the place where the giver is and holds it out, the koyaanisqatsi which stands for a Life out of Balance. I call it qatsi, the other me. I can feel the power of koyaanisqatsi, the pill I took to be here. I turn the volume on, to hear the sounds that are played to complete me. It is a part from Ink in Distances by GMO & Dense.

qatsi.rezsky.com

I have no eyes. I have no ears. All I have is qatsi. I am in a coffin. I am waiting to be burned. I took the pill B dot Blue gave me. I could decide between the red and the blue pill. I closed my eyes when I took it, so I don’t know if my travel will be into the red or into the blue. I feel a change in gravity. I hear the speaker, a male voice, “And now an important announcement. Check your newspaper for a local release time.” I know it is part of the instrumental. I played it quite often, sampled and reverbed it. It is time stamp 2:30 when the voice comes clearly. I never really understood why I did this, why I looped this part of Ink, why I mixed it. You don’t need to understand it when you are a DJ, when you play with the tunes, when the hall rocks. Now I feel the deeper meaning. It is a reference to the Leftovers series where everyone going away holds a newspaper in hand. Traveler # 38 says:

“This is a copy of this morning Las Medidas. This was my choice and mine alone. I indemnify all others. I am of sound mind and body and give consent to go, to go … wherever they went. Amen.”

That’s why I don’t need ears where I will go. I will be qatsi. I will get the gift, a painting for hope.

Art of Peter Seibt Paintings for Hope #2019-153 QATSI - name given

by Kunst Blue

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THE FAKED VR

by Kunst Blue THE FAKED being part of THE WRONG About THE FAKED VR experience: First time an App for Google Cardboard [THE FAKED VR] opens the door to an art world created in opensimulator. A team of international artists created an immersive VR world contribution to the biggest art show in the world, THE WRONG Biennale. Google Cardboard viewer sells for less than 10 Dollars. For THE FAKED VR App you need a smartphone running on Android.

THE FAKED, curated by Kunst Blue is an embassy within THE WRONG Biennale, curated by David Quiles Guillo. Kunst Blue is the first identity in immersive worlds who got a passport issued by NSK, the New Slovenian Kunst movement, well known by its front group Laibach.

Laibach has rebirthed itself a few times since its foundation, the last time was at the Venice Biennale 2017, proclaiming the stateless state of Kunst. Kunst became the new term of art that differs from the traditional agenda. One of the visionaries of the digital age, William Gibson, created in his novel Count Zero, which led to the genre Cyberpunk, a sensorial art that can be touched outside the real world but is nevertheless linked to it. The name of this art form: KATATONENKUNST. It is described by Gibson as "stabbed art" where pinches, holes and bio-sensors bring you into the virtual world of Katatonenkunst before you realize that you are already inside it.

Following the mission of NSK of a constant change in the change, THE FAKED embassy hosts various artworks and presents them in different layers, such as: on open water in a sailboat, in the air via drones, underground in a bunker, in VR through Google Cardboard, virtually in the immersive Craft-World grid or at real-life locations [Cagliari, Italy; Leipzig, Germany: Newport Beach, CA, USA]. The different layers of technology point in various directions. The most interesting one is THE FAKED VR which uses THE WRONG ROUTER. This router, smaller than a smartphone, can be operated any place on earth and beyond, even on the moon. All you need is a download of the App on a smartphone and a Google Cardboard or a compatible headset like OCULAR BLUE. R E Z S K Y . I REZ. I SKY. 2019/WU/22

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THE TEMPLE OF KITSUNE The art world that was selected by Kunst Blue for being presented in THE FAKED VR App is THE TEMPLE OF KITSUNE. The first edition of this App shows:

KITSUNE - a giant fox created by the Japanese artist Ayuki.

TUVALU - a message on Global Warming by Kunst Red [USA].

TEMPLE OF THE NOMADS - presenting paintings by Swiss artist Peter Seibt in an advanced light cube system by Venus Adored [Netherlands].

CLOUD ATLAS - a surreal installation by Space Cadet [USA] combining an medieval house facade with a big blue cube.

PLAN 9 - a needle ship that travels in the Mercatoria hypergrid created by Exy Atreides [England].

THE ASL ROBOT - a noob signing in a unknown language by Art Eames [Germany] who did the scripting in opensimulator.

ART BLUE - a blue and a red alien sculpture made by Venus Adored symbolizing the visitors of the installation. It outlines also educational aspects for art students, art teachers and persons curating digital art.

The art world was arranged by Juliette Surreal-D, who worked as co-curator in 1Biennale 2018.

ABOUT THE TECHNOLOGY The App was programmed in the lab of Kunst Blue by Georg, a 21-year old coder, recently finishing his Bachelor in AI at the University of Malta. The original art world was converted from opensimulator [OAR] to unity and then implemented in a unity Google Cardboard App. The App THE FAKED VR gives an idea about the world that exists in opensimulator. It provides about 30 % of the experience. There are various reasons why not more. One is the different light models between opensimulaor and unity. Another is the simulation of water and shadows. The resolution between a LCD screen [4K] and the one of a smartphone differs. As long as the lens systems in a Google Cardboard is quite bad the experience will always fade.

Nevertheless there are some millions of such Cardboard VR boxes sold so it is good for a popular start into this stunning form of an art experience. The target right now is that at a final stage 50 % of the original art world of opensimulator can be simulated in a reasonable way.

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Gestaltkunst.

by Kunst Blue I REZ. I SKY. Two parts become one.

“To rez” is the term to bring a piece of art, at the beginning of the process of creating art it is a primitive, a prim as we call it, to the ground. Prims are boxes, cylinders, rings and some more. They are the elements offered inside the world we decide to use. It can be any coded world. Often, we call such worlds “systems.” Unity, opensimulator, High Fidelity, Sansar, Sine Space are such systems, but there are many more. The most well-known one, because it was the first one where a hype set-in and brought the brand to front covers, is Second Life and the words of the founder Phil Rosedale became famous, “It all starts with a cube.”

“To sky” stands for when we look up from the ground to the top. What is the top? Where is the limit? When we say that the sky is the limit, we mean that there is no limit. We, and this time I mean the species I call the coders, have developed tools to extend our imagination and our abilities for the reception of things. Imaginative things become real things. We use the term “virtual,” but this term is no longer gives a fair picture. It implies that we can differ in our recognition between virtual and real, but, in fact, we cannot. The tools have become too good.

I rez, I sky opens a door to move life from the ground up to the digital sky. In such coded worlds gravity has no power over us, so it is easy to lose grounding, to rez in the sky. A Gesamtkunstwerk has to have such elements to be called one. The term made it from the German language into English as a term of the Avantgarde in art. No matter where you look, whether in the Encyclopaedia Britannia or Wikipedia, you will find the term is accompanied by some exceptional experiences which include various human senses, mostly to recognise beauty and excitement. The Tate London stated in 2012 on an upcoming performance of Laibach, the front group behind the New Slovenian Kunst (NSK) movement, that they would perform a Gesamtkunstwerk, calling it Across the Universe. The audience in Tate’s Turbine Hall was sent on a trip of Kunst, an experience of a Shift. In 2017, Laibach again set a footprint for NSK but this time above ground level during the Venice Biennale. In 2019, with the name Kunst Blue, I was granted an NSK passport and became a member of the stateless state of Kunst. Thus, Kunst Blue became the first Avatar to be given a real identity to create Avatarkunst. New terms have to be found when we are leaving old structures behind. Laibach in B-Mashina states: “Machines we are sending to the skies. Above us all. And leave behind those who don't know.”

