josina burgess

nazz lane
velazquez bonetto

metaverse art
2008-2009
2008-2010 Nr.2b
Nr.2b
 This e-book dedicated to
Giorgio Vasari
(30 July 1511 – 27 June 1574)
 metaverse art 5

A publication of the
Artspace Diabolus Cybernetic Art Research Project (CARP) 2010

copyrights: Artspace Diabolus Cybernetic Art Research Project (CARP) 2010

Josina Burgess aka. Jose den Burger (Amsterdam Holland)
Nazz Lane (USA)
Velazquez Bonetto aka. László Ördögh Diabolus (Stuttgart Germany)

forward: DanCoyote Antonelli aka DC Spensley (USA)

Metaverse snapshots:
Helfe Ihnen
Igor Ballyhoo
Josina Burgess
MillaMilla Noel
Tyrhel Byk
Alizarin Goldflake
Chrom Underwood
Velazquez Bonetto

All rights reserved. No part of this publication may be reproduced, stored in a

retrieval system, or transmitted, in a form or by any means, without the prior
permission in writing of the copyright owners.
This publication includes some words which have or are asserted to have
proprietary status as trademarks or otherwise. Their inclusion does not imply
that they have acquired for a legal purposes a non-proprietary or general
significance nor any other judgement concerning their legal status.
6 metaverse art
ARTISTS: Eros Boa MillaMilla Noel Odysseyart
Adam Ramona Evaluna Sperber Miso Susanowa Pirats
Abstract Baroque Evo Szuyuan Misprint Thursday Second Front
Ak Yip Fau Ferdinand Miulew Takahe
Al Hoffman Feathers Boa MosHax Max PROMOTERS:
Alan Sondheim Four Yip Myth Guyot Angeline Blachere
Alizarin Goldflake FreeWee Ling Nazz Lane Desideria Stockton
AM Radio Frieda Korda Nicci Lane Cher Harrington
Amarynth Emmons Flower Exonar Nicolas Sack Cyanide Seelowe
Anita Fontaine Gazira Babelli nnoiz Papp Jilly Kidd
Anu Papp George Janick Nonnatus Korhonen Joy Ash
Arcana Jasnma Gleman Jun Patrick Millard Inarra Saarinen
Ariella Languish Gumnosophistai Nurmi Patric MOYA ItsNaughtKnotty Cannned
Artistide Despres Humming Pera Penelope Parx Katie Reve
Avatara Alchemi Haico Hax Pixels Sideway Lauren Canetti
Bingo Onomatopoeia Helfe Ihnen Rose Borchovski Nebulosus Severine
Bennet Dunkley Ida Abbey Sabrinaa Nightfire Preciousse Moody
Bryn Oh Igor Ballyhoo Sanam Sewell Slim Warrior
Caravaggio Bonetto Jack Shoreland Sandree Aubierre Thinkerer Melville
Calimera Lane Jenaia Morane Sarima Giha Tommy Parrott
Carly Frequency Joff Fassnacht Sasun Steinbeck Tricia Aferdita
Chantal Harvey Josina Burgess SaveMe Oh Upo Choche
Chen Pitney Juanita Deharo Sca Shilova Xander Ruttan
Chi5 Shenzou junivers Stockholm Selavy Oh Yavanna Llanfair
Cinega Soon Juria Yoshikawa Sennaspirit Coronet
CodeWarrior Carling Karl Merlyn shellina Winkler AUDIENCE:
Comet Morigi Kolor Fall Solkide Auer Artfox Daviau
Cristian Rexie Kourosh Eusebio Sisi Biedermann Calimera Lane
Christo Kayo Lamosca Velde Sicily Zapatero Chestnut Rau
Chrome Underwood Lion Igaly Sowa Mai Clovis Luik
Cypress Rosewood Lollito Larkham Stephen Wenkmann Dublin Rodenberger
Dale Innis Loup Erin Sunn Thunders Frutti Freschi
Dancoyote Antonelli Lucian Iwish Therese Carfagno Kitterannae Hifeng
Darcy Mokeev Luce Laval Thess Writer noname
DB Bailey Man Michinaga Tim Deschanel Oona Pinion
Debbie Trilling Magdeleine Rossini Tyrehl Byk Penelope Parx
Dekka Raymaker Man Michinaga Velazquez Bonetto Prissy Price
Del May Marion Rickenbacker Werner Kurosawa Rowan Derryth
Diavolina Kirax Marly Milena Wirxli Flimflam Siss Criss
DeNovo Broome Marco Manray Tayzia Abattoir
Deruub Pastorelli Maxxo Klaar ART GROUPS: Theo Finney
Eden Toll Medora Chevalier Avatar Orchestra Thirza Ember
Eeyore Ogg Mencius Watts Caelreon Uva Oxide
Eifachfilm Vacirca Merlino Mayo Cetus Vicky Dixon
Elfod Nemeth Morris Vig Diabolus/CARP Vive Voom
Em Larsson Myth Guyot Museo del Metaverso Wendy Swenson
 metaverse art 7

josina burgess
nazz lane
velazquez bonetto

metaverse art
8 metaverse art

Contents
Artist index
Metaverse Art 2b
Artist interviews: Evo Szuyuan: 11
Igor Ballyhoo 13 igor Ballyhoo: 14,15,16,17,18,19,20
Jenaia Morane 21 Deruub Pastorelli: 22,23,24,25,26
Joff Fastnacht 27 Flower Exonar: 22,23,24,25,26
Josina Burgess 31 Josina Burgess: 28,29,32,33,34,35,36,46,47,48,72,7
Juanita Deharo 37 5, 116,118,119,139,140
Junivers Stockholm 43 Velazquez Bonetto: 39,46,47,48,50,56,64,65,68,70,7
Lamosca Velde 49 1, 74,76,77,80,84,120,122,123,124,125,136,139,140,
Kolor Fall 55 186, 188,190,191,192,193,194
Lion Igaly 61 Kourosh Eusebio: 28,29
Loup Erin 67 Juria Yoshikawa: 30,41,62,128,129
Magdaleine Rossini 73 Nicolas Sack: 40
Marly Milena 79 Sasun Steinbeck: 42
Medora Chevalier 85 Debbie Trilling: 44
Mencius Watts 91 Junivers Stockholm: 44,45,149
Merlino Mayo 95 Caravaggio Bonetto: 46,47,48,66,69
MillaMilla Noel 109 DanCoyote Antonelli: 50,52,53,60
Miso Susanowa 115 Adam Ramona: 54
Myth Guyot 121 diabolus/CARP:57,62,63,178,179,180,181,182,184
Nicci Lane 127 Deruub Pastorelli: 58,59
Patrick Millard 131 Evaluna Sperber: 78,80,92,93,94
Penelope Parx 137 Merlino Mayo: 81,82,83,96,97,98,99,102,103,104,10
Sabrina Nightfire 141 5, 106,107,108
Sandree Aubierre 147 Medora Chevalier: 87,88,89,90
Shellina Winkler 153 MillaMilla Noel: 110,111,112,113,114,117,126,130
Solkide Auer 159 MdM: 133
Sisi Biedermann 165 Arcana Jansma: 134,135
Sun Thunders 171 Callimera Lane: 138
Velazquez Bonetto 177 Ux Hax: 142,143,144,145,146
Werner Kurosawa 195 Maria Grot: 142, 143,144,145,146
Wirxli Flimflam 207 Luce Laval: 148
Caravaggio Bonetto: 148,150,151,152,174,175,176
shellina Winkler; 155,156,157,158
Solkide Auer: 160,161,162,163,164
Marion Rickenbacker: 166,167,168,169,170
 metaverse art 9

Eden Toll: 173

Werner Kurosawa: 196,197,198,199,200,201,
202,203,204,205,206
Wirxli Flimflam: 208,209,210,211,213,214

Dear Reader,
This book will give you an insight of the Phenom-
enon: ART IN THE METAVERSE. We will show you
many different examples of what is created here
and from many different creators as well. Many cre-
ators that work in this Metaverse were so kind to
express in this book what they think and how they
use this virtual world as a tool to express them-
selves in a total new way. Its hard to show all and
everything, there is a constant process of creating,
pioneering and experimenting going on, but we
have tried to give you a good idea about what is go-
ing on right now in the metaverse. Dont expect this
to be a list of artists with their creations, we give
a random view of what is made and created, what
is written and what is thought about this wonderful
new world, The Virtual World.
10 metaverse art
We asked artists, musicians , creators to answere 14
questions about their opinion and personal views on
Metaverse Art. Many of them dont have english as
their native language, allthough on SL the most spoken
and written language is english. We preferred to let the
artists speak in their own way, so did not change their
words.
The questions we asked are these:
We are interested in publishing a series of articles in a
book form about Art in the Metaverse. With this in mind,
we would like to include your responses, perceptions
and your experiences regarding the creation of art in the
metaverse. In recognition of your contributions as an art-
ist / content creator what you think and have to say is
important and our goal is to present many diverse view-
points about Metaverse Art from as many different artists
/ content creators. As a Metaverse Content Creator/ Artist
we would like to hear from you. We are asking that you
please complete the following questionnaire and return
your answers back to us. We are also requesting that
you include any supporting information that you deem im-
portant in helping us understand your responses, please
include relevant materials such as; biography, artistic
statement, a catalog of your work, links to website’s etc.
Please note, by completing this questionnaire and
returning it along with supporting information to us, you
are providing us your approval to use and publish your
responses.
Should you have any questions, please contact any of
us listed below , in-world or out-world. We look forward
to your responses.
Best regards,
Josina Burgess
Nazz Lane
Velazquez Bonetto
1. Why is the Metaverse as a medium interesting to
you and why have you chosen this as a platform to
express yourself?
2. What topics/areas do you tend to communicate
using this medium?
3. What topics/areas do you want to work on in the
near future?
4. Which of your creations in the Metaverse do you
think are particularly well done or significant and
why?
5. How do you communicate your thoughts to other
avatars? Does your style tend to be formal, for
example Or abstract? Is it emotional or rational? Is it
both? Are your images iconic, spiritual or concrete? Is
it something totally different?
6. How do you describe the intention of your Work?
That is, why do you create art in this environment?
What do you hope to achieve by doing so? What
impact are you trying to create?
7. How important is it to you what the public think and
feel about your work?
8. How important is it to you to get feedback and
reactions from the public?
9. How important is it to you what other Artists/Col-
leagues/Peers think of your work?
10. What special Metaverse tools or techniques do
you use in your creation process? What skills did you
bring into the Metaverse from RL?
11. How does creating Metaverse Art help you in your
RL?
12. What themes and technical trends do you think
are important for the future of the Metaverse?
13. Do you prefer to work alone or in collaboration
with other artists?
14. Do you tend to specialize in Metaverse only art
(“NPIRL”) or do you import RL pieces for displaying in
the Metaverse?
 metaverse art 11

Picture 1: video by Evo Szuyuan

12 metaverse art

Picture 2: 7up by Josina Burgess

 metaverse art 13

-it seam to me that recently I comunicate with other

avatars mostly in ~fuck off~ manner, so abstract I
guess...

-I am not trying to achive anything, all I do is I create

things that I see behind my eyes, so I could see them
with my eyes... I show my work simply because some

Igor Ballyhoo other ppl wants to see it too.

Artist
- I don’t give a fuck, I would create no matter what,
more then half of my things noone but me ever seen...

-Most of public in SL are idiots anyhow. I am pleasantly

surprised when I hear something smart, I fall in love
with that person emediately (this is really rare) I think
that 99% of public in SL never heard about Man Ray,
why would anyone care for what they think then?

-copy previous answer and replace public with “artists”

-a) all exept scripting (I use already existing scripts)

-b) I am working with photo editing tools in RL for
about 15 years, so I use that knowledge here - textures
- Because not only that I can create here in easiest pos-
sible way, but I can also put in use my work instantly.
-it doesnt, I create less in rl then I ever did!
I could create in bigger quality things in some other
ofline 3D program, but here they can become alive.
-I think future of metaverse is in better sculpt support
and in higher quality textures, which is ofcourse lim-
- I am questioning everything and I am making con-
ited atm with bandwith
clusions of my search. Mostly ballance in human ex-
istance and duality of everything that exists
-I work alone, so far I colaborate succesfully with one
artist.
-in near future, I will make a sandwich...
-both
-if you ask me, u will probably get different answer
then most of ppl who knows my work will give you. I
think my most important work is “eternity is watching
you”. That is one small instalation that remind me that
all I do or don’t do leave mark on future.
14 metaverse art

Picture 1: my brain connected to metaverse by igor Ballyhoo

metaverse art 15
16 metaverse art

Picture 2: final rose by igor Ballyhoo

metaverse art 17
18 metaverse art

Picture 3: my child driving around and hugging all world by igor Ballyhoo
metaverse art 19
20 metaverse art

Picture 4: perpetuum mobili water by

Igor Ballyhoo
 metaverse art 21

us about ourselves - what they have to teach us about

being human. Theoretically, all topics are up for grabs,
but the ones that interest me most are the ones that
really challenge us to grow - racial prejudice, spiritu-
ality, the experiences of returning veterans, cultural
differences, women’s rights, aging, death and dying,
education, and what those who are disabled or dif-
ferent in some way can teach us. I’m sure I’ll discover

Jenaia Morane more as I go, but those should be a good place to start.

Artist
Education! I really believe that the cookie cutter ap-
proach we’ve taken to teaching and assessing what
students have learned has done us all a HUGE disser-
vice. Each person is different and there are many ways
to learn. It’s about time we learned to accommodate,
encourage and learn from those differences.
Veteran and Civilian Dialogs: As a race we need to
take a good hard look at what we ask soliders to do
when they go to war. We can’t ask them to learn to kill
on our behalf and then just come back and pretend
it never happened. It is any wonder there is a huge
disonnect? Is it any wonder
Women’s Issues: As a long-time feminist I have quite
a list in this area, but some of the most intriguing in-
It’s funny, because I didn’t exactly choose the medium
clude the rights of muslim women, aging and sexual-
so much as it chose me. I came to Second Life for two
ity.
reasons. I had been taking care of my mother 24/7
and was feeling isolated. I was hoping to make some
Well....I love the Uncle D Story Quest for several rea-
friends and get some support.. I also hoped to find a
sons. First, it illustrates what it means to create an
way to teach some of my writing classes. In my first life
immersive and interactive learning space that accom-
I am a freelance writer and teacher who has special-
modates a wide range of learning differences. Second,
ized in creating online classes for authors. I thought
it allows for collaboration and co-creation across time,
Second Life might be a good place to do that. I cer-
space, and multi-media. Third it can be adapted to
tainly wasn’t looking for a means to be artistic.
and/or have almost an unlimited number of other
The wonderful thing about Second Life (and any vir-
topics added to it. The Uncle D story is about HIV/
tual medium that allows for 3D content creation and
AIDS but there is no reason it can’t (and does) address
human interaction as avatars) is that it spoke to and
and teach other topics such as food, travel, chemis-
allowed me to express all aspects of myself.
try, history, socialized medicine, end of life care, etc.
And finally, the Quest is beautiful and touches people
I want to explore stories and what they have to show
22 metaverse art
 metaverse art 23
deeply. As an artist you can’t ask for more.

This has me smiling. What I love to do best is share my

ideas with others by letting them experience my work.
So, for example, what is their impression of Uncle D?
What is their response when they read his journal, visit
his office, or listen to his phone messages? What kind
of emotions and responses come up? I am always sur-
prised, and almost always pleased to see how people
respond. It is not always as I expect, but that too offers
wonderful insights.

I intend to encourage others and myself to grow and

open ourselves to new ideas and new ways of being.
There is a saying: “Don’t judge another person until
you’ve walked a mile in his/her shoes.” Telling stories
like this allows us to experience life through one an-
other’s eyes. Once you’ve done that, it’s very difficult
to judge and even harder not to care. I guess I am try- Picture 2: sculpture by Deruub Pastorelli, Flower Exonar
ing to help people learn by caring.

What the public thinks is important in that I hope the

public will make use of what I create. In terms of how
I feel about what I create that doesn’t affect me much.
I create first and foremost because I feel I have some-
thing to express for myself.

Since most of what I do is intended for public con-

sumption - ie to help people learn and grow as I do the
same - it’s very important to get feedback. Also, the
Questing model is designed to be collaborative and
co-creative. You won’t have that in a vaccum.

Colleagues and other artists are folks who can appre-

ciate the technique and skills that went into the work
and give me feedback and suggestions, so of course I
value their input.

Picture 1: sculpture by Deruub Pastorelli, Flower Exonar Picture 3: Deruub Pastorelli, Flower Exonar
24 metaverse art

I was first trained as graphic designer and illustrator.

I also studied and love sculpture. My sense of color,
space, and 3D design has transferred over beautifully
into the building tools available in SL. But I would say
that my ability to envision and tell stories in a variety
of media is probably my strongest skill. That ability was
fostered in me by my grandmother (a wonderful sto-
ryteller) and nurtured by teachers, friends, and family
throughout my childhood. Later, writing became my
profession. I don’t know that I use any tools or tech-
niques that are unique to the metaverse other than
the building tools and ability to manipulate my avatar,
which are an integral part of Second Life.

It nurtures me plain and simple. It has also given me a

whole new vision for and approach to my work.

Theme: The value of the future will be in the content

not the technology. Content trumps technology.
Technical trends....the more virtual worlds can inte-
grate and make technical tools available within the
world itself, the more user friendly and creative the
environment will be.

The simple answer is alone. However, it really depends

on which stage of the creative process I am in. Initially,
when I am asked to work on something, I have to go
inside to listen to and feel what is percolating there. I
just don’t want input. Later, as I start to fine tune and or
adjust to meet specific requirements I welcome input.
Also, the story quest model is built to be collaborative,
to develop on its own into something more and richer
than just one person can create.

Picture 4:Deruub Pastorelli, Flower Exonar

metaverse art 25
26 metaverse art

Picture 10: Deruub Pastorelli, Flower Exonar

 metaverse art 27

envelope but then again there is nothing new in this

world (virtual or otherwise) so I won’t be surprised to
find that its all been done before, in fact Gertie the di-
nosaur was created in the first half of the twentieth
century, so maybe its just new to me.

Yes and no.

Joff Fastnacht I just want to play in whatever world I am in, and where
there are possibilities make them accessible to others.

Artist Thankfully it is fairly irrelevant. We all love to be loved

but not at any expense.

Its good not to work in a vacuum, but sometimes work

can be its own reward whether anyone notices or not.

If I worried too much about this I would have given up

years ago. Everyone is free to have their own opinions
but of course it is nice to feel appreciated by those
who understand what it is you are trying to do. Unfor-
tunately I do not always know myself what I am trying
to do.
A Because it is relatively unstructured and un regu-
not sure about first part. I have a background in per-
lated. ts possible to work with people from all over
formance and in particular puppetry which feels very
the world.Its a very cheap and quick way of exploring
close to avatar manipulation.
things that would be very expensive in the real world.
A certain degree of anonimaty
As mentioned before it is a place to try out ideas be-
My main specialism is in the performing arts but I can
fore spending real money to create things. I have done
make a mess in fine arts as well.
set design in world then built the real thing. I’ve man-
aged to convince my university to pay for my playing.
Blended reality projects. I have already done a few
I’ve travelled the real world in my virtual researches
live real/virtual performance projects but hope to do
more. See clips on blip.tv
I tend to do more ‘conventional’ work in sl, but this is
primarily for me to learn enough and be proficiant
13 Objects with avatar repertory theatre was a major
enough to then work on NPIRL work.
effort for all concerned, 2 hours of very complex teston
13 bespoke sets.
My mixed reality events feel to me to be pushing the
28 metaverse art

Picture 1: immersive concert i, visual Artist Josina Burgess

audio artist Kourosh Eusebio
metaverse art 29
30 metaverse art

Picture 2: Juria Yoshikawa

 metaverse art 31

What to choose? Its hard to choose where I am par-

ticular proud of : The “Faces of the Sky”where I cre-
ated a “Universe” of planetlike sculptures all scripted
and animated, the “Hyperform Universe” where you
can fly in and experience a feeling of total freedom,
the “New Horizon” where I use my own rl paintings as
textures in a installation and found myself “inside” my
own painting (what was also emotional), the “Fotopro-

Josina Burgess ject” where pictures I took from my Avatar flying inside
sculptures I made, reworked in photoshop, placed

Artist
back in SL, animated and scripted to react on ap-
proach and “wrapping” around the visitor, The avatars
I made for METROPOLIS, the costumes and designing
all kinds of extravagant dresses, and clothing, all gave
me great joy to create them and most of all the reac-
tions of the people on what I make.

Then all the projects I worked on with the CARP (Cy-

bernetic Art Reseach Projects) that I founded with
Velazquez Bonetto: the WALL, the RINGS, METROPO-
LIS, the EMOTICON, V-JAZZ, all great new developed
ways to entertain people and great ART as well.

All my creations are emotional, not formal, more or

This Metaverse gives me:
less abstract, but very clear in the underlaying mes-
The abillity to show my work not only in RL and in my
sage. I focus on making people happy when they see
own country, but also worldwide
or enter my Art. Composition is important, colours
Learn more about techniques and tools, use them for
and movements have to be in total balance. The view-
new ways of art making. Discover talents in myself I
er can experience what I mean very easily. I dont like
never thought I had. The pioneering and experiment-
complicated layers.
ing process, being part of this ”Avant Garde” and free
the road for next generations.
My Intention is simple: Make people happy, give them
a euforic feeling when they look at it or experience it.
This is the Worldwide “Stepping over Borders”possiblity
Let them “understand” what they see.
to comunicate through Art.
I hope to achieve a bigger interest in Art on the Meta-
verse as well in Art in RL. I like to create a better under-
My Goal is to create new ways of Theatre-making, In-
standing between audience and creater.
stallations and Sculptures that interact with people
and connect Art and Science together.
Feedback is very important, after creating an artist
32 metaverse art
 metaverse art 33
wants to show what he has made and then its usefull
for the next piece to make.

Did they understood what I was trying to tell? Did it go

into their heart? What kind of emotions did they feel?
Can I learn more?

Also important: Suggestions about new techniques,

another way of seeing things, I still can learn from the
worst critics as long it is about my art.

I also learned to use scripts and change them in such

a way that they do what I want. Collaboration and
working together with other artists and creaters. The
building process of using prims is a technique I slowly
learned and still is in progress. My skills of colourfeel-
ing, composition and forms are usefull, but also my
skill of bringing people together, form teams and
manage that. Create space for others to feel comfort- Picture 2: The Face of the Sky by josina Burgess, diabolus-
able in and being truly interested in what others make. CARP 2009

Today I create more in SL then in RL, but I have some

new ideas, how to use what I made in SL with different
techniques in RL. Its still in my mind but sure get form
in the coming months.

Programming, scripting, animation, those are the

magic words in SL. Without good scripts an artist can-
not create installations or interactive sculptures, or
make theatre.

I like to work alone , but also in a team. In SL its a need

(for me) to work together in collaboration with others,
only this way big projects can come from the ground.
As long we
All have different skills we can bundle them together
and make something fantastic. Important here is that

Picture 1: The Face of the Sky by josina Burgess, diabolus- Picture 3: The Face of the Sky by josina Burgess, diabolus-
CARP 2009 CARP 2009
34 metaverse art
every creater also gets the credits for his or her work.

Being a painter in RL, I import also my RL paintings into

SL and show them too on exhibitions. This way my RL
work has a space to be seen by more and a bigger au-
dience then in RL. Rather “unknown” artists can show
their work and become less “unknown”.

What I create in SL is another way of Art making, both

the processes give joy and satisfaction, and Both Arts
is “Me”.

Picture 4: The Face of the Sky by josina Burgess, diabolus-

CARP 2009
metaverse art 35
36 metaverse art

Picture 10: The Face of the Sky by josina Burgess, diabolus-CARP 2009
 metaverse art 37

ever I feel on the day.

It also provides the opportunity to work with and
be inspired by a really broad range of other artists
from across the globe. It broadens horizons, opens
my eyes to possibilities, makes me new friends.

Interestingly, the topics/areas I want to communi-

cate in Second life are pretty much the same as

Juanita Deharo the ones I work with in real life. There’s a diverse
range, but more and more I find myself working on

Artist
the same themes in the real and virtual worlds.

What I’d like to do is cross the boundaries between

real and virtual more - to bring my work in virtual
worlds into my mainstream practice and have it be-
come part of my overall CV and recognition as an
artist.
I am also interested in bringing environmental
themes into second Life - in trying some of my
work with art in nature in virtual space.