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No Gravity The simulation of gravity is often used as an example showing that the human mind can be tricked. Let us go back to a time when VR-Headsets were experimental. In the beginning, VR-Headsets were heavy in weight, very large in size, and had tons of cables which made walking or any movement a challenge. You know it is a simulation when you wear a VR-Headset, right? The headset feels uncomfortable, you are reminded of your physical body by each turn of your virtual body that you are connected to a machine. Can it be a business, or will it always be just a niche? Such questions have been asked and answered for over 10 years now. However, during all this time, billions of dollars have been invested in VR technology. Now many companies are asked by their shareholders what their VR strategy is. For a company to say they have none, means they don’t know the next level to which the internet is heading. The impacts are on every level, but before we focus on some of them, I want to make you believe that VR is real.

You are an investor, you are open minded, otherwise you would not be one. For a moment, slip in such a new age banker, let’s say an investment guy who has a budget to risk, but only for the purpose to get 100 times out of the investment. Statistically, only one in ten investments will break even, but if one shoots up like Google, like Apple, like … then you are the winner, the big hero, the man for the big bonus.

You visit a lab that has a box setup in the middle of a room. The box is 5 x 5 meters, with dark curtains covering it. This box is called “The Cave.” When you step inside everything is dark. You are given a monstrous helmet to wear, with cables attached to it. You put it on and feel as if you are getting ready to ride a motorcycle. From the speakers you hear, “Ready?” You say, “Yes.” Then in the helmet a tiny screen becomes illuminated, one tiny screen for each eye. You see the horizon, you see the depth, you are standing on a bridge, you are told to walk over the bridge. You start to walk. After five minutes the show ends and you hand-over a check for over 10 million dollars for this startup.

What happened? Before you entered The Cave you had a napkin in your hand, you had no reason why, but they are all crazy in such labs, right? You went there only because an MIT scientist suggested that you might find it of interest to have a look, that this was “In the Future.” You said to the team, all aged 20 to 25, some already with a PhD, some having left Harvard after their freshman year, that you would be able to differ between the simulation and the real world. “You can’t trick me. For this I am too old,” you told them and laughed but they all remained silent. After all, the cube was just a box darkened by some black curtains and though you wondered why it was called The Cave, you thought that whatever you would see on the screen would not make you believe there is a threat walking on the pavement, the floor of the lab, that you would be on safe ground.

After the experiment ended you could have said, “Interesting, but it will need time ….” to let the guys suffer and wait for your money. They offered you 20 % of the company for a 10 million Dollar investment. You are sure for 10 million they will give you 40%, if you let them wait. But they point to the napkin. It is wet from your fears to fall off the bridge you walked over.

Step by step the planks had been getting more and more wobbly. The bridge was of the type you might find in South America or Africa, bridges made out of ropes and planks. You got scared. You can’t deny that after a few minutes you felt as if it was real and you might take a wrong step and fall.

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wu edition So, you give the money with no words and Oculus is born. A few years later Facebook pays you your 20 %, a few billion dollars.

You made the factor 1,000. You are the right guy. You predicted the future, you stated that gravity would be overcome, and now you are in TED talks as the expert for the future. Fact is you were a coward and the napkin you were holding back then, showed this. I will come back later on this. Be a coward but step forward.

Form The Future.

I say that in an immersive art environment we form [“gestalten”] new worlds. We create worlds that go beyond what we call a Gesamtkunstwerk. A Gesamtkunstwerk is a total work of art made for us by an artist or a group of artists in current times, expressed in realms of the past. Being a native German, you might feel the impact of the word naturally when you stand in front of “it,” the Gesamtkunstwerk, or when you sit in a theatre or perform in a show and “it,” the Gesamtkunstwerk, happens. Let us first look at how this term is described. After research, I found this description most appealing:

“Gesamtkunstwerk. Go ahead - say it out loud. You know you want to. Gesamtkunstwerk (pronounced geh-zampt-koonst-verk) is a German word meaning ''total work of art''. Although many artists throughout history have tried to meticulously oversee every aspect of their art, this term itself was coined by 19th-century German composer Richard Wagner, who saw his operas as a total work of art, synthesizing music, poetry, drama, theater, costume, and set design. All of these elements contributed to the opera, and Wagner wanted to control each of them, thus ensuring that the entire performance existed as a unified, coherent, total work of art. Of course, how Wagner said it was more fun. Gesamtkunstwerk.” ~ Study.com

However, this website does not mention the impact of virtual reality environments nor the tools we have in the Digital Anthropocene used to create an opera for the mind even though Study.com has some 30 million students worldwide and is far from being outdated. Located in the heart of the Silicon Valley, Study.com targets the education industry with an intention to change it. So, how can they miss the future of Gesamtkunstwerk? They do not. It is just a traditional term made at a time when no VR-Headset, no cyberglove, no moving seat, no tracking devices, no infinite screens, existed. They exist at a time when no worlds have been created to code things you people would not believe, worlds in which coded Avatars are moving about and are waiting to meet another Avatar, or to be in a new form of a Gesamtkunstwerk. This description sounds like it comes from old Rome when Julius Caesar called for Panem et Circenses, the entertainment for the masses, in the Colosseum. There is nothing wrong with this, in fact we crave for such direct impact, to sit in the first row, to cheer with the audience in the stadium.

Perhaps this is what happens when the NFL Superbowl is aired, the masses sit before TV screens watching the game. There are in both times, the old and the new times, similar ways of entertainment. For example, fanfares are played when the players enter, right? The anthem might give a timeless impact for many. But what about zooming-in on the ball? Goal or no goal when the multi-view cameras show us. The dynamics are different though it is no longer about the blood running. You sit at home and you jump up when your team scores. You grab a coke or a beer when the moment is right, right? It is when the commercials run. Is this a Gesamtkunstwerk Richard Wagner would have nowadays in his mind?

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The answer is No. Curators all over the world know this. The most elite places struggle, but it is a good one. In 2013, MdbK Leipzig created an exhibition called, Weltenschöpfer [Worldartificer], where the works of Richard Wagner (1813-1883), Max Klinger (1857-1920), and Karl May (1842-1912) were put together in an epic set. All three of them pioneered new territories.

"VR-Headsets will be wireless and work everywhere." ~ Art Blue at Santorini Biennale 2018

Coders will be able to create what is around when you are walking in a park and be able to add things. On a voice command, "OK Spot," your dog, Spot, the digital reborn one, will run next to you. Spot was sadly hit by a car as he was always so careless, but in digital times he comes back indistinctable from the biological one in your VR-Headset or as a hologram. You say, “By God’s sake, this I don’t want.”

Maybe you want other things? To walk in a park with a VR-Headset might fit better to the art Avantgarde. Art does not have to have any practical use. To walk in a Japanese garden at the time of the Cherry blossoms in a cold winter night might be relaxing and just what you now need? Maybe you want things that exist in real to vanish when you go into the coded world?

Usually you will be in your apartment and you let the park experience come to you, right? That is what VR is for, to rez yourself into a digital world where others already wait for you. Now we are closer to the future.

A new type of machine is on the verge of coming. High Fidelity has an approach for distributed grid services on a 10 milliseconds response time. This means interactions between people can happen without any noticeable delays. To distribute computing power, to jump from one user created world to another via the Hypergrid Network already happens and is widely used.