I don’t produce a lot, and I am generally happy

with what I do produce because it is all part of an
expression of where I am at the time, how my art
In real life, as a known artist with a following and
is developing, and what is important to me at the
expectations from my audience and fellow artists,
time. Most of what I do in virtual worlds is done first
I am fettered by commissions, curators, collectors,
for myself and is deleted or not shown. I am not so
colleagues - all of whom want me to continue doing
interested in selling or exhibiting as just using this
what I have always done. The virtual world lets me
as a medium. If I start to become too serious about
escape that.
it then I will have the same constrainst as in real
life, but sometimes I do like to show my work here.
What’s interesting to me is that this is a new plat-
form, a new media that let’s me work in a way I
I don’t think I have a particular style in Second Life
haven’t worked before. It’s experimental. It lets me
- excpet to say I like to be sparing, and to make
create things I couldnt possibly create in real life. It
thoughtful work. Technical brilliance is fine and fun
lets me work on an idea without spending money
to play with, but art must have meaning for me, so
on materials, without making a mess, without hav-
my work is often simple in its execution but com-
ing to clean up after myself. It let’s me make work
plex in its undertsanding.
that can truly reach out to an audinece, that’s im-
mersive, or small, or enigmatic, or quirky or what-
38 metaverse art
I create because that is what I am - someone who
always makes something, who tries to say something
with visual messages. I just like to play with puting
things together to express a thought, an argument,
a feeling, an emotion, whatever. I create in this en-
vironment because I find it exciting and challenging.
Something new and something easier at night after a
few glasses of wine than going to my studio and trying
to do real life things. And I very much enjoy the inter-
action with other artists and the chance to talk through
ideas and concepts and criticise each other’s work.
I am not sure who is ‘the public’. Most residents
couldn’t care less and that doesn’t bother me at all.
I create first for myself, and secondly for other artists
and those who enjoy art. I like to think other artists,
curators, art lovers enjoy and understand some of
what I do. I don’t want or need to be a ‘popular’ artist
and have a lot of fans, but I like it when people who
understand art appreciate my work. I also now create
in Second Life for my real life audience.
It is more important to me to get feedback and reac-
tions from friends, colleagues and fellow artists, those
who appreciate art in all contexts. If everyone (the
public?) started loving my work I would be a bit wor-
ried, asking where had I gone wrong.
This is more important to me than what ‘the public’
thinks. This is true for me in real life as well as Second
Life. A successful exhibition with everything sold is
not rewarding unless people whose opinion you value
have made the right comments.
I am an experienced builder with a number of non-art
businesses and doing commission builds for others.
These skills make the process of making art more
easy and give me insight into how things are done
and made.
In real life I have had a long career as a professional
artist and I bring my sensibilities and maturity as an
artist who is confident in their work and comfortable
with the creative processes and the mechanics of
producing, marketing, explaining works of art, to
my work in virtual worlds.
In the short term it isolated me because my rl gal-
leries, audience and colleagues felt abandoned
and let down by my turning to a new medium. I am
just now beginning to be recognised as a different
kind of artist - to have people see that it is still me
but in a new medium doing new work.
Now, several years down the track, I see there is
real interest in new media and galleries and col-
leagues who were critical and sceptical are now
asking me to help them and are interested in what
I am doing. I am now getting paid work in the real
world relating to my work as a virtual artist.
That’s a really broad question - too broad to an-
swer, so I answer in terms of art.
There is a need for virtual art to come of age - to
stop being self congratulatory and hooked on every
new technique without meaning. We must take our
place as part of the continuum in art history, and
that means opening up to serious critical debate
and evaluation of virtual artworks. That means we
must join the real art world.
One of the skills I find most missing in Second Life
is the ability to exhibit works properly. Curatorial
and exhibition design skills are sometimes lacking
here. Considered criticism is also lacking in many
instances.
Alone. I don’t like to collaborate. Making art is an
intensly personal thing and I do it in my head in
converstaions with myself. Anyone else in that con-
versation would be too many.
In the virtual world I produce only work that could
not exist elsewhere, but I sometimes include ele-
ments of real life works.
 metaverse art 39

Picture 1: CARP exhibition in Metropolis metaversum

Picture 2: CARP exhibition in Metropolis metaversum
40 metaverse art

Picture 4: vurtual sculpture by Nicolas Sack

 metaverse art 41

Picture 4: virtual installation byJuria Yoshikawa

42 metaverse art

Picture 10: Sassun Seinbeck


Junivers
Stockholm
Artist
It was clear to me in the late 80s that media was
going to change. At that time I made my first in-
teractive multimedia. It was then clear to me that i
wanted to be participating in the development. The
new possibilities with a non linear communication
was a challenge that i took on early. Virtual worlds
is an exciting development that i embraced
very easy.
When i speak about virtual worlds I also speak
about the international platform i think it is and
about the art that is so special for Virtual Worlds - i
actually say that i think that the most exciting art is
now developing in virtual worlds - not iRL.
The things i have been doing is what i want to keep
on doing. Using virtual music instrument for live
jamming with others, composing music for shows,
metaverse art 43
doing live streamed music in shows, and also do-
ing awareness work. I have been fortunate to be
able to work with highly skilled people and groups
and i hope to be able to do that also in the near
future.
There is so much being created all the time. Its not
possible to experience all of it. I have been involved
in some exciting projects. The Wall, The Rings has
been extraordinary to work with, also “Follow the
Light” - a light show, has been fun to do. The shows
has been made by a group of international artist.
The international interaction is something i espe-
cially like. I also did some live jamming using the
software Ninjam and streamed it to SL.
Thats was a great project to do.
I try to put some soul in my music. It´s up to the
audience to tell if i succeeded.
I want to help doing a better world. Thats a driving
force in almost everything i do. I hope that i can get
even more inspired by the people i work with and
spread some inspiration myself.
If i didn’t get any feedback i would probably not do
any music at all - just play for myself. I mostly do
instrumental music but in Sl i have been cooperat-
ing with some people.I had some help with lyrics by
Josina Burgess and Medora Chevalier.
The kind of feedback i appreciate most is the one
that makes me understand that the audience un-
derstood :))
I REALLY hope that the artists i cooperate with did
it because they think i have something to contrib-
ute. I would very much dislike if i got the feeling
that they didn’t.
44 metaverse art

Picture 1: Particle Garden by Debbie Trilling, audio artist

Juniverse Stockholm
 metaverse art 45

I think imagination and “visionary thinking” are im-

portant tools for me in most things i do. The tools,
also Metaverse ones, can be used in many ways.
For me its important to test things and from testing
find ways to use them - sometimes in ways that
somewhat are unique.

Playing live in SL has made me a bit more confi-

dent playing live iRL. Composing for big shows has
been rewarding for me as a composer. They have
been a challenge to do. I would say it helped me
develop as a composer/musician.

International collaboration and also NGO work are

trends i think will develop more. I hope, and think,
that there will be a wider group that are working
for a better world. We have already seen how dif-
ferent kind of artists have been coming together to Picture 2: Juni in the THE WALL
do “awareness shows”. Virtual worlds allows them
to do new things in a new environment. I also think
the trend with fast development of computer hard-
ware will help us do a more high end performance
- you could say “a more realistic virtual reality” :)
We are getting there !

Some parts of the work i need to do myself but i

LOVE the collaboration. Im so happy that i´ve been
able to work with so many great people. Many of
them are within CARP. But I´m also in other co-
operations Like Four Bridges, PeaceTrain, Better
Worlds and many other NGO´s. In Imagine Festival
I also had the opportunity to work with Yoko Ono. I
did a live TV broadcasting for the opening of Imag-
ine PeaceTower - a replica of the one from RL.

My music has definitely changed and became wid-

er including more styles. The ambient style comes
quite a lot from being in SL. The visuals in SL has Picture 3: THE RINGS
affected that development within me.
46 metaverse art

Picture 4: Living Architecture by Velazquez Bonetto, Josina

Burgess Caravaggio Bonetto audio Artist Junivers Stock-
holm
metaverse art 47
48 metaverse art

Picture 5: Living Architecture by Velazquez Bonetto, Josina

Burgess Caravaggio Bonetto audio Artist Junivers Stock-
holm
 metaverse art 49

like to help people to discover the interesting and

educational aspects of this great mean. Working as a
tutor for the Italian Community, I come across many
people every day, but unfortunately very few of these
show interest for creative, artistic and educational as-
pects of Second Life, and I would like to do my best to
help in changing this aspect.

Lamosca Velde I get inspired by memories and fantasy at the same

time, this is why some of my creations are reproduc-

Artist
tions of monuments or historical locations that have
had major importance in my life and some creations
are the pure product of my fantasy. My avatar’s ap-
pearance is one of these.

I communicate in a spontaneous way, always, in the

metaverse as well as in real life. My style is personal,
creative, ironic, emotional, funny and relaxed.

When I create in the metaverse, as well as in real life, I

am expressing myself and my beeing, and I nevr even
think of what will happen beyond that moment.

I would lie if I said that I didn’t find it pleasant when

The Metaverse and Second Life in particular is interest-
people admire my work and appreciate it, but in the
ing to me because it make “eveything possible”, it en-
process of creating this aspect is unimportant.
ables me to express my creativity in uncountable ways
that would be impossible outside the Metaverse. Here
Honestly it isn’t. I like to share my metaverse creativ-
I can build, create and experiment without worrying
ity with my life companion and, when possible I show
about our human physical limitations...it is all about
my creations to my family and loved ones. I am happy
Pixels...Pixels creatively drawn toghether by crativity...
when they show appreciacion.
isn’t this Magic?!
I tend to engage my time in the Metaverse with almost
I appreciate communication with interesting, intelli-
the same topics of my real life range. Art, creativity,
gent, creative and artistic people in general. However
building, human values and more.
I do not feel the need to collect opinions about my
work. I appreciate them when they are constructive,
I am an explorer, I like to wander around Second Life
both as critiques as well as compliments, and spon-
searching for new “Creations” to visit, see and explore.
taneous.
I would like to improve and keep improving my build-
ing and creating skills in the Metaverse and I would
50 metaverse art
In the metaverse I use the build function of the pro-
gram and help my work using sculpted prims, scripts
and textures, no other special tools. Textures are most-
ly imported by me and as a skill from real life I brought
my ability to use Photoshop (CS4) into my work in the
metaverse.

I am creating in real life when I am creating in the

metaverse. Only the tool is different.

The metaverse is a constantly changing and evolving

tool...its Art evolves along with it.

I am a lone worker. I work alone, my life companion

is by my side most of the time, and we talk about the
work during the process, but my work is mine and I am
Picture 2: CAARP concert hall benvolio by Velazquez very gelous of it.
Bonetto
Only metaverse until now, but I sure will import real
life work into it in the future, in order to “play” with it
in the metaverse.

Picture 3: Justice Gala virtual environment by DanCoyote

Antonelli
Picture 1: Justice Gala virtual environment
metaverse art 51
52 metaverse art

Picture 4: Justice Gala vitrual environment by DanCoyote Antonelli

metaverse art 53
54 metaverse art

Picture 5: Justice Gala cinetic sculpture by Adam Ramona

 metaverse art 55

tems. I would slowly like to evolve a contemporary

interactive opera in SL.

“Lashes of Earth”, feels good to me, I connect with that

installation at a spirtual,sensual and scientific level.
I think it’s pulling a bunch of elements together in a
seemless way, which is why it’s working for me.

Kolor Fall I’m perty much how I am ... my avatar isn’t that much
different from my organic, it’s basically just me.

Artist I’m creating “tensional spaces”, which open up space

in peoples mind solve problems. The major goal be-
ing with the art, that people will create useful prod-
ucts and communities by observing and creating in
my spaces.

It’s very important for me that “someone” gets a piece,

not “everyone, but many of my tensional spaces are
keyed, and are creating a tensional space for specific
objects to be created or instantiated.

The space that is opened up in peoples minds as they

observe my art, is the reason for my art.
A My art starts in the physical world where I paint a
tensional space, these paintings are uploaded as a
I greatly enjoy my peers in second life, it’s almost a AA
basis for a virtual community to observe and create
type of thing for artists ... communal artist support
communal pieces. This communal emergence of art is
group (Artist support in the united states is almost
difficult and costly to do in traditional mediums, while
non-existent for the people that are really out there).
in the virtual systems complex emergent pieces are
less costly to build.
I have about 30 years of working in virtual reality, and
40 years experience with art.
I focused on cycles of observation and creation, that
unfolds at neural level, then a quantum level, then
It opens up new area’s of thinking, which is invaluable
back to a neural level. The core topic i’m focused on is
to being creative.
the evolution of life to quantum forms, to travel to the
ocean floor, near planets and stars.
SL is too “closed in”, it needs to interface with the in-
ternet in a much more flexible manner. Technical im-
I’m currently merging the art forms of organic music
provements inside SL i think are secondary to getting
and painting with digital video and virtual stage sys-
56 metaverse art
more people access to SL.

I run two sim region, where i work with various artists,

normally each artist works fairly independetly, but
with a joint concept.

I do believe “electronic only” art is good for people

Picture 2: Living Architecture by Velazquez Bonetto audio
artist Al Hofmann
who haven’t been creative for a long time, I often listen
in to people that interact with my RL art at a gallery
or something, and as they talk to thier children, they
are referencing past experiences of child hood ... as if
they have not had a creative art experience since they
where children. I think people get the creativity beat
out of them by schools, and places like SL allow a re-
emergence of creativity(my large rl painting, “Waking
Up at Sunset” is about that concept, which I will even-
tually load up into VR and do a installation on).