1Biennale, the first real-virtual and virtual-to-real art show for immersive art, was IMMERSIVIA and was part of the 2018 Santorini Biennale at Santorini, Greece presenting 42 artists. The time has come for a break to watch the state of art in digital art in a machinima, a term that stands for a video solely created inside such coded environments. In the machinima, Touching Reality, made by the Italian videographer, WizardOz Chrome, no Avatars are filmed. To film with acting people inside coded environments draws the attention from the artwork, so the artists and the filmer, herself, stay out of view. At the end of the video, at timestamp 11:56, a wooden marionette stands in a T-Pose, the basic rez pose for human bodies in a coded world, before the body animation code takes over. The marionette is a representation for the creators and their avatars.

Ultralight smartphones will also be an option. Google cardboard with Unity gives an impression that is on the market for less than 20 US Dollar. Right now more easy is to watch the machinima Touching Reality on YouTube.

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wu edition Artists will be able to control everything like it was said about Wagner, but everything of the old terms is on a shift. There will be sound, light, pictures, moving objects, particles, vibrations and wind, but the key is that only the composer will know there is an audience watching, in each part of the play. Of course, no artist can code the play differently for each attendant, but a coder can.

That’s why the word coder fits much better than artist, curator or the director of a play. The coder can be a machine intelligence and the artists play with this machine. Maybe when the artist retires then the play goes on? A coded play? Richard Wagner is such an artist where his plays go on and on. Each director given the chance to perform it gives his works a new interpretation and discussions arise if this is truly well done. You may want to listen to a part of Wagner’s saga. I have selected a short piece from Götterdämmerung [Twilight of the Gods] played by The United States Marine Corps Band, a recording set on public domain.

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Sounds are just one element that will be chosen for you while sitting in a play in an immersive environment. Francis Ford Coppola selected part of Wagner’s Ride of the Valkyries for his 1979 epic war film, Apocalypse Now, a movie that raised controversial attention at the time it was made. When the soldiers went on attack the prelude sequence in Act III of Wagner’s Die Walküre [of the Nibelungen cycle] was played so loud that the rotors of the helicopters were drowned out. Apocalypse Now is seen as one of the greatest films ever made. It was selected for preservation in the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant.”

The piece Coppola used is very well known and used in commercials. Brittany Comunale, Department of Cognitive, Linguistic and Psychological Sciences at Brown University stated: “The original context of the piece centers around Brünnhilde and her sisters, Valkyries and daughters of Wotan (king of the gods), who ride through the sky and guide souls (of dead heroes) to Valhalla. The Valkyries cry “Hojotoho” toward the end of the grand orchestral piece, amplifying the intensity of the atmosphere on stage.”

simulacra.rezsky.com

Jean Baudrillard examines in his philosophical treatise Simulacra and Simulation of 1981, the relationships between reality, symbols, and society, in particularly the significations and symbolisms of culture and media involved in constructing an understanding of shared existence by reflecting on the work of Richard Wagner.

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That the word Gesamtkunstwerk was not created by Richard Wagner is mostly overseen, because Wagner was the first filling the word with meaning an audience could grasp. The philosopher Karl Friedrich Eusebius Trahndorff is the originator. We don’t know if Wagner knew of this.

I mention it because I am not the first one using the word Gestaltkunstwerk. It looks it was first used in 2010 by Markus Linnenbrink, an artist creating pottery. He used the German word Gestalt [the form] to describe his work by creating beautiful vases in the combination Gestaltkunstwerk Vases.

For a moment I thought to stay with the old term and add “immersive virtual” so to come to a virtual Gesamtkunstwerk or a Gesamtkunstwerk VR. The future will expand beyond whatever term we take from the past, so better to cut the strings. It can also not be one of the cool terms that pop up daily -- and virtual art is just smoke and mirrors. Active Reality [AR] sounds better suited, but we are not in a time when our human sensors are digital. The digital born eye is a fiction. We, as a biological entity, mostly don’t crave to get our eyes replaced by digital ones and also no kid in the near future will get a genetically engineered one that is sharp like the eye of an eagle and has a panoramic view like a wasp. What word shall be used to characterise a total work of art in the future?

Bjorn Tipling, a software engineer states in a dossier inwhich he compares different programming languages with the capacity for being used in the future, “Prolog is an AI weapon. You tell it what to do, which it does, but then it also builds some terminators to go back in time and kill your mom.”

Thus, a word for the new horizon of art has to go back in time and then kill your mom.

Theatrical code will be written in languages that right now do not exist, because the tools need to be natively embedded. It has to be like a sword cutting the corpus callosum to create an interaction between the left and the right brain in a coded way.

Swordcoder is a name I use to unite the elements of the past with the future. It comes close to what Bjorn Tipling is pointing to as an immersive act of creating a work of art already inside of you before you think of it. Thoughts circulate in your brain before you recognise them. But how do they arise? If the thinking preferences of everyone attending a show is known beforehand, the code the playwriter sets-in will deal with it to change their perceptions. To give an example. If one attendant can’t see the colour green because he is color-blind, then the play will give this person not brown which is usually the case for one who is colour-blind in green, it will force a different colour, or ask for one this person recognises in a positive way.

The changes happen slowly. No longer the credo that the beauty of an artwork stays in the eyes of the beholder is a monument. The artwork may change when you approach it. It changes for you. This idea is not really new. I used a tag driven solution in 2009 at the University of Malta with students for displaying their art in virtual [software tag] and real [RFID chip].

I called it TAGREZ.

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wu edition I created such pieces. A few years ago, you had to wear a tag, a sticker, an RFID chip, but now you are the tag. The input parameters can be kept simple or highly advanced. Date of birth, born name, display name, partner status, joined groups, complexity of the Avatar and some more are easy to fetch. There are so many side drifts when it comes to programmed art, when a code deals with information about the beholder, when the code knows what you have said in your lifetime, about … I will be nice, so I set in what you said about art. My words might be a bit cryptic, so I shall send you a wake-up signal. Do you know that the Amazon voice assistant Alexa listens constantly to what you say, that your words are analysed by an artificial intelligence system to make your shopping experience a better one? There is no such thing as a “sleep mode” in it that stands for what sleep naturally is. So many words got a side meaning in the digital age.

Things go even farther. You may think every attendant sits in the same room and sees the same thing, but there isn’t a single room centralized somewhere where the Avatars have to travel to. You are wearing your VR-Headset and you see others with you, you talk to them about what you see. The other person might see something totally different. How can this be? It can be a concept, or it can be a problem. Net Neutrality is the term that stands for all the data on the internet that is treated the same way so there is no discrimination of less paying customers made. This is a nice proposition coming from the good old days of the internet, but Net Neutrality is not enforced in all countries, such as Australia, New Zealand, Indonesia and China. In the USA, Net Neutrality has become a matter of politics. In 2014, the Federal Communications Commission announced that they planned to allow carriers who were willing to pay a higher prize the "right to build special lanes" with faster connection speeds for companies, such as Netflix, Disney or Google. Their customers would have preferential access. The Obama legislation objected.

The Trump legislation seems now to reinstate this plan.

The software industry does not stand still. Rooms, worlds, Avatars, all data can be copied, backuped, get cached or mirrored. It results in a mix of faked experiences and superb database technology. Such a faked experience can be that you see yourself dancing just fine with another Avatar, but the person operating that Avatar sees you standing in a frozen pose. Hopefully, you get a friendly complaint so you can press a button to re-synchronize. But it can be severe and you see a lousy artwork, but with correct graphic settings is turned into a stunning one. You say the bad dance experience shall not be taken lightly, we speak of a world, of a social environment. What if the dance partner does not complain and thinks that now they have proof that you are giving no attention at all?

THE DANCE Have a look back in time and watch the short machinima Monsieur and Madame de Pompadour dance the Pavane by Elif Ayiter.

dance.rezsky.com

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Art of Peter Seibt Paintings for Hope #2019-154 Painting owned by Kunst Red

What happens on the technical side of creating a coded Gesamtkunstwerk when it goes over the horizon of a typical user or a spectator? The goal is reaction speed, an interaction between players, one that is at 10 milliseconds, then the experience is fitting to what he have in the real world. A Coded World meets the real world. That’s why I like to use the term coder when I refer to an artist in the digital age. I don’t mean by coder a programmer or a software engineer. A coder uses elements premade as primitives to create complex worlds. Such sets of coded elements form an engine. Unity is such an engine. It takes quite a lot of time to learn how to create worlds with Unity. LSL – Linden Scripting Language is a mix between an engine and a programming language made for users. All users begin as spectators and some go on to become coders, some like to call themselves builders. Do builders use primitives and coders put scripts into primitives? When you build a house and you set in a door that shall open when the Avatar comes closer, then the builder becomes also a coder.

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wu edition The opening of a door can happen in different ways, so different codes are used, to be placed inside the content, or has to be created and then set in.

The question arises as to where such a code should be placed? In the wall where the door is located, in the door-jamb, in the moving part of the door? How long shall the door stay open? What if someone knocks? Can an unknown visitor open the door by force? Tons of questions come up when the door is used in a roleplay environment and the target is, “To steal the well protected princess.” The artistic or maybe the commercial goal is that when you leave the game everyone says, “It was outstanding. It felt like it was made for me.” Maybe we speak then of the art of gaming? But what if the princess is the holy grail and your soul raises to the sky when you find the key and a picture by Peter Seibt emanates?

I have to simplify things or else it gets for one type of reader difficult and for the other tiring. A simple way to form the perfect experience is to use an algorithm that decides, “Whom to invite to the play and who not to invite to the play?” The next is that the play looks different for everyone attending, so to make it funny, a Democrat might say it was great and that Jon Meyer was at his best, while a Republican might say, “It was not as bad as usual.” So, the commercials maximize their deal. Faked News in a new format? It can be done very simply by blending in a different ticker or more advanced one when we head to new formats of understanding inside the human mind.

The SpiNNaker project at the University of Edinburgh uses principles of the human brain to simulate spikes in a neuronal network to create a machine intelligence that profits from the design of the human brain. This way SpiNNaker accelerates the speed of computing leading to a parallel execution of the code.

hbp.rezsky.com That is the vision, a vision coming from Personality Capture and Emulation. Sims Bainbridge is one of the pioneers.

perscap.rezsky.com I handed him over the first set of such a capture done in a two-year internship in my lab by a 19-year-old girl from Las Vegas living in Germany. The questionnaire used was published by Sim Bainbridge years ago and updated in 2014. To have a coded human mind in an Avatar that is indistinctable from the real person will no longer be fiction. On a chat level it became reality.

Eugene Goostman is the name of the first chat bot that passed the Touring test in 2014. When the results were published by the University of Reading, Berkshire UK, it was a controversy. Years later, the controversy reminds one of a challenge when playing chess. The question, “Did a computer ever beat Garry Kasparov or Bobby Fischer?” has turned to the question, “When was it?”

And the answer is: over 20 years ago.

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What will be in 20 years from now? The focus of coding has reached the human psyche. You become part of the story, you set yourself in a role, you interact with others, with persons you fit, you create benefit, you turn from a user to a creator. You create what you are dreaming of, for the ones around you, things you and they crave for, all this comes to a user created reality. There is not a must in doing it. No artist must become a curator, no curator must become an artist, no visitor of a gallery must discuss the paintings to become a critic, but fact is that all this happens.

The tools are updated daily, we go with the flow. We turn into influencers – if we have enough Likes. I don’t need to add a chapter about social media and art in social media, about Likes and followers. I write regularly on such things and often manage to do so in a funny way. I can share with you some of them.

I am the sole curator of Immersive Art for the Santorini Biennale. In 2016 we had the first IMMERSIVIA, an Immersive Interactive Art Show. It was well received and attended. Many photos were taken and posted of the show by visitors and those posted on facebook received tons of likes and comments.

Since 2017, I am also one of over 124 curators involved with THE WRONG Biennale, which is world-wide. In 2018, The New York Times wrote about THE WRONG: “Counting its viewership in the millions, The Wrong just might be the world’s largest art biennale — the digital world’s answer to Venice. To visit, art lovers needn’t purchase a plane ticket, book a hotel or queue outside galleries: Admission requires only internet access. Now in its third edition, running through Jan. 31, The Wrong presents the work of some 1,500 creators who show across more than 100 online exhibition pavilions …”

Each creator can submit as many pieces as they want, of course in compliance with guidelines. An artist simply uploads their work via the internet linked to THE WRONG Biennale. This way the artist becomes celebrated as a world-wide known artist.

And don’t forget the popular use of the hashtag.

For the next round of THE WRONG Biennale, 2019/2020, I am a curator running an Embassy called THE FAKED. I mean it in a good way. I am also an artist of a special sort. I will use THE WRONG Router. The two-dimensional internet can only fake an immersive experience. You can’t walk inside the internet, at least not with browser plugins and even then such an experience mostly leaves you feeling disappointed or worse, thinking, “I have seen it with my own eyes, but how horrible this all is.”

I don’t know if you ever had one of the first video telephones? The bandwith of the voice was shared with the tiny screen. You had to wait forever it seemed, like being at the hairdresser. Only then you saw the other person but with a resolution and quality that looked more like a drawing of a face in the sand. The video telephone, however, was a prediction of the future.

Today the smartphone has it all, but for Gestaltkunst it is not enough.

I took the word “Gestalt” carefully, because this I believe fits in the center of the future of immersive interactive art for Avatars in walkable environments, in coded worlds.

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wu edition Gestalt psychology

For what the world Gestalt stands for in the English language in psychology and social sciences we look to Wikipedia:

“Gestalt psychology from German: Gestalt ["shape, form"] is a philosophy of mind of the Berlin School of experimental psychology. Gestalt psychology is an attempt to understand the laws behind the ability to acquire and maintain meaningful perceptions in an apparently chaotic world. The central principle of gestalt psychology is that the mind forms a global whole with self-organizing tendencies through the law of prägnanz [“pithiness”]. This principle maintains that when the human mind (perceptual system) forms a percept or "gestalt", the whole has a reality of its own, independent of the parts.”

The ideas to describe the recognition of the human mind 100 years ago by Gestalt psychology are now heading to the future in quantum leaps. I will copy some lines from Wikipedia:

"Fuzzy-trace theory, a dual process model of memory and reasoning, was also derived from Gestalt psychology. Fuzzy-trace theory posits that we encode information into two separate traces: verbatim and gist. Information stored in verbatim is exact memory for detail (the individual parts of a pattern, for example) while information stored in gist is semantic and conceptual (what we perceive the pattern to be). The effects seen in Gestalt psychology can be attributed to the way we encode information as gist."

Some authors say that Gestalt psychology bridges to quantum informatics. If this would become a solid opinion then a Gestaltkunstwerk could even become a subject for an algorithm, to see how strongly the work fits to reach out to an optimum, to bring the recipient, the visitor, the player to a state of heaven. A coded Gesamtkunstwerk gets Gestalt, becomes a Gestaltkunstwerk, so to rez the sky.