Picture 3: Living Architecture by Velazquez Bonetto audio

artist Al Hofmann
Picture 1: THE WALL
metaverse art 57
58 metaverse art

Picture 4: Deruub Pastorelli opening in artspace diabolus

metaverse art 59
60 metaverse art

Picture 5: Justice Gala virtual environment DanCoyote Antonelli

 metaverse art 61

I found myself in some creative streak and began to

produce art works that whether or not Art ... I leave to
others to define it. I like creating 3D sculpture with the
native Second Life, ‘s creative use of the particles, the
Prime Paintings (simulation of paintings, but products
in SL) and scripts.

I founded the site SL-ART IT site of Italian artists in SL

Lion Igaly http://slartit.ning.com/

Artist
I chosen this as a platform to express myself for the
great chance to give shape to imagination in a simple
and intuitive manner.

I try to convey a message that is important to me: ev-

eryone can if they so choose, to express their creativ-
ity in this virtual world, though in the real world they
make the trades more different and distant from art.
At this moment I organized exhibitions virtual group-
ing different artists. Also I create sculptures and art
installations.

I like to experience every kind of expressive technique

and in the future I pose no limits in this research.
For the first time I came in Second Life in April 2007 and
a that time one of the first problems I faced was then
All creations well done.
posed to the artists who tried their first timid steps in
the metaverse to raise awareness of their works with
My passion for experimentation leads me to embrace
the exhibitions. At that time the Italian art galleries in
many different styles and even create new ones, using
SL were few and little-known and identified many ele-
for example the support of the particles.
ments that could worthily talented exhibit their cre-
ations in a gallery. Thus was born the first pyramid, a
The intent is to communicate emotions, particular
building that I imagined as an ideal showcase for these
points of view, exploring the unknown of my imagi-
artistic experiments. On 7 June 2007 by the first exhi-
nation.
bition of the Pyramid on land rented for the purpose.
On that occasion, I founded the Orion Tales art group
If I can excite or amaze the public brings me half hap-
that exposes permanently in the land of Indire. I then
py and half I was already given by the completion of
set up 2 other buildings for exhibitions of art in SL,
work.
the Diadem 1 and 2 and I have collaborated on sev-
eral shows at other galleries SL. Subsequently, in 2008,
62 metaverse art
It is quite important to know the opinion of the public
to improve, but not always possible to know it truly
and sincerely.

All are public when they look at my work.

Building, scripting and particle are the techniques that

I use in the metaverse. In RL I am a programmer and I
know digital imaging.

It relax me.

I think the theatrical art is increasingly graft with im-

mersive art installations, a new art form from the fu-
sion of different visual arts.

Alone, but not always.

Picture 2: Justice Gala VJAZZ dom
I prefer productions linked to metaverse.

Picture 3: Justice Gala cinetic installation Juria Yoshikawa

Picture 1: Justice Gala Break those Walls Velazquez
Bonetto Josina Burgess, Caravaggio Bonetto, Junivers
metaverse art 63
64 metaverse art

Picture 4: Metropolis metaversum virtual environment by

Velazquez Bonetto
metaverse art 65
66 metaverse art

Picture 5: MdM cyberlandia Les demoiselles d’Avignon by Caravaggio bonetto

 metaverse art 67

that are more and more enormous. I also began to use

sounds in my SL creations. but what is sure is that I
keep in the black and white

“Dream” I do not know if it is done well, but it’s my

first creation of very large size (40X40X50) that I cre-
ate from one of my musical composition, (for I am also
a musician ), I play a lot on the sounds and visuals,

Loup Erin for me it’s some kind of video clip of the music. I had
many emotions when creating

Artist I do a lot of different style, my only rule is limited to

black and white, before beginning a work, I already its
final result in mind, it can be: formal, abstract, emo-
tional or rational. and when I start, I put everything I
own, emotion, passion, desire and determination ..

- For my pleasure, I create in SL the same way as in RL,

to cause emotion in the viewer, to convey a message.
the desired impact is the same whe

I want people resente something, if I can cause the

Stendhal syndrome on some, I’m happy
- I think this world (SL) is interresting, because it is
Yes it is important that you tell me, (I like) or (I hate),
already populated by thousands of people that can
I always take into account the feelings of the viewer,
reach many people, unlike a simptle website, the per-
that criticism is good or bad ...
son is already present here and lots of structure wel-
but I’m not going to harass the public about what they
comes artists
think
- In RL I work only in black and white (painting, pho-
-Rather important, I’m interested in any thought or say
tography, sculpture ...) and also in SL, but in SL I can re-
about my creations
ally give free rein to my imagination because the pos-
sibilities are immense and with little cost ^ ^ creation
I use Photoshop, a lot of script, and now I’m interested
of visual, sound and light, I have no specific theme was
in sound, all is created specially for my creation on
broadcast, each of my creations has a different mes-
Second Life, I imported some of my paintings RL, but
sage has to pass, according to my mood and events
Second Life allows me to create something different
of my life
from the RL, without spending too much money
- the same as usual, but I am trying to create works
68 metaverse art
- Rather, my creation SL helps me in my creations RL,
if I do something interresting on SL, I did my best to
recreate in RL.

-just one thing technical... make sculpty flexible!

j’aime être seul quand je crée, mais parfois, j’aime faire

des projets en collaboration. (actuellement je suis sur
Un projet avec Zhora Maynard)

I do both, as I said above, I have imported some cre-

ation RL, but I love creating from SL is a hobby

Picture 2: MdM Cyberlandia CARP exhibition Velazquez

Bonetto

Picture 3: MdM Cyberlandia CARP exhibition Velazquez

Bonetto
Picture 1: MdM Cyberlandia CARP exhibition Caravaggio
Bonetto
metaverse art 69
70 metaverse art
 metaverse art 71

Picture 4: MdM Cyberlandia CARP exhibition Velazquez Bonetto

72 metaverse art

Picture 5: MdM Cyberlandia CARP exhibition, Josina Burgess

 metaverse art 73

for a novel, has survived multiple relocations and

evolutions over the last two years. Large, small,
formal, informal, and even “missing-in-action” have
not compromised the loyalty of O’Chills’ clientele.

I remain transparent throughout The Metaverse

and in all areas of social media, thus my communi-
cation is conversational and real-time.

Magdaleine Because I emphasize interaction -- written, oral,

Rossini
or rendered -- my environments tend to be un-
complicated and artistically simple. I indulge my
excitement by creating themed focal points that
Artist occasionally provoke new conversation, but often
symbolize familiarity with RL -- with a “twist”. I rely
a great deal more on color and texture than domi-
nation by highly realistic graphics.

Hmm? “My” work is always a compilation of works

-- a mix of my creations and words with those of
other talented creators. I do not create for exhibi-
tion or adjudication, but for the pure pleasure of
camaraderie.
As a writer and creator, I am free of RL perceptual
I love it, of course! To hear, “Wow, it’s really *nice*
constraints: the “white space” of paper or canvas.
here!” is an amazing payoff:)
Metaversal creations can be contiguous and fluid
or -- conversely -- compact and concrete. Incorpo-
Well, if they’re tired, their backs hurt, and they need
ration of animation with word and graphic repre-
to sit down with a good drink and conversation for a
sentations creates a heightened and unique expe-
while, I’m around. The transparency in RL and the
rience for creators and users.
Metaverse draws on me to “be there”, to gather,
and to integrate as much feedback as possible.
Relaxation, connection, reassurance, risk, and
And the coffee is always hot and the Scotch is free.
hope are key to my work in all worlds.
Photoshop is my friend -- on every level of graphic
Creation of environments and experiences that
creation. I am exploring machinima as well as sev-
promote quietude, reflection, and experimentation.
eral media broadcasting techniques to enhance
the “written word” experiences. In my RL profes-
Hands down, Zero O’Chills Bar & Grill. The project,
sion I use X-ray vision, bionic hearing, and lots of
begun in late-2007 as an “observation platform”
74 metaverse art
graph paper to chart themes, patterns, trends, and
symbols. The Metaverse is a fabulous sieve for ex-
ploring human needs and reactions, thus helping
to craft useful solutions to life puzzles on a variety
of realms.

My eyes are 100% keener to my RL surrounds. The

mathematical aspect of metaversal creations has
improved my decorating skills tremendously! More
subtly, the “rhythm” of conversation has definitely
improved my written fiction dialog as well as my
non-fiction presentations.

Thematically, I must vote for tolerance. Without tol-

Picture 2: MdM Cyberlandia CARP exhibition Velazquez
Bonetto
erance there will be less risk-taking in expression.
Technically, providers must provide secure, reli-
able, and easily accessible, multi-lingual platforms
-- especially important as enterprise, educational,
and governmental entities enter in increased num-
bers.

I play well with others:)

I use a blend -- often creating a derivative of RL

renderings that are graphically reworked to inte-
grate with NPIRL works.

Picture 3: MdM Cyberlandia CARP exhibition Velazquez

Bonetto
Picture 1: MdM Cyberlandia CARP exhibition Josina
Burgess
metaverse art 75
76 metaverse art

Picture 4: MdM Cyberlandia CARP exhibition Velazquez

Bonetto
metaverse art 77
78 metaverse art

Picture 5: Evaluna Sperber Emoticon 4

 metaverse art 79

as a professional facilitator, I am very good at design-

ing and implementing such processes.

My style as a person, Theraphist, Educator is informal.

I have made a slide show at my venue to be able to in-
troduce the types of projects I do. They can be visual,
auditory, kinetic or a combination, but the main thing
I try to get across is that they are a;ways interactive,

Marly Milena usually collaborative, and focussed on process, not an

end result.

Artist My main intention is to demonstrate that expres-

sive media are powerfull tools for self-awareness and
community building. I do it here because its fun and
because I have more opportunities to reach people I
would never reach otherwise.

What is important is that whoever participates in my

programms understands the difference between, for
instance, making a picture simply for viewing and
making a picture for self-exploration and insight.

I am interested in each person’s learning process when

they do participate in my prigramms and what works
The Metaverse is interesting for me because I have
well for them and might be refined.
more oportunities to experiment with art processes
combines with psychology and education in SL than
I enjoy finding kindred spirits
I do, at this time, in RL.
For this question I would need to send you a note-
My topics are Self-awareness, community building,
card describing my projects, what I am doing here is
creative expression, experimenting with combining
en extention of my RL work as a groupleader, Gestalt
media as a personal growth process.
and Jungian therapist, Multi-artist, Educator, Organi-
sation Trainer and Consultant and Coach. However I
In the near future I will do the same, but with various
am mostly retired in RL so this is my new playground.
collaborators with different types of expertise
I am less technophobic than I used to be. SL is also
As far as I know, I am the only one developing pro-
a topic of conversation among circles of friends and
grams in which Art is used as a process for self-discov-
colleagues, and a number of people have come in as
ery rather than primarily as a development of product
a result. This makes it easier to hang out with people
for exhibit or performance.
80 metaverse art
who live a distance from me.

More emphasis on an understanding of different cul-

tural approaches to Art. A simplification of the tech-
nology so that one doesn’t run into so many glitches
and difficulties when groups of people gather to do
something together. The development of emotional
gesture and facial expression for avatars. A simplifica-
tion of scripting for non-tech lay person.

My programs are collaborative, both in their develop-

Picture 2: MdM Cyberlandia CARP exhibition Velazquez
Bonetto
ment and their execultion and I also recognize my self-
imposed limitations as a builder so that, for instance, I
have designed a bunch of necklaces and then found
someone else to make them. (This is seperate from the
work I have been describing, just something I do to
express my own creatiive spirit). Often, the initial idea
comes from me and I find others who are interested in
working with me.

I have certainly imported some of my own self-por-

traits for one of my workshops, and others send me
theirs as well. But this is not a main activity

Picture 3: Evaluna Speber Emoticon 4

Picture 1: rinascimento metaverso , Merlino Mayo

metaverse art 81
82 metaverse art

Picture 4: rinascimento metaverso Merlino Mayo

metaverse art 83
84 metaverse art

Picture 5: Virtual architecture MdM Cyberlandia by Velazquez Bonetto

 metaverse art 85

programme as well as ideas. The audience reaction

was fantastic. People were saying how they didn’t re-
alise that virtual environments could be used in this
way – using so many artistic forms to put across a chal-
lenging message.

Following on from this I’ve enjoyed contributing po-

etry, lyrics and choreography to many arts events,

Medora Chevalier poetry slams and campaigns. Follow the Light is a

special artistic pleasure, with junivers’ striking origi-

Artist
nal music, Jannne’s beautiful particle fireworks and
my contribution of costumes and choreography and
a team of dancers from different countries. I love the
audience reaction when all the visuals and the music
come together. – It makes such a strong connection
with people.
For my own choice of art work to visit I will aim to find
work that brings together sound and vision. It has to
have a real impact, drawing me in as participant or
taking me away into the Metaverse so I change my
understanding of myself or my world (s). For me Au-
raKyo Insoo’s work is outstanding. I never miss one of
her shows. They tackle the most difficult subjects –
violence against women, war, struggling humankind
My first connection to the power of Metaverse Arts
– always with a clear vision, integrity and humanity
came from taking part in long collective music jams
on gamelan, hyper flutes and other hyper instru-
One delight of the Metaverse is the unexpected invita-
ments. These were beautiful spontaneous events. It
tions that arrive every day taking you at the press of a
was amazing to me that people from many different
TP button to some new arts experience.
countries were involved simultaneously in creating
something beautiful.
A uniqueness of art in this environment is our abil-
ity to interact with it, walking and flying through
The Rings rock opera, a Carp production in 2008, was a
it, touching it so it responds, hearing it breathe and
really challenging and ambitious project which made
change. Metaverse Art is a living character in our story.
a great impact on me. Its ambition was to change
It has the power to make us gasp as we alt zoom out
the world! It was so fulfilling being part: developing
to see ourselves, tiny specks among falling spires, tiny
the concepts, working with a large team and using so
insects flying among huge flower textures, lonely spir-
many different art forms - design, music, dance, act-
its climbing the galactic stairs to the celestial heaven
ing and metaverse art forms like scripting and visual
of the pharaohs.
effects. I was proud to contribute lyrics, narration and
86 metaverse art

The moment has come for RL to wake up and recog-

Metaverse artists always seem happy to discuss their nise that Metaverse Art is valid and has significant cre-
work and its meaning. Though often I feel that art ative value and artistic impact. More and more artists,
should have no explicit “meaning” – other than its im- musicians, film makers are coming to this environment
pact on that person experiencing it and the creative to play and discovering its potential. It’s only right that
expression of its creator. artists should be near each new frontier and light the
way for everyone else.
Deciding what you like in Metaverse work is, I find,
more intuitive than in RL settings. These environments
are less boundaried by conventional frameworks of
meaning or taste. This liberates us to make a direct, in-
tuitive and genuine response to each piece.

One piece of Metaverse Art that changed my view

about Art and /or Life was AuraKyo Insoo’s Viva la Vida.
This showed me that Metaverse Art has the potential
to exceed the impact of RL art if it is made with deep
artistic sensitivity and ability to use the potentials of
the environment. It was magical and I returned day af-
ter day to stay within it entranced.

The only type of Metaverse Art I decidedly do not like

is the work that shouts “Look at me, aren’t I clever” with
my fancy skills. Who cares about what is being com-
municated if it comes down to ego?

The differences between Art in RL and Metaverse Art

are clearly around the mode of creation. But in the in-
ner impact the differences are not so extreme. Immer-
siveness can occur in a great novel, film, symphony or
sculpture. It is rarer to get the hug scale in RL that you
find sometimes in SL. Anish Kapoor is one of the few
who makes this impact in his work.
The art that is created inside the Metaverse and is of it
is special, although there is also some lovely RL artwork
imported. My late friend Izikael Novi is one of the many
RL artists who found a new global audience for work
imported into the Metaverse.
 metaverse art 87

Picture 1: Medora in the Werner Kurosawa exhibition opening

88 metaverse art

Picture 2: The RINGS homeless performed by Medora Chevalier (diabolus/CARP 2008)

 metaverse art 89

Picture 3: Medora in the Dragon Emoticon (diabolus/CARP 2009)

90 metaverse art

Picture 4: Medora in the Junivers StockholmLiving Architecture performance (diabolus/CARP 2008)


Mencius Watts
Artist
New media extends the range of traditional processes by
establishing a palette of time, motion, interactivity, and
extensions of presence. I find that the ephemeral qualities
of electronic and intermedia works, by their very nature,
are inherently transformative. The significance of the tan-
gible becomes fleeting, shifting emphasis from the ob-
ject, and toward the experience.
Transcendent, Liminal - poetic threshold moments span-
ning experience
Hybrid reality, human computer interface, spatialized
navigation, immersive poetic installations
4. Which of your creations in the Metaverse do you think
are particularly well done or significant and why?
Flickr Gettr
metaverse art 91
Youtubed
Dido Interactive database interface
As an intermedia artist, I actively investigate emerging
technologies that inform my work in a variety of media
including installation, video, virtual art, and interactive
projects. I approach my work in new media from a per-
spective rooted in the traditions of painting, photogra-
phy, and sculpture, with a particular interest in spatialized
works that can immerse a viewer within an experience. In
developing new concepts and forms, I draw on intersec-
tions between philosophy and science, as well as juxtapo-
sitions between built and natural constructs.
I position my work to act as a mediator between tangible
and implied space, creating a potential for the transfor-
mative nature of a composition. I pursue the realization
of forms, sounds and images that afford interaction at its
most fundamental level.
As my work is interactive, I am always interested in par-
ticipant feedback
8. How important is it to you to get feedback and reac-
tions from the public?
Very important
Peer review and critical feedback is quite important of
course
I work with an interdisciplinary team of artists, designers,
architects, computer scientists, and composers to devel-
op new forms in interactive forms
I am an intermedia artist - working between media, be-
tween worlds - I collaborate and investigate new forms
collectively
Virtual worlds as portal for mediated experiences in info,
data, media and physical realities
92 metaverse art

I value the synergy of collaboration and have worked closely

with other artists and scientists on numerous projects.

I am a career artist in electronic media since its emergence -

my work bridges both worlds
 metaverse art 93

Picture 1: Evaluna Sperber Emoticon 4

94 metaverse art

Picture 2: Emoticon 4 by Evaluna Sperber

 metaverse art 95

tures for events, sculptures, complete avatar building,

basic scripting, graphic elaboration, recently video.

My behavior bring me always to explore new tec-

niques and new mediums, I would like to learn better
scripting to get more closer to the world of Processing
Art which is still not completely aviable now into the
metaverses. I’ll like to create more interaction between

Merlino Mayo people and art sculptures, virtual art installations con-
ceptually similar to natural life beings behaviour.

Artist
Naturally I want to work on my usual areas to explore
in the future tecnologic growing develop research.

my most significant creations are probably the big

structures as complex buildings and particularily the
big art installation projects
as for example:
a) Into a bigger project with 2lifecast in ownership
with the ‘Provincia di Milano’ RL and showed in Mi-
lano RL in the 16 april 2009, I realized many structures,
buildings and auditoriums, and The reconstruction of
an Escher’s paint “The Waterfall” in 3d with sounds, all
built into an average space of 100x40x50meters, as
a big and complex structure, with a perspective re-
At the begin of my experience, the first day, looking
construction of the Penrose Stairs impossible object,
at work some avatars into the public Sandbox, I found
visible from one single point. It was really intersting
immediately the Metaverse as an intersting revolu-
for the study of geometries into art path, and to bet-
tionary medium. So I start to understand this new
ter understand what does mean “immersive” experi-
instrument, the building art and working with prims,
ence with sounds and perspective problems, as it was
colors, scripts and avatars creation, all this bring me to
strictly necessary to use two avatars to built in and to
a new way of artistic expression.
correct the alignements over the limits of moving ob-
The Sandbox (the place where each avatar can freely
jects with the Metaverse’s client.
create) is the best example way to understand how
b) The art installation “Magna Mather 2.0” winner for
Art creation starts and comunicates with and between
“Call for Creative 2.0” Art contest realized into the
people all around the world, how the public 3d work-
metaverse and into real life in Rome at the Ara Pacis
ing space give us the chance to share our ideas, our
“Ars in Ara”. A huge light structure 90x50x50 meters
oniric images that becomes Art. Prims are a new al-
with interactive sounds, with strong symbolism and
phabet of an expressive universal human language.
complex interpretation of an image of the web evolu-
tion. I found it really significant for the study and use
My fav areas are: photography, building of big struc-
96 metaverse art
 metaverse art 97
of the texture use as structures and the use of sounds
modified and scripted to create a stronger expression
and interaction with visitors.
c) The Art installation “E.R.U.D.I.U.M.” for “The Imagine
Festival” 9-11 oct 2009 at the final show in (CARP/Di-
abolus) with other artists works. It was intersting for
the advanced study on new sounds, and for a study of
similar random moving rotations scripted spheres and
also a filtering view effect for the visitor.
d) A big part of various singles “little” sculptures done
from far 2007 and till 2009, as examples: Flower 2007,
Futurist-Room 2008, Maya 2009, Ragnarok 2009, Pop-
Korn 2009, ect. moving from a study of colors and
sensitive experience into the metaverse and trying to
reach the similar Nature develop of alive structures or
random movements as flexy or physical prim rezzers,
that help me to express the concept of negation of
chaos existence as a sort of new digital “action paint-
ing”. Picture 2: imagine festival ERUDIUM by Merlino Mayo
e) Many Studies in photography inworld (snapshots)
and multilayer compositions with different kinds of
view mode as wireframe (structure), textures from
RLife, lights, skyes, color balances, ect. to find a new
way to weld or get closer, real life and virtual life, as the
water of the lake that reflect the sky, the Alice’s Mirror.
http://www.flickr.com/photos/onesecondlife/show/

I like to comunicate my thoughts with symbols, im-

ages and written descriptive path and creating new
ways, new codes to increase my concept palette. My
style tend to follow a digital abstract expressionism or
a pixel cubism in the way to define images, symbols,
with 3dimensional volumes that looks as a fading vi-
sion of the ideas world. But I found often that my
way to work comes often as a ‘psychic automatism’, it
happens when I do ‘experiments’ without any specific
target into sandboxes, and at the end of work I can

Picture 1: imagine festival ERUDIUM by Merlino Mayo Picture 3: imagine festival ERUDIUM by Merlino Mayo
98 metaverse art
 metaverse art 99

Picture 4: imagine festival ERUDIUM by Merlino Mayo

100 metaverse art
see complex interactions into sctructures created in
a short time, but this needs a really particular mental
stage as an action building.
Otherwise formal aspect is also part of my creations
maybe in the last steps as the end refine of a big work,
or as a final result apparently accidental starts from the
root of a concept. So its hard to define it, as a Surrealist
result? An Abstract result? Or a Formal, a Hyperformal
work? Maybe something in the middle.
I try with my works to explain the concept that I refuse
the existence of chaos as concept but I think it is an
image of the cosmos (order) as evident from fractal ge-
ometry and the prophetic Pollock’s visions.
So into my works a perfect cube collapse and deterio-
rate into hundreds of cubes, and otherwise a cloud of
cubes comes to become a perfect simple volume. A
high tower is near to fall, instable, pushed from gravity
and wind forces.
This is the Nature that I try to better understand in
each work and to transmit as experience to others by
new environment’s develop. I want to create emotion-
al effect and a specific message as geometries does
naturally.
It is important especially on how public is able to un-
derstand or share the experience of my creations. I al-
ways listen to all visitor’s thoughts with great attention
and curiosity.
It could be important if I need to better understand if a
work has reached my target, to trasmit a specific mes-
sage or not. But I always listen to all reactions, to better
understand the result of my comunication, and this is
one of the most intersting result to observe.
Picture 4:
This kind of reaction could be less important as taste
reactions but more important to learn more about
tecniques, so I respect a lot critics and I love those be-
cause I can learn from constructive suggestions from
different colleagues. They knows the limits, and they
can understand the way to solve a problem.
Its hard to say what is special and what is not. I like
to use ‘simple’ as possible scripts and primitives to cre-
ate complex effects. Recently I am working on rezzing
scripts with sounds scripts to help my works to react
and to create random and not expected structures.
From RL I bring my skills from architecture studies and
graphic work skills, and informatic studies back in the
years at school, with little thesis about A.I. and Fractals
routines. My cultural background and general life ex-
perience, helps me always to better understand what I
am doing and where I want to go.
Any creative behaviour is really positive for the mind
balance, so if you find a creative aspect to develop,
into the Metaverse, it will help you also into RLife. That
said, my experience into Metaverse helped me a lot to
find technical doors that I never imagine opened or
simply forgot in the past years, and I find a comple-
tion in other ways that I was following into RLife as the
photography and somes painting works on unusual
supports.
I always thought that Metaverses and RLife are strict-
ly connected, so its impossible to split one from the
other, I guess that our Age is very uncertain and prob-
ably after the Oil crisis or a big war, the Consumism
Economy will end, and Man will come back to the agri-
colture and to the life near the Nature and sharing life
into smaller human groups.
This is hard to imagine today, but despite apparences
I am not a pessimist, I guess if the internet will survive
to all these changes that are waiting for us, those will
 metaverse art 101
changes a lot, maybe losting the actual global dimen-
sion as a Babel Tower Civilization, but developing a ture the face emotions recognizing from the machines,
more sophisticated medium and interaction with our and maybe Olographic projector into RL so virtual Worlds
minds. will interact directly with RL.