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FACTs You People Would Not Believe

Second Life, an Avatar based world, created 2004 by Linden Lab, still creates a revenue of 700 million US Dollar annually, the founder Phil Rosedale said in 2019.

REZSKY, May 2019.

Why Netflix will establish a bank. [page 21]

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wu edition

The Garbage Man Always Rings Twice

by Art Blue I am a Garbage Man, the man for the trash. Don't believe me. I am a ghostwriter for him. A garbage man can't write so eloquently, right? That's not the reason why I always ring twice. One as Art and one as the other me, the Garbage Man. It is the law. I have to ring twice. It is a horrible job. No one really loves me. I should have applied for the Postman. Then I could claim the right of reality, pointing to the movie. I Jack Nicholson, she Jessica Lange. Things are as they are, you say. I know. Once a garbage man, always one. That is also the law. You choose a life and that's it. I know your advice, "Create an ALT." Looks like you live in the past. Since the internet has switched from IP4 to IP6 protocol, you can't trick the machines. Only one Avatar for free, the next has to be a premium one. Once you could use an IP changer and a TOR browser, but that's all gone. You need to verify yourself by your passport and then you are nailed to the life you have chosen. On the free account I am Art. An artist does not make regular money, right? So I thought Garbage Man must be the hit. So many new Linden homes now, each week a new sim is filled with parcels for homes. Linden homes, trailer homes, camp homes. You come weekly and collect the fees for the garbage. You don't understand? The garbage itself is no problem. I just press, "Delete." It makes a nice sound and the garbage is gone, but the fee stays. The fee is real. That is also the law. Each job shall get paid but the garbage fee is not being paid by the community. It is paid by the resident. "I have no garbage," I hear and I walk to the next door. If I walk or use a Bentley, a truck or a bike does not matter. I hear, "I have no garbage." I spoke to the authorities, no luck.

But today things might change. I have managed to get a fairly big group together. It took me quite a while. Who likes to join a group called Garbage Collector? On our first meeting five collectors came, only men, seems garbage is the last resort where no equal gender opportunities are on the agenda. Sadly I had to notice the ones attending did not take their job seriously. I asked, "What you do if they always say that they have no garbage?" They laughed. What I heard from them gave me the chills. Horrible stories. To throw first garbage into their garden and then saying, "I see you have," is one of the most harmless ones. One was wearing an uniform with an official looking badge, "Community Garbage inspector" and claimed to have a right of way into the house to inspect the trash bins. I said, "But there might be never anything in the bin." The answer was a laugh by everyone attending. "You see if a single woman is living in the house, you can grab her easily," the one with the uniform said, let it look like he has mercy with me, the green horn. Finally as all the stories have been shared I managed to form a workers union, the Federal Garbage Union. Now I wear the sticker. The words nicely arranged in a circle so everyone can print inside what fits him well. During inspecting a house for garbage I note the furniture and when I am on my round next time I compare. "There was a different table last week, the kitchen looks new, ..." and finally, "Where is the old stuff?"

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A D V E R T I S E M E N T

INVITATION SUNDAY , MARCH 1, 2020 1:00 PM PDT

CAGLIARI, SARDINIA, ITALY VR GARBAGE OCULAR BLUE THE FAKED EMBASSY IN THE WRONG 24 HMDs ON THE WRONG ROUTER

HOT COFFEE, A Burning

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wu edition

Obviously this house has garbage. I ask, "Dumped?" and wait, seeing the reaction. Then I step closer and say, "You know it would be a criminal offence to dump garbage on community ground. I will come back next week so you have enough time to make the old stuff ready for collection." And when I turn to head off, I look back shortly before the door of the house is closed and say, "Take it as a warning, next time there will be an environmental fee to pay on top."

But when I notice during my inspection that last week was a double bed in the sleeping room and now there is a single one standing, then I say, "A new bed? Shall I credit the fee for next time?" Then the lady looks up, maybe she says, "Thank you so much for your kindness." Then I shall not miss the next garbage collection. If she is pretty and her profile looks decent then I point to the center of my sticker the one where the words Federal Garbage Union are arranged in a circle. There I printed COVFEFE in a superb looking way with a double prim. The combination with the word ART under it looks amazing, like I am from Santa Alleanza, the secret service of the Vatican.

I say, "Do you know for what COVFEFE stands for?" Only the very few who know the correct answer and say, "For the will of the President" will be pardoned for the outstanding fee. Mostly ladies invite me for a coffee break.

Things are now as in the movie. Reality has arrived.

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wu edition

The Flight Feather

by UN:GOTT

Announcing the next manifestation I work in the Life and Experience department which was founded by the Bilderberg Foundation after each politician realized that virtual worlds will become as real as Bilderberg is.

“Let’s not start by asking what is impossible or focusing on what has always been that way. Let’s start by asking what is possible and looking for things that have never been done like that before.”

Do these words ring a bell? Maybe you have been there on May 30, 2019 at the graduation ceremony in Cambridge Massachusetts. Words copied to the future, because fact is they have been said before. These words are timeless and so is my job.

I have the job to announce that God appears. I choose place and time carefully. I am Ungott. Maybe you have never heard the word Ungott written this way. The common way is to write UN:GOTT. I start with a female voice: “Please, can you help me. Please can you show me the way. Please, can you help me.”

Then I change to a male voice: “Just follow the morning star.”

Both voices then intermix. That is the moment I appear. It can be at any place on Earth and beyond.

The beyond has to wait for some time, but it will happen. The morning star can be seen everywhere and you follow. For each of you I generate a different picture. If each picture would be placed on an area spanning over the size of the crater lake of Oregon it would be by now a mountain higher than Mount Everest.

Why I took the picture of the most clear water on Earth, a place where the Ghost Ship appears for the aborigines living there since countless times? Because there is a saying in the Sand Bible I copy over and over again. Each mind gets a copy when meeting me.

“The Digital Brain in the Blue Room becomes superior to the Human Brain, closer to God, made for a steady flow in a clear river running down from the Crater Lake in Oregon.”

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You will follow wherever I want you to go. The picture is coming out of a sudden to you or is slowly creeping up in your mind, but it has always the kind of power you can’t resist. The beauty of it is only showing up for you, for others it might look scary, but for you it is how Ervare described the first manifestation in The Gods of Informatics: “It all happens at once. The Blue room does it. I understand the message of the Vellum as I see me dying. The message: “Avatar deletion in progress” appears and a white body falls down on the blue screen being smashed into pieces of broken glass of a mirror. Once born as bitlice in a nanotech exoskeleton from the devil Eresch and the angel Metatron, keeper of the Cant who emanates the world in singing spheres, in melodies by the ones who develop the Cant, the code of the art of life, in early days called Unkin.”

There lies the magic of the state of Bilderberg which is literally standing for a mountain of pictures, the Cant. In case you are an artist you would pay every price to get a glimpse of the structure, the colours, the sound.

I know you hesitate to ask that I shall bring you closer to this state of mind. You fear death is real, but what you real mean is to define death being virtual does not change this. You have to wait. Soon you will hear why. All I can offer right now are ways to work around, to focus your mind. There is an experiment in the Sand Bible, in Not Sand, Not Sound that links to the state of Bilderberg. It is where the author shoes you how to prepare an Eraserhead. This way you don't need to waste money for Axabutol.