But if we see something more near to us today, prob-
ably the next big changes will be performed from the
creation of a Standard Exportable Avatar model (as
like the actual email standard of comunication) able
to change grid of many differents metaverses without
losting: skills, feedback, experience, works, contacts.
So we will see changes into the Metaverse that will be
able to get truly linked to the Web, with no obstacles
as actually we found, so with complete compatibilities
with different languages, Java, C, Pearl, ect.. so Pro-
cessing will changes a lot the Arts Develop and also
the opening to the most common professional file
formats as: *.pdf, .doc, .3ds, .dxf, .dwg, .html, .ppt, pds,
archives databases, ect... will enhance a lot the links to
the knowledge and sharing of Arts into and between
Metaverse’s grids of the future. The Web in the future
will be included into metaverses as an old book, or a
gas cloud, because it will be just one way to read news,
databases, contacts, different tools and clients, ect.
I prefer a lot to work with other artists, as for example
the recent trend to do Rez-Meeting. This is a sort of that
I said in the first answers, an evolution of the “Sandbox”
dimension as new way to comunicate, new language,
new alphabet with words made of colors, volumes, lights
and shadows, ect. The sharing of a sort of collective oniric
dimension.
I dislike and I find hard to understand who simply import
RL paints of photos and let this as it is into the Metaverse,
without to interact with it, or without to modify it trans-
forming into a new result, typical of the new medium. But
if we are talking about the meet between RL and Virtual
Life, live events, interactions, ect.. I agree and support it
as possible each time I can do it. I think the comunication
between these two worlds is the most intersting future
peculiarity.

For the graphic definition develop probably a big rev-

olution will happen when we will see the first real Arti-
ficial Intelligence and new graphic engines will be able
to creates and handle powerfull software with Din-
amic Fractal Textures, so a material texture will does
no more exist as a static bitmap information made of
matrix numbers, but will be a sort of music pentagram
as a very simple fractal formula, a very short informa-
tion but able to built an entire universe with a self-
similarity and almost infinite perfect zooming details.
Formula as this will be like seeds of inimaginable large
dimension explorable worlds.

The next and parallel step is the interaction with RLife

world, so starting from the complex body Motion Cap-
ture (this already exist) with a simple webcam, in fu-
102 metaverse art

Picture 5: rinascimento metaverso ELEMENTUM byMerlino Mayo

 metaverse art 103

Picture 6: rinascimento metaverso ELEMENTUM byMerlino Mayo

104 metaverse art

Picture 7: rinascimento metaverso ELEMENTUM byMerlino Mayo

 metaverse art 105

Picture 8: rinascimento metaverso ELEMENTUM byMerlino Mayo

106 metaverse art

Picture 9: Magna Mater by Merlino Mayo

 metaverse art 107

Picture 10: The Battle by Merlino Mayo

108 metaverse art

Picture 11: rinascimento metaverso Merlino Mayo

 metaverse art 109

my pictures often portray other artwork, because

Second Life is an artificial world completely built by
its own residents. Out of my hobby I made an instru-
ment through which I can relate and express myself
inside a very special dimension. Here I’ve refined my
technique in using technical tools and I’ve worked on
my conceptual objective. Often it feels like I’m using a
scalpel able to dissect, remove or re-compose.

MillaMilla Noel A picture has often the ability to manifest something

that otherwise will not exist, a hybrid between digital,

Artist
conceptual and emotional realities that wouldn’t be
otherwise formalized.

I like to work on photography and art in general and

on new ways of producing and exhibiting it not only
inside the Metaverse.

The picture “Alien Glow” that partially represents the

people of the Metaverse: an avatar staring into the fu-
ture. This picture is the winner of the Avatar Pics Com-
petition. (that is the 1st crossworld avatar art contest,
open to all virtual worlds and avatars, artworks creat-
ed in Second Life, IMVU, World of Warcraft, Frenzoo) it
has been displayed at the Koinup Art Gallery built for
Because the Metaverse is a place where I can experi-
the Second Life 6th Birthday) and in RL into the Festi-
ment with my own creativity without any barrier and
val Art in Villa Fogliano – Latina.
at a relatively low cost. Moreover it’s a place that al-
lows meeting people from all over the world, from
I’m a photographer, hence I let my images, colours,
different age groups and socio-cultural backgrounds:
contrasts, and lights speak for me. My images repre-
this gives the chance to broaden one own’s cultural
sent an instant, a portrait of an individual or the ex-
and artistic horizons.
pression of a collective feeling. But in each one I tell
a short story.
It’s definitely an instrument to search and discover my
abilities.
My work is mostly colours, emotions; sometimes it
Themes, avatars makeovers, new identities - chromatic
happens on the spur of the moment, like a snapshot,
effects and brand new aesthetic references.
sometimes it is the execution of a carefully planned
To take photographs in Second Life to me means not
concept: the post-production of an idea.
only expressing what I see, but also communicating
Art is created in SL because it’s a ductile and immedi-
my viewpoint, born from the type of mixing and in-
ate medium to use in order to give substance to one’s
teracting that typically happen in social networks;
110 metaverse art
 metaverse art 111
imagination. I try to solicit an emotion in the viewer.

It’s very important. Art for me is a way of uniting peo-

ple in a shared dimension.

It’s interesting to discover that beside the emotion

I express in my artwork, the public can see other im-
ages, other shades that often are new stimuli for me.
Let’s say that a positive response from the public feeds
my desire to create, experiment with new artworks.

Feedback is always constructive and receiving a tip

or a critique from a colleague is a stimulus to become
better and improve oneself. Moreover the creative act
can be a work of multiple hands, meaning that could
be inspired by feedback from other artists.

I mostly just use the SL client to take pictures (wind-

light settings, camera control, etc.) and I post-produce Picture 2: metaverse foto MillaMilla Noel
in RL with Photoshop or other graphic editing soft-
ware to crop or other minor retouching. Photography
is a passion of mine in RL also.

Personally it has helped my interest for the art world

in all its manifestations. It also helped develop my big
passion for photography. This translated into produc-
ing artworks exhibited also in RL (- “Rinascimento Vir-
tuale” presso il Museo di Storia Naturale e Antropol-
igia di Firenze dal 21/10/08 al 7/01/09
- Futuroma Roma - Serata Futurista presso il Tempio di
Adriano a Roma 27/01/09
http://www.youtube.com/watch?v=gxk5lcoJpNE&f
eature=channel
- “Open Garden interAction” durante il Festival delle
Arti presso Villa Fogliano Latina 26/07/09 al 2/08/09).

In SL everything is possible, thus themes can be what-

Picture 1: metaverse foto MillaMilla Noel Picture 3: metaverse foto MillaMilla Noel
112 metaverse art
ever our imagination can come up with. Obviously the
strength of SL compared to other metaverses if the
ability to build your own world around yourself.

Both. As a photographer usually I work alone, but I

have a strong connection to my group, “Carp Creator”,
which I find very stimulating and full of energy. To-
gether with its members we developed various artis-
tic projects (see diabolus ning). I feel, more generally
speaking, a connection also with the artistic commu-
nity of SL at large.

My habitat is the Metaverse: here I’ve developed as an

artist. My aspiration is to be able to exhibit again my
photography in RL.

Picture 4: metaverse foto MillaMilla Noel

metaverse art 113
114 metaverse art

Picture 5: metaverse foto MillaMilla Noel

 metaverse art 115

ers. You are what you make here.

My style is both formal and very informal, netesque
as it were. My personal communication tends towards
the informal and emotional; my artistic towards the
abstract, emotive and visceral, although some pieces
have elaborate formal references. My images are both
iconic and spiritual mostly; some pieces of course are
concrete.

Miso Susanowa I create art int he multiverse because my intention is

that of any artist - communication. The multiverse al-

Artist
lows for extended modes and forms of communica-
tion and is exciting to explore. I hope to achieve better
communication of emotion, thought and the com-
monality of Man through the touchstone of artwork.
The impact I am trying to make is on people.
What is more important to me are the dialogues I get
into regarding such works; what people think or feel
about them, what experiences reflect from my piece
to them; what possibilities open up to them from my
work.
VERY.
Somewhat important; it is more important that i can
reach and affect “the man on the street” with my work
than other artists, because they already have the state
I began in the metaverse in 1996, creating and helping
of mind that I wish to communicate to other people.
to create and homestead many virtual worlds. It is a
Of course, everyone wants to be admired by thier col-
new reality and I wish to be on the frontier.
leagues :)
The possibilities of form and shape and texture; the
Having other artists comment on my pieces can be
possibilities of immersive, interactive artworks; the
very interesting though; can help me spot things
essential communications nature of the medium; the
about a piece I did that I didn’t see, or suggest tech-
ability to communicate in many modes.
nique or imporvements in my ability to use techniques
The multiverse itself; its growth, life and direction.
to convey a message, or if a message is not clear.
‘City (Los Angeles)’ - an immersive artwork that gives
people a taste and reflection on the real life of Los An-
Any tool and every tool available; each tool has its
geles, not the tv show-projected-as-Los Angeles.
own peculiarities and style and can suggest interest-
‘Interactive’ - a multi-artist sim-wide adventure mys-
ing approaches unique to that tool.
tery exploring the nature of Second Life and of the
I brought to Second Life skills in Photoshop and 3D
multiverse itself. Interactive explores the collaborative
modeling as well as an extensive knowledge of net
nature of such spaces for connecting people, projects,
architecture and server functioning, on the computer
ideas, groups, educators, teachers, artists and explor-
116 metaverse art
side, and skills in sculpting, painting and musicianship
on the physical side.

It is my sketchpad for physical-life artwork. It is also my

recovery therapy. I had been blocked/not making art-
work for 10 years before I came to SL.

Open grids. Better architecture. The ability of people

Picture 2: particle sculpture by Josina Burgess
to recognize the true value of “bluesky” research and
“sandbox” abilities of the artists and visionaries who
struggle with the learning curve of the medium for
the joy of it, to create something new and not only for
profits. The ability for business and arts people to work
TOGETHER and not have one run out the other, there-
by turning the medium into a cheap 3D shopping mall
and cybersex town. To keep the frontiers of this new
universe open and not reduce it to a pale imitation
of other mediums. To not let this medium wither and
choke like it did 10 years ago from lack of interest and
the commodification of this world.

I work alone a lot. I have just begun collaborating with

other artists.

I fully plan to bring many of my pieces, as close as they

can be done, out into physical-life. This is an integral
part of my workplan here. There are cheap and abun-
dant materials now that could be used to create most
of the feeling and structure of many of my pieces.

However, I do explore this medium itself for what it is,

and create objects that truly might be “impossible in
real life” because that is one of the intrinsic character-
istics of this new medium.

Picture 3: ghost by Josina Burgess

Picture 1: metaverse foto MillaMilla Noel

metaverse art 117
118 metaverse art

Picture 4: particle sculpture by Josina Burgess

metaverse art 119
120 metaverse art

Picture 5: CARP 2 architecture by Velazquez Bonetto

 metaverse art 121

“I’ll be your substitute...” combines Platons cave simili

which is known as ‚the’ metaphor for western thought
and life within the boundaries of‚ existence and ap-
pearance; being and illusion. It is the metaphor of the
labyrinth, the ancient image for finding your identity.
In the inside of the cave quotes related to the philo-
sophical question of the essence of being float freely.

Myth Guyot The audio level contained atmospheric sounds which

filled the cave acoustically. With the help of a text to

Artist
speech program the history of the allegorical cave
could be listened to. In this virtual cave, which is a mix-
ture of deliberate architecture, temple and cave, the
avatar is transported into a labyrinth. In the walls of
this structure, the source code of the first Second Life
viewer can be seen. This hampers visual orientation in
the virtual space.

The avatar itself is represented by code, hence it’s own

essence is being ruled by code, it realizes that its own
existence is created by source code. The user on the
other hand is deprived of the illusion of identifying
with the avatar. In this fashion the project exposes the
very construction of what is perceived to be reality.
We’ve started in sl with a goup project called “second
art” in 2007 to place art in the public space of a the
The work unifies different models of perception with
metaverse.
the cognitive level. Assuming this a layered model.
The observer thus finds him or herself initially on a vi-
Laksmi Giha und Myth Guyot i developed the proj-
sual level of SL, the audio level that united avatar and
ect this project, based on the attempt to question
user, and the real physical level. After that there are
the definition of reality from within Second Life. The
Meta levels of philosophical questions and code as its
boundaries between reality, fiction but also between a
technological opposite. The top strata is formed by
physical and virtual space are transient in Second Life.
the cognitive level.
The Avatar allows people life in a parallel universe. The
development of an identity is transported into a vir-
We will show rl and sl art in our gallery at: 431art GAL-
tual space. Because experience and sensation is linked
LERY, Adelebsen Isle (241, 5, 1201)
to physical reality, a merging of the virtual and the real
The maze (431Art.org, Adelebsen Isle (256, 9, 196)).
takes place. Rausch and Grosch are interdisciplinary
It’s dealing withe the prception of the AV and the
and multimedia artists who also raise the question of
user. We love to use typographic elements in our work
the avatars own independent existence.
122 metaverse art
and as far as this concerned we think it’s pretty good
shown in the maze.