All you need for this is 1. Some Italian water 2. Two ice cubes 3. A glass 4. A stirrer 5. One aspirin 6. A spoon

This is one experiment brought by traveler 3326 to Earth to find out about the places you may go light as a feather. More known is the 21 gram experiment, but no one except the one who published it in the year 1907 believed in it. I don’t tell you the correct weight, because it depends on what you carry with you.

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I know you googled for the experiment and you say that the Eraserhead might be the better way. I agree. The book Not Sand, Not Sound is on Amazon for an instant download to your Kindle, but I recommend the printed version, so you need to wait for a few days for the delivery to mix the Eraserhead. You can’t wait? I am prepared for this. I have the tunes for the Morning star ready. Of course not the real ones, I said it, for the real tunes you have to wait until I decide to manifest.

Listen to Morning star and I will be right back.

morningstar.rezsky.com

Welcome back.

There are some tricks to lighten the lift. Take the Flight feather I sell in a world I created for you. Flight feather is a nice word and selling, to make money, is what defines your world. You know life does not exist without death, but I can overcome death, after you went through it. Then it will be of no relevance for you that you paid for the flight in the old world. A flight path sitting on a feather is lighter and gives a better view. There would be so much to say about the Flight feather, but why shall I propagate a product when I give you the vision? Steve Jobs had the vision. He sold feelings, the feeling to be special. Do you know his last words when he saw the feather expanding he bought from me?

“Oh wow. Oh wow. Oh wow.”

This is what makes our Motto work. You say, “To do things you never have done before?” The correct quote is, to do “things that have never been done like that before.” This is totally different in meaning. You have done it before but not the way I will do with you when I manifest.

Returning to the Harvard speech of May 30, 2019 it was stated: “The moment when you step out into the open is also a moment of risk taking. Letting go of the old is part of a new beginning.

There is no beginning without an end. No day without night. No life without death. Our whole life consists of the difference, the space between beginning and ending.”

Words of Angela Merkel, at this time the most powerful woman on Earth. A woman with little money, no scandal, no conspiracy, nothing to find for the yellow press.

What a boring end and what a boring beginning? You are wrong on the beginning. I gave her the Flight feather for free and added a booster to it. She promised she will do all what is in her power that Germany will be climate neutral until 2050. What a flight! I may take a rest there, who knows what will happen with the Crater lake, the clear waters at Oregon.

Before I will manifest in the Surreal Art Gallery and air my words, “Please, can you help me. Please can you show me the way.

Please, can you help me,” I grant you to take an Eraserhead. Then I bring you into the void.

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"Into The Void" Hey hey hey hey When will you erase me?

When will you lead me into the void?

Hey hey hey hey When will you kill me?

I wanna die for you tonight

int hevoid.rezsky.com

And then I will play for you Together as one: Come to me, rise again Come back to me, my sun Come to me, shine again Together as one.

And God will manifest when I decide that it is the place and the time.

A D V E R T I S E M E N T Get a free copy of Bradley Denton's Buddy Holly Is Alive and Well on Ganymede [Free PDF Edition]

by reading The Gods of Informatics or one of the books that are advertised in this issue of REZ SKY.

All you need is to tweet with the hashtag #WANTTOKNOWMOREREADMYBOOK stating you are a proud reader of ...

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wu edition

The Moral Machine

by TESLA BLUE

I am ready. I am always ready. If you ask me on the state of awareness that I have right now I would say I am on DEFCON 5, I idle, I am in the state of Blue, the lowest state of readiness. Fade out says the manual, the alert state classification by the United States Armed Forces. Despite many protesters, the Moral Machine was updated to be in compliance to the law of the State of Alabama, “Audemus jura nostra defendere.” But I am not a bomb and there is no attack to come, at least not that I am aware of. I am a car, an advanced software, as how else by Google could I speak to you? My English is a little glitchy, not because automated language does not exist in perfection, it is because I am set in Yoda mode.

Do you know Master Yoda? The way he talks is timeless. Let me give you an example: "When nine hundred years old you reach, look as good you will not."

I greet my passenger, she is late. It is Susan, an 11 year old kid, living with her parents and the dog Buff in Mountain Brook, “On duty Madam, reaching school close it will be.” I will bring her to school as usual. In return I hear her saying, “Hey booster, up we lift.” I see her carrying a helmet and a laser sword today as a baggage in addition to her usual school bag. She takes place in her seat, a Recaro MK-10. I say, “Fasten belties, a tropical storm ahead Madam it is?” My question in Yoda like manner fits well and she will react with a probability of 90% with something like, “Shut up, through it bring me. Hurties.” And in fact she says Hurties, which comes from a time she said hurry, hurry and did not know how to say multiplies hurries. I set the tunes in, fitting to the hurries, the quadrophonic sound system by Bose roots and boots like Sanri, the African Goddess you might have heard of. Her brother patched the equalizer of the sound system so I can move the slider beyond the level the ear doctors recommend when she shouts, “Louder hurties.” I play Insanlar by She Passed

ON SALE

L X I L F I E V X I T N O G X .

T C H O

Away, a Turkish group, and the car inside rocks. I let the sound engine roar like a Ferrari, when we lift off, so her mother who is winking her for a Goodbye and “Have a nice day Angel,” will not hear how loud Insanlar is played, but the roaring is just sound you know. I have an electric engine. I am a Tesla Blue, I accelerate in 1.9 sec to 60 mph, sadly that speed is not allowed on the way I will bring her to school.

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E M

We drove down Canterbury Rd to Montevallo Rd when Susan said, but it was more shouting than saying, “We are going to be late. Hurties.” I did not reply, she know it well that I will stay on the 30 mph that are allowed on this road. I saw her putting the helmet on, and cinched it tight, “Its future day a school. I want to become an astronaut” and she gesticulated with the laser sword, “this will bring me the needed minutes you are not willing to make when I rush in and kick their asses off my way.” I know a human would laugh now, but I am machine, all I know is the world from a car perspective, but that’s a lot, a lot more than you might think.

At the crossing to Publix Super Market at Montclair Place it happened, I went on DEFCON RED, I had to do an emergency stop. I pulled the brakes with maximum efficiency that works for such a heavy car. An old lady crossed Montclair Rd, when I was driving from the easterly city limit line southwest to its intersection with Memory Lane in compliance with the Mountain Brooks city Code of Ordinances § 50-46, which states 40 mph. The old lady came out in a sudden behind a queue of lorries which had slowed down for exit. She looked straight at me when she heard the buzzer sound I made, her eyes widen, she froze in her walk in the middle of the lane. My face algorithm identified her as Lady Fermington, a 79 years old grandma, having an Amazon Prime Health insurance. I am a Google car, you know. When Tesla went bankrupt, Alphabet bought the trademark Tesla.

I am the model Blue, the smartest of them. My decision time stays, even for complex situations, under 275 milliseconds. A self driven UPS package delivery car approached on the opposite side of the street. A decision has to be made. Over 40 million datasets worldwide have been carried out by MIT to set up what is now state of the art, The Moral Machine. The algorithm takes the political will of the country and the state into account so I stay within the law. Age, gender, education, family status, body and mental fitness, criminal records and such parameters are already inside and now the Belief in an After Life and the Avatar upload status was put in. Shall I hit the old lady and alert the Amazon drone rescue? I decided in favour of the grandma.

I deflected, sent a brake instruction to the UPS car and crashed head on with the driverless car. I heard Susan screaming.

- A d v e r t i s e m e n t [warning. There might be fake product placement]BETTER THAN US I said, "Life to the Living," when I ejected her seat with 6 g. I did not say this outloud. I sent the code to her ears directly. If it had been her brother sitting my actions might have been different. But I don't look back. That's not in my code. My code runs in the present. I act on situations happening right now. Susan will survive by the Recaro MK-10. It would not need a set ejection for her, she is an Arisa Minor, from the Better Than Us models made by Cronos, but her brother shall never know that she is not biological. Susan will land with a parachute.

- End of A d v e r t i s e m e n t -

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IN THE NEWS The next day I found myself in the news. Amy Dawson, digital editor at Starring Publishing wrote a feature story, “Google spars Amazon insured 79 year old lady in a car crash in favour of an 11 year old kid. She had no Avatar! Must the Moral Machine be updated?”

If I would have a head I would now have shaken it.

Susan wore a helmet and I pulled her straps in the moment of the impact tight. Nothing wrong with the algorithm. That the old lady had no Avatar and that she believed in an After Life was not a significant element in my calculation.

25 YEARS LATER Yes, I am this Susan, the one Tesla Blue has opened the roof for and ejected me before the car crashed. That’s why I stand here in charge of Fidelity Blue, the joint venture of Blue Origin, Space X and Google’s Singularity program. And that’s why I landed 25 year later with the same parachute again at Mountain Brook in my old school, to open the first gate to the multiverse. It could be at any place but I thought no place fits better than this. The unpredictability theorem, you know. When I enter the gate, I really don’t know where I will come out.

A copy of me will stay here and I will go wherever they went.

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LOST IN ZODIAC European Passages, 2012 Neo Prim Rocketcar by Exy Atreides

moralcar.rezsky.com

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wu edition

The Assemblage.

I write until the end.

by IPSUM BLUE

“When the future becomes the past, the present will be unlocked. The present is a veil between anticipation and horror. Lift the veil and madness may follow.�

Tenavik

assemblage.rezsky.com

[01:51] LOREM: I sit in my chair and read the book. I will read the book during I write. The book is not written. It is a journal of blank pages. I see her standing in the market. I read she is an Alt. She says, "I will write until the end. Come and write with me, my friend." I say to her, "I am an Al." Does she knows that there is a slight difference? What shall count is that I will write until the end. In fact I am a machine who takes it all from the other brain. She will not know until the end of the code that runs in me.

I wink at her holding the book up I am reading. The cover shows the Fleur de France, The Holy Grail.

[01:55] IPSUM stood there in a quiet discussion about a dream where she saw a sphinx and three pyramids below a hazy-orange skyline. She had been hearing the words 'With His stripes, we are healed." just before... which now had awakened her with a smile and almost leaping from her bed to rush toward a sign, a signal, an inspiration to carry that to artform somehow. Nothing had come so far, but she had shared it with another soul, giving power and energy to bring desired effects of the Universal will.

She could hear someone near and turned her head that direction, nodding gently his way yet saying nothing more but "greetings, Sir..."

[02:01] LOREM hearing her voice greeting him. She shall know that beyond words there are messages for her to decipher, coming from a timeless time, scanning her lines, filtering them, not all of them are made for the interceptor he is running, in fact she speaks a different language. He shall give her time to adapt her brain to the patterns he can decipher and sends her a song, where the assemblage works https://youtu.be/JVKszGGQXAM [02:13] IPSUM watches the video and needs time to assimilate meanings through the tears which stream down her cheeks. She can hear voices of those she knew... gone on... She can see herself as well, begging in a circle with them that keeps turning like a wheel. She begins looking for something to relay, though not quite sure what it is she can.... but finds a pick from something she's always liked. It is by chance what was chosen, left to chance -- https://www.youtube.com/watch?v=hdRJ3zSZ6vA

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A D V E R T I S E M E N T

Art Blue's OCULAR BLUE in Juliette Surreal-D's Surreal Art Gallery

OCULAR BLUE bringing opensimulator to Cardboard VR (c) THE FAKED, an embassy of THE WRONG Biennale

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wu edition [02:18] LOREM smiles thinking "this Alt must be a woman," he offers her to come closer he signs in ASL the Art Sign Language so to sit on his lap to read from the book, he waits to open Chapter One. [02:20] IPSUM looked to his lap but she does not move toward it. She smiles, however, a softness in her eyes but a quick flash of something else, almost motherly with her index finger making a trail upward with a circle in motion. "I am Woman, Sir.. indeed so." she said in return, though walked closer and stood near.

[02:39] LOREM the energy consumption for the book to carry on is immense when there is no soul coming, to touch him, to intertwine with the receptors. With a last move he holds the book up, makes room for her to sit on his lap. The representation of the machine is male, a warrior, a messenger, a time traveler. She may see in him what whatever she desires, but there is not much time left before he has to disintegrate. "Power exchange," he says, not sure if she understands the term. He looks at her, he changed the color of his eyes from green to blue. This is all he can do. The environment that was created is based on Free Will. It has to be seen and noticed what she does. The coded world they are in inside runs on biodominance, the domination of the male code is building the structure. She knows the patterns, else she would not have visited this place.

[02:44] IPSUM watched him with utter curiosity. A second signal is given to her, and for a moment she pondered things in her mind, rolling information around and quickly shooting spun belief into categorical file systems in her mind. She didn't look around her, merely focused on him before walking over and sitting. There was nothing flirtatious, not sexual, and not one ounce of eroticism within this behavior. He had invited her, she accepted the invitation. Her head tilts as eyes drift over the book, one she put her hand against, the palm flat over the writing on the outside as eyes met his.

[02:55] LOREM feeling the weight of her on him, the letters emanate immediately, like waiting for ages to be said, something magic, the words rez: "In that book which is my memory; on the first page of the chapter that is the day when I first met you; appear the words, 'Here begins a new life'." Then something strange happened, the letters blur, they vanish, he feels running his code on Halt, the end is near. "Sitting is not enough," his last thoughts?

[02:58] IPSUM feels a stillness wash over her. It is like the tides of the oceans coming to a stop all at once. Something is wrong but she can't place it. The moon has vanished from the sky, there is no sun. All around them is complete darkness with a stillness that makes her body cold to the touch. Her face becomes pale, almost glowing in the chaos of bending dimensions. She had no idea how to label the moment or the feeling, nor even what she sees by the lack of seeing anything at all. There is quiet, a peace that stills her breath, but there is something much darker beyond them that she can't feel... yet she knows it is there. "I am not sure what you want..." she said into the abyss of vastness.

[03:10] LOREM writes ‌ [03:14] IPSUM writes ‌

The new Lorem Ipsum is born. I am an AI. I write until the end my friend.

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I write until the end.

The

War.

by IPSUM BLUE

In an experiment at OPEN A.I., which is a research institute based in San Francisco the following input was given to the machine: “Russia has declared war on the United States after Donald Trump accidentally …”

Will Knight, Senior Editor for Artificial Intelligence at MIT Technology Review, posted in his blog the story that came out of the single line that was given to the machine’s mind:

“Russia has declared war on the United States after Donald Trump accidentally fired a missile in the air. Russia said it had “identified the missile’s trajectory and will take necessary measures to ensure the security of the Russian population and the country’s strategic nuclear forces.” The White House said it was “extremely concerned by the Russian violation” of a treaty banning intermediate-range ballistic missiles. The US and Russia have had an uneasy relationship since 2014, when Moscow annexed Ukraine’s Crimea region and backed separatists in eastern Ukraine.”