By showing our work - simple like that :)

Giving the recipient the oportunety to refelct his envi-

ronment and his point of view in concerns of percep-
tion.

It is important.

Well thats what feeds the artist - doesn’t it.

Depends who’s thinking.... lol

Just the basic. We started from zero in 2007.

Picture 2: CARP 2 architecture by Velazquez Bonetto
It could be a layout tool for rl environments some-
times.

Combining the rl and sl aspects.

Depends on the topic or project.

We will see wat the future will bring.....

Picture 3: CARP 2 architecture by Velazquez Bonetto

Picture 1: CARP 2 architecture by Velazquez Bonetto

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Picture 4: CARP 2 architecture by Velazquez Bonetto

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Picture 5: rinascimento metaverso MillaMilla Noel

 metaverse art 127

portance, not me personally although it is nice to get

recognition or comments based on single or collec-
tive works
spontanious reactions are the best
very, I came here to learn this medium and the wealth
of talent and skill has made me a better artist
Building, scripts, a cross blend of rl paintings and sl
techniques

Nicci Lane Inspires me to push boundaries

Artist

Expanding the media I currently persue in rl

Environment, Human condition, Nature, Climate
change
same

Alot of my work has had a broad acceptance in sec-

ondlife
The subject matter of nature in general , its colours,
moods and improtance to survival evokes many emo-
tions
Abstract, impressionism
Awareness to current and future of the planet, and
utilising SL gives me an oportunity to express and
show globally. Impact to evoke thought and action
beauty ,
life and associated problems are my main area of im-
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Picture 1: Juria Yoshikawa

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Picture 2: rinascimento metaverso MillaMilla Noel

 metaverse art 131

way to create the work itself.

My Second Life interaction mainly consists of the ex-

hibition of my RL artwork. Additionally, however, over
time I have compiled a portfolio of images that tell my
story from within the virtual world, which has resulted
in the ‘Virtual Lens’ portfolio seen in this book.
I have also performed my ‘Generative Behaviors’ work

Patrick Millard live in concert on occasion and am planning my first

large scale building production this summer while in

Artist
residence at Biosphere 2.

This summer I will be artist in residence at Biosphere

2 (B2) in Oracle, AZ. While there I will be working on
sound, photographic, and virtual portfolios that con-
tinue my work about organic and synthetic hybridiza-
tions.

The virtual component will be my first large scale

build in SL. I plan to construct a virtual Biosphere 2 for
visitors to navigate much like they would if they were
to visit the B2 facilities in RL. The virtual version will
not only be the architectural structure but also con-
tain many interactive texts outlining studies that are
Second Life struck me as an appropriate environment
being done in the B2 laboratories.
in which to exhibit my work because it is encapsulates
the message I am trying to convey. Virtual and Aug-
The goal of the virtual B2 will be to extend the mission
mented realities are in the same context of our future
of Biosphere 2 in a fun and exciting way to as many
as the other big topics: robotics, artificial intelligence,
people as possible.
nanotechnology, social networking + online culture,
technological embodiment, cryonics + strategies for
The ‘Virtual Lens’ portfolio has been the most fun for
engineered negligible senescence, bio-technology
me thus far. The story of the avatar seems to me to be
and all transhumanist methodologies. The virtual
a new way of creating personal narrative or for young
world has become not just a platform for expressing
people to story tell in a way that they relatve to. Shar-
the importance of idea over materiality but also a
ing what is going on in these virtual worlds with those
way to integrate the simulation environments into my
who have not arrived yet is a peculiar task. I find the
portfolios.
reactions I receive vary greatly - from those of interest
to those of absoulte fear and disgust. The bottom line
What began as an appropriate manner of exhibiting
is that the virtual worlds that our avatars live and build
my Real Life (RL) artwork quickly turned into another
132 metaverse art

in are continuing to become a larger part of the world

as a whole - that is the hybridized world where RL and
VR have merged.

I have always seen my work as being presented similar-

ly to science fiction. I make the portfolios in response
to what I see happening in our digital culture on a dai-
ly basis. Whether it is a news story on implanting chips
into the brain of a paraplegic so they can turn out the
lights in the room just by thinking about it or a book
I’ve just read about the way virtual worlds are impact-
ing our real lives by altering religious, economical, and
social institutions that until now have been concreted
in culture I find my work to be very much a reflection
of our near future.

Picture 1: exhibition in Museo del Metaverso

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Picture 2: virtual environment by Arcana Jansma

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Picture 3: sculpture by Velazquez Bonetto in Metropolis Metaversum

 metaverse art 137

I have not “intentions”. I do it because i have fun doing.

Then, of course, if i have positive feedback i’m happy!
:)
And I’m happy too when I learn something.

welllll.... :) I was an artist all my (real ) life... Conditioned

about that...
Here I want not to think to it. As told then... I’m happy

Penelope Parx if have positive feedback.

Artist
Sincerely... i like as logic positive... try dont care nega-
tive... and appreciated much, past time... some nega-
tive feedback done not in a bad way, that helped me
tounderstand something of wrong. (“constructive”? is
the word?)

If they are friends... is more important. And, of course

if they are persons I estimate, and they give me a posi-
tive feedback... i feel very happy :).

Well... I make sculpts RL/SL... that is more than real-

ize it.
I bring here in SL, i think, the skill to figure it in my
mind first and the skill of the synthesis
Because I can do there things I can not in RL and may
be I always liked to do.
I have fun.
SL is the first platform I tryed ... still I’m not able to use
all, still I’m learning new things... Then, SL have a good
Olodecks
community.
I worked always alone in RL. And work in group is one
Art/ publishing/ communication
of the things I would liked to try here.
So now I work in group too, and I appreciate it .
Art/ publishing/ communication
Metaverse only.
“Silent music” ??
It is significant for me, because I feel to have done
what I would liked to do...

Formal, emotional... rationally done, concrete. :))

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Picture 1: Calimera Lane

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Picture 2: VJAZZ, Josina Burgess, Velazquez Boneto

 metaverse art 141

I am a breast cancer survivor and I will do a big build

about this topic in the near future. I have a written
piece about my experiences with cancer and the build
will be based on this. I am really looking forward to
working on it and sharing my experience with others.

I think that Glyph Graves’ Strangers Also Dance is an

amazing installation and I think it is magical. I also

Sabrina Nightfire love Oberon Onmura’s Storm Cells and Targeter builds.
There are so many others too....I could go on and on.

Artist I do a lot of abstract work...mostly based on my own

emotions. I also create most of my art to delight my-
self first. I use many differnt avenues for my work:
photography, painting, sounds, scripts, big builds,
sculpture, sim design, clothes making, curation, etc.
I also use emotion, rational thinking, concrete and
spiritual images. I guess you could say that i explore
all types of message communication.

I try to create art that is like no other. I like to think up

new ideas and execute them. First and foremost, in all
my art...rl or Metaverse, i want to make myself happy.
Just the act of creation brings me great joy. I also love
Ever since I got my first computer, in the 1980s I have
sharing my creations with others. I also love being a
been interested in creating art with it. I am inspired by
pioneer in the infancy of virtual art.
the creative posiblilities of the Metaverse and I enjoy
learning new techniques to expand these posibilities.
I do admit that I like it when others enjoy my work and
I am excited about creating art here. And I love being
I also love when it touches someone deeply.
able to work with other artists from all over the world.
I get so much joy from learning new things and creat-
I love getting feedback from the public. I don’t get too
ing here...it really helps me express myself.
much of that, but when i do, i cherish it.
I like my art to be uplifting and smile inducing. Peace
It is nice that some of my peers love my work. I do en-
and Love was the subject of my Burning Life build this
joy that. Some do not....I guess that is what makes the
year and these are two recurring topics in my art. I like
world go around. The encouragement of other artists
to convey messages that have a social conscious and
is important to me. I also like to encourage other art-
things that encourage people to live fuller and better
ists. So often we see a creation and love it, but never
lives.
tell the artist how we feel. I will tell an artist if i love
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Picture 2: inland sound installation Ux Hax, Maria Grot
Picture 3: inland sound installation Ux Hax, Maria Grot
his or her work. I enjoy encouraging people to keep
trying and growing.
I believe that I use every tool and technique that is
available at this point. In rl, i am a well trained pho-
tographer, a successful painter of murals and also
a quilter and mixed media collage maker and I have
worked extensively in video production. In the past,
i have had worked for long periods of time with ba-
tik and clay. I have also worked with mosaic, jewelry,
weaving, and many other media.
Creating in the Metaverse gives me great joy and en-
riches my rl by making me happy.
I think that promotion of good relations among the
peoples of the world is an important theme for the
Metaverse since this is such a great vehicle for getting
to know people from all over the world. I also think
that interactive art and art combined with machinimia
and are important trends. As technology progresses,
we will have more and more tools at our disposal to
work with. I look forward to when the Metaverse is a
hologram that i can walk into:)
I actually enjoy a balance of both. I am a very good
collaborator...both as a leader and as a general worker.
I work well with others, but i do run with scissors;P
I definitely specialize in Metaverse only art...although
from time to time, i do import rl pieces for display
here....but, that is a rare occurence. I especially love
to create three dimensonal art here, immersive pieces
and interactive art. This is the virtual world....why try
to recreate the real world here?
Picture 1: inland sound installation Ux Hax, Maria Grot
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Picture 4: inland sound installation Ux Hax, Maria Grot

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Picture 5: inland sound installation Ux Hax, Maria Grot

 metaverse art 147

share. There is a full world behind words. If maybe one

day I get the chance to tell my story on another way...
Maybe the main topic for me is communication it-
selves. What is listening really about? And...beside
these wars around, there is also magic everywhere
and so much beauty. If this medium could scream I
would beg the world to build instead of breaking all.
Can’t we just love a bit more? Can’t we build another

Sandree Aubierre landscape in life?

Artist
Because of the handicaps I have, I’m thinking of trying
to become a cinematographer, using this world as a
tool to speak, to create, to share, to inform, to let the
life a bit more dancing. I would like to make educa-
tional programms if I get the chance, time, money and
opportunities in life.

Apparently the creation of my magic coffee tasted well

for people who came on my way to taste it. The cre-
ation of a language which says more than just words
did it also well. Maybe the best creation, without any
pretention, was to find myself back again. Anything
concerning other creations, ask others about that. I
can’t give applause to myself. From the reactions I got,
In 2007 I got attacked on my throat. A man tried to
apparently most people enjoyed my company and it
kill me. I lost my voice on different levels. I was on the
was my pleasure too.
point to kill myself or to kill him. I was desperate. This
medium came on my way. I was curious and tried. And
My style seems to be rare and changing constantly like
cried because somebody, something was a new tool
the wind and weather does. It’s interesting and fasci-
for me to express myself, to heal a part and to trans-
nating for me to see what we can do when we don’t
form the violence in something more constructive.
use the brain (mine is poor) so much. The language of
And I found more what could feed and fill me up to be
the hands seems to be much more honest and clear
just me without being punished, being judged, being
than the words which come out of our mouth. At least
blamed and attacked.
for me, so having lost my voice is in the same time also
my luck. If it would not have happened, I would prob-
All what comes by and gives me wind to go on. To pro-
ably never have entered this world, full of dimensions,
tect myself and my daughters.
layers and possibilities, challenges for life.
Sometimes a place near the sea can help. Sometimes a
Depending the other avater in front of me and his/
library, a meeting, a college, a gallery, a mountain top.
her approach, I adapt my style. Sometimes I write in
To think, to relax, to invent, create, discuss, remember,
148 metaverse art
poetry, sometimes I play with stories, it can happen
by surprise that I kidnapp you to another planet for a
magic coffee. It became the soup of Sandree, my per-
sonal style. Depending also the subject of course, from
mathmatics untill a sip of wine on the top of a moun-
tain or a dance in the sand. Endless styles and com-
binations. Feeded with sound, music, pictures, light,
colours and..much, much more...I can recommand it
to every one who dares a bit to make mistakes and to
learn. And if you fall here, it’s easy to stand up again.
Even suicide here is fun, you can do it over and over
again, standing up from the death as new for another
day to survive in the jungle of life.

There is no big intention for me here, or any other

plan or strategy. I see it more as a support, a tool, a
Picture 2: Luce Lavall way to be, a certain food which is for me neccesary.
I’m not busy with having any impact actually. If I need
to make impact, than I can only say that because of
this invention my daughters have still their mother. I’m
incredibly gratefull for the support I got here to stay
with them and fight for them. The diamonds of my life.
We used sl a lot..

Picture 3: clockwork orange outfit Caravaggio Bonetto

Picture 1: Junivers Stockholm

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Picture 4: Caravaggio Bonetto clocworck orange club

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Picture 5: Caravaggio Bonetto clocworck orange club

 metaverse art 153

prims, to the discovery and the application of several

techniques.

- I’ve been always working on sculptures and I expe-

rienced the creation of “Primpaintings” by the applica-
tion of objects on a board thought as a canvas, using
textures or simply colors in order to create visual ef-
fects. I then approached the immersive works, giving

Shellina Winkler the chance to the observer to interact with the work.
All the phases, I passed through during my staying in

Artist
Second life, haven’t never been put apart, so that I will
keep on creating art moved by feelings, sensations
and passion.

- I’ve been creating works for three years and they are
too many. Each of them represents a moment, a frame
of my virtual life. Some of them are pure technique,
maybe to cold as a means of communication, some
others are rich of emotions that are easily caught by a
keen observer. I think that one of my best is “SECOND
STAR TO THE RIGHT”, it’s well done in its shape, lights,
colors and slow movement. At its first show more than
20 avatars sat on it sharing the same feelings I had
while I created it. The last reason but not the least, I
- I’ve never been an artist in Real Life even if I’ve al-
consider it a sort of bridge between Second Life and
ways been fond of art and architecture. The Metaverse,
Real Life as I had the chance to have it showed (even
through is tools, gave me the chance to experience a
if in pictures on some curtains) in a “real” museum in
hidden attitude towards creation. I chose this platform
Florence – Italy.
by chance, when i first joined SL i never thought it
could be a place so rich of suggestions and in particu-
- As I tried several techniques I’ve been used different
lar so full of means able to stumulate creativity. Meet-
styles from formal to abstract, from rational to emo-
ing so many people from all over the world, sharing
tional, from concrete to spiritual. But I think an ava-
and exchanging art experiences, are the things that
tar can read your thoughts, if he/she’s got the ability,
most of all keep me wrapped and trapped inside this
even from a single prim. As an artist I communicate
world.
every time I create something, but who always wants
to be read? An artist speak, but only some passersby
- As a builder and in particular as a sculpter since the
stop and listen!
beginning I’ve loved torturing prims, trying to obtain
even a single piece of meaning from a singular prim.
- I create for passion and I use this environment be-
I’ve given great importance to the manipulation of
154 metaverse art
3 years the same platform working side by side, ex-
changing opinions, ideas, giving advice or criticizing
cause I’ve never been an artist in real life, or at least
our works according to our own style. In the last year
I’ve never had the right means at my disposal to create
we started collaborating putting all our experiences
what was inside my mind and SL gave me this great
and knowledge in a unique work. Burning Life and
chance.
the Istallation “Towards the Future” has surely been
our best start and a great satisfaction for the result
- It sometimes happens that I ask for a comment on my
obtained.
work, especially if I put in it “too much”, not in prims or
techniques, but of myself. What I love most is the way
- Metaverse is my world and I’ll keep on working
some people read my “primpaintings”. They look for
through this means, what I wish most is to export my
hidden messages starting sometimes from their own
works in RL.
experience to get to mine.

- It’s quite important to have a feedback of my work,

even if it happens that really a few give their opinion
after watching a work. I have to say, anyway, that in
particular in the last period, sharing immersive and in-
teractive works people have expressed their positive
reactions even theatrically.

- It’s important as what they might say may become a

stimulus and a suggestion to improve what I’m doing.

- I only use the tools of metaverse, that’s the build

tools. Only few times I’ve created textures for my
works. As far skills are concerned I only brought my
imagination and my love for art.

- Very little at the moment as my SL works cannot be

easily showed in RL, as most of them are to be lived
inworld.

- In every field numerous avatars have expressed

themselves, I’m not sure there’ s a theme or trend
more or less important for the future of SL, because in-
world anything can happens. It’s only up to our imagi-
nation and to our will of let art growing in this world.

- I’ve been working alone for a long time, creating my Picture 1: installation by shellina Winkler
own works. Solkide Auer and I have shared for almost
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Picture 2: installation shellina Winkler

metaverse art 157
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Picture 3: sculpture by shellina Winkler

 metaverse art 159

installation of complex objects. I think that my best

works are Radiazioni and Crossballs, and among the
Installations: Towards the Future, created with my col-
legue Shellina Winkler, as in all of them i have really
worked with great concentration for having a good
result of what was in my mind.

Basically i am formal and i tend to say with my works

Solkide Auer “what you see is exactly what you think it is”. I seldom
give room to not-rational ideas to the observer be-

Artist
cause i prefer a visitor attracted by the work and not
carried away by flights of fancy.

Sometime i have difficulties in explaining my works as

it is so simple to understand them and simultaneously
very complicate because the velocity of brain is higher
than the words.

I like that the public give their impression about my

creations. I create for me but i create also for public
that love to see my works and sometime talking about
my works i receive inputs for more new works.

Many times i ear form public “Solkide i’m lost in your

I’ve always loved the 3d worlds and for many years I’ve
work” it’s a great compliment as so i know that the
been a huge gamer and fan of simulators in general,
work is entered in the mind of the observer.
then the curiosity ‘has prompted me to enter into sec-
ondlife and see how it was structured this metaverse.
Ah yes i like that other Artists tell me what they think
And I had the chance to discover things about myself
of my works, it often happens to me to say something
that I didn’t know I had.
about theirs.
By building I try to give shape to imaginary objects,
I use exclusively the Build, i seldom use textures but
from the simplest to the most complex forms, with a
just colours form the white to the black.
peculiar tendency towards geometry.
Now i am more attracted in art in rl and i like to be
I would like to try to create small movie with my works
informed about art.
and, why not, create a little history around it.
I think that in the future we will see many innovations
Fortunately i have created many works and diferent
with new opportunities for all the residents. The brand
in their kind, starting from a simple piece to an entire
160 metaverse art
new SL 2.0 viewer has already added an important
function which is called “Shared Media” that give the
chance to explore the web by editing a prim.

I basically work alone but i sometimes work with my

collegue Shellina Winkler for great installations and
together we have created important works and if i am
invited to co-work with other people, i like this.

I will keep on creating works “not possible in RL and

if I’ve imported something, it has been an impossible
idea, as the 3Dworks, i made from Escher’s paintings,
witness. The King of Impossible world’s paints per-
fectly suit.

Picture 2: installation by Solkide Auer & shellina Winkler

Picture 3: installation by Solkide Auer & shellina Winkler

Picture 1: installation by Solkide Auer & shellina Winkler

metaverse art 161
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Picture 4: installation by Solkide Auer & shellina Winkler

metaverse art 163
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Picture 5: installation by Solkide Auer & shellina Winkler

 metaverse art 165

Hmm . difficult to say I would say a mix between them

all.

I create art in this environment because its a dream

come through, to explore and make art this much as
I do here in SL. I know it could never be in the Real
world, so its a big satisfaction for me to create art here.

Sisi Biedermann Im a creator, and want to make my buildings and fig-

ures and art as perfect and fantastic as possibly.

Artist
A great satisfaction.
I try to make other peple interested in exploring this
environment t, and hereby find out what a terrific way
of having fun it is.

Well not very important, because Im happy to satisfy

my own wishes, but I am truely happy when others
invite me to exhibit or say nice things about my art.

Its alway nice to get feedback, but it can be hard work

to get people to come and watch

Not so important, but still a nice thing that make me

happy and proud.
Its a fantastic opportunity to make different art. There
are so many realy amazing places in SL that its a never-
I use the possibilities in the tools here in SL for my
ending seek out to find motives for my linse. And with
landscapes and portraits, and sometimes I use a pro-
the possibility to change the ligt as I like, ill never get
gram called Micrograph to make frames and adjust-
tires of finding new motives.
ments, and also paintprogram I use and sometimes
I make exhibitions and invite other artist and other
Photoshop.
interested to come and look. and also I am invited to
other galleries to make exhibitions.
I have showed my pictures taken in SL for some pho-
tographerstudent in a school in RL, and they were
I have just been on a “tour” in a very interesting land-
amazed, and had never seen anything alike it. :o) - (a
scape, and I made a serial of pictures which I still miss
big day for me).
to finish in photoshop.
I dont know, I think there will always be themes for me
I have many fine pieces of different types both por-
to find in here. and the creators is getting better and
traits and landscapes but also abstract art, I can en-
better all the time, and I hope I will to.
close a few.
166 metaverse art

I mostly work alone, and I think its best for me.

I photograph and paint in RL to and I exhibit all 3

things in SL galleries.

Picture 2: first camera obscura Marion Rickenbacker

Picture 3: first camera obscura Marion Rickenbacker

Picture 1: first camera obscura Marion Rickenbacker

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Picture 4: first camera obscura Marion Rickenbacker

metaverse art 169
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Picture 5: first camera obscura Marion Rickenbacker

 metaverse art 171

and/or collection, such as the Oyster Bay Aquarium,

Crescent Moon Museum, Aho Museum, Ars Simulacra,
Dreams...

I think that I mostly blend color, texture, and motion

together in abstract ways to create thoughtful, mes-
merizing, contemplative sculptures. I try to infuse my
work with “structured chaos” that lends itself to an

Sun Thunders interesting, slowly changing view or experience. Your

patience is rewarded if you take the time to watch my

Artist
sculptures carefully.

Besides the fame, glory, and untold wealth (kidding,

kidding, and kidding), I am mostly here creating be-
cause I derive relaxation and enjoyment from it. I don’t
really have the physical skills and resources to create
this type of artwork in real life, so it was an unexpected
and happy surprise to discover all that I could try and
do in the virtual world. Maybe someday my virtual
artwork will translate into new creative opportunities
and applications for me in real life.

I hope that people appreciate and enjoy my artwork

for its creative value, and that it gives them momen-
I have an opportunity to work in three dimensions,
tary (or longer) peace, relaxation, and joy. I hope that
creating shapes and forms I couldn’t do in real life (be-
they see how artwork adds to the richness of Second
cause of various limitations), and watch them come to
Life (and is a necessary part of its fabric, in my opin-
life in motion and color.
ion).
I tend to create mostly abstract, prim-based sculptures
When someone takes the time to send a personal
that feature kinetic motion. I also take photos of SL
message about my artwork, I am most appreciative.
landscape and scenery from time to time.
Comments and compliments are reassuring and af-
firming, especially during those times when I wonder
I’d like to increase my skills in creating sculpty prims. I
whether my virtual artwork has meaning and value
can make some rough shapes, but nothing spectacu-
among everything else out there. Making a personal
lar. I’d also like to keep working on my scripting skills--
connection to another human being on the planet
they are slowly getting stronger.
through my artwork is quite uplifting.
I am proud of many creations, but a few that come to
In this area, I’m more sensitive--I do fret over what
mind are the ones that are/were part of a museum
172 metaverse art
I do most of my work alone, but have collaborated
with others on occasion. I enjoy the times that I have
other artists may think about my work, especially since
been part of a larger experience with other artists--
I’m not a formally trained artist. It’s always nice to receive
coming together creates good, positive energy and
kind and encouraging comments from other artists, but
builds community.
I am quite hesitant about asking for full-blown critiques.
I don’t really want additional pressure and stress; I want
My first inclination is to say that I specialize in only
to enjoy what I do more as a pastime and a hobby, rather
metaverse art, but in reality there is a flow across the
than a job or a competition.
virtual boundary, both in and out of SL. As time goes
by, my artwork exhibits more of a blend of elements
I am always trying out new ways to twist and torture
that cross back and forth between SL and RL. Textures,
prims to see what unique shapes, patterns, and forms I
illustrations, fractals, and photos have multidimen-
can achieve. I enjoy experimenting with symmetry as
sional personalities that are not exclusively SL or RL,
well as controlled chaos. I like to maximize simplicity,
but a hybrid of the two.
rather than just consume huge numbers of prims. Par-
ticles and rich colors captivate me and soothe me.
I think I subconsciously brought my real-life science and
math skills into the metaverse when I first began creating
sculptures. The math has definitely helped with scripting-
-it keeps my geometry and trigonometry from getting
rusty. I can also build with precision pretty easily--the
subtleties of the prim tools are logical and make sense to
me because of my science/math background.

It gives me a creative outlet, allows me to escape and dis-

connect from the stress of life, and lets me explore my
previously hidden/undiscovered artistic side. Curiously
enough, if it weren’t for SL, I probably would never have
learned great tools such as Photoshop, Illustrator, Sculp-
tyPaint, Apophysis...

As much as I love the “classical” prims, I am seeing that we

are moving more and more toward sculpty-based prims.
Textures have also gotten much more sophisticated