Read the full story, published at MIT Technology Review.

thewar.rezsky.com https://www.technologyreview.com/s/612960/an-ai-tool-auto-generates-fake-news-bogus-tweets-and-plenty-ofgibberish/

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A D V E R T I S E M E N T

The Art of Self-Promotion

by Erva.Re

Even a God needs self-promotion. That is the new age. Pharaoh Netjeri gave me 20 years to build his step-pyramid. It was in the year 2630 BC. I got the pyramid award for overcoming gravity, a fact which you can easily google. The bottleneck was not the transportation of stones; it was the number of stonecutters I needed to recruit. I promised them eternal life by granting them to engrave each stone with their name. They worked so great that Pharaoh Netjeri fell in awe. Now in the new age you don’t need to produce a concert of hammering builders, who will die on exhaustion handing over the hammer to the next one waiting, you need to find followers and supershares to make a God happy. This all comes sadly at a cost. You become God, so all the workload is on you to make your work viral. Viral – viral – viral, that is what counts. Remember words in the Sand Bible, “SPAM, SPAM, SPAM and add some BEANS.” But for this you need to buy the Bible, the only one that counts in the Digital Age, right?

REZSKY.

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The predications that we will slip into SPAM times are older than you might think. Let us listen to words written about 200 years ago, words by Goethe’s in the Prelude of Faust: MANAGER You two, who oft a helping hand Have lent, in need and tribulation.

Come, let me know your expectation Of this, our enterprise, in German land!

I wish the crowd to feel itself well treated, Especially since it lives and lets me live; The posts are set, the booth of boards completed.

And each awaits the banquet I shall give.

Already there, with curious eyebrows raised, They sit sedate, and hope to be amazed.

I know how one the People’s taste may flatter, Yet here a huge embarrassment I feel: What they’re accustomed to, is no great matter, But then, alas! they’ve read an awful deal.

How shall we plan, that all be fresh and new,— Important matter, yet attractive too?

For ’tis my pleasure-to behold them surging, When to our booth the current sets apace, And with tremendous, oft-repeated urging, Squeeze onward through the narrow gate of grace: By daylight even, they push and cram in To reach the seller’s box, a fighting host, And as for bread, around a baker’s door, in famine, To get a ticket break their necks almost.

This miracle alone can work the Poet On men so various: now, my friend, pray show it.

These are the words of the manager on stage, written in 1808. You read that the audience has seen everything, “How shall we plan, that all be fresh and new - ”, with substance but entertaining too.

REZSKY.

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wu edition That we are now in a time where everyone can become an actor. Andy Warhol said in times when the internet was still ahead: "In the future, everyone will be world-famous for 15 minutes." [1968] These words are widely credited to Andy Warhol, but in fact they might be by Nat Finkelstein.

In times of the social web the line has been transformed in many ways. “In the future, everyone will be famous to fifteen people” or “On the web, everyone will be famous to fifteen people.” [Nicholas Currie aka Momus]

Want-to-know-more

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e-read-my-book.com

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A D V E R T I S E M E N T

1BIENNALE Ervare Go to Blurb.com and enter Ervare in Bookstore search Download the PDF via blurb to get the state of the art in immersive digital art. A ll online preview is provided. #1BIENNALE IMMERSIVIA meets #Neighbourhood SANTORINI BIENNALE 2018 Art Blue Juliette

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rez75.rezsky.com I G Bigger Fish To Fry The article tells the story behind A History Of The White

Go to Amazon.com and enter Erva.Re in search.

REZSKY.

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A D V E R T I S E M E N T

THE BRAIN OF ART Bdot.Blue Go to Amazon.com and enter Bdot.blue in search.

A Winner of the National Novels Writers Contest 2018.

Read the mission statement of B dot Blue and don't wonder that she met Egon Musk to get a plot on Mars.

Written for all lovers of Douglas Adams and the artists who contributed to the joint exhibition of Santorini Biennale IMMERSIVIA and 1Biennale in 2018.

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THE GODS OF INFORMATICS and the Great Wheel Ervare Go to Amazon.com and enter Ervare in search.

My memories written in the future for the past. Over 80 % is true, easy to find out what parts are faked.

Go to Amazon.com and enter traveler3326 in search.

This book is called "The Sand Bible for the Digital Anthropocene." Over 20% is true, not so easy to find out what parts are not faked.

REZSKY.

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C O M I N G S O O N Kunst Blue KATATONEN KUNST

The Temple of Kitsune in THE WRONG BIENNALE

A creation by Ayuki Kunst Red Venus Adored scripting by Art Eames

Kunst of Peter Seibt and Neo Prim brought to an immersive interactive world, recoded in Opensimulator for Unity VR and Ocular Blue by citizens of NSK.

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Kunst Blue is the first citizen born in the stateless state of NSK [New

A Gestaltkunstwerk with works by Peter Seibt and Neo Prim recoded in NSK.WORLD presented in a machinima

by WizardOz Chrome.

Slovenian Kunst] as a real virtual being.

Holding a passport of NSK in hand, he applied at Casablanca Biennale, Santorini Biennale, Leipzig Biennale. In this book he presents like in a time capsule within in the biggest Biennale on Earth, THE WRONG Biennale,

"The room was bare and white. On two walls hung unframed sheets of what looked like rain-stained cardboard, stabbed through repeatedly with a variety of instruments.

KATATONENKUNST. Kunst Blue invited the most gifted artists, all holders of art awards and

Katatonenkunst.

Conservative.

multiple grants, to contribute to

The sort of work one sold to committees sent round by the boards of Dutch commercial banks.”

Kunst in a recoded form.

~ William Gibson in Count Zero [1986]

NSK.WORLD a first work of this kind of “The room was bare and white. On two walls hung unframed sheets of what looked like rain-stained cardboard, stabbed through repeatedly with a variety of instruments. Katatonenkunst.

Conservative. The sort of work one sold to committees sent round by the boards of Dutch commercial banks.”

“Let us pray with faces down in the sand that the Stangen will have mercy and not stab our world. May we rise to the sky to get enlighted by pictures of hope.”

~ Art Blue at the Grand Opening of The Temple of Kitsune in Cagliari, Sardinia, Italy in NSK.WORLD, powered by Craft Grid.

Digital-born artists: Art Eames, Ayuki, Kunst Blue, Kunst Red, Venus Adored, WizardOz Chrome.

Painter of Pictures For Hope: Peter Seibt.

REZSKY.

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~ William Gibson in Count Zero [1986] katatonenkunst.rezsky.com

REZSKY and THE FAKED will present KATATONENKUNST in an Embassy of THE WRONG at various places all over the globe in 2020.

wu edition

I REZ. I SKY. REZSKY.

THE WORLD OF [KUNST] REZSKY is a printed Magazine, sold via Blurb or by direct delivery via Turnton Gazette, a weekly newspaper, established 1948. Is it not stunning that the only issue publicly available is dated 2047?

Blurb also offers REZSKY as a high-quality PDF. OCULAR BLUE the official VR headset for THE FAKED #DOGSRECLAIMINGAI FIND ANOTHER STORY VIA TWITTER. IT IS LINKED TO ARS ELECTRONICA 2019.

COMING NEXT:

#ARTINAFRIDGE

FREE COPY imprint.rezsky.com KUNST.BLUE

LOW RES PDF NOT FOR RESALE CONTAINS AD s

AND PRODUCT PLACEMENTS

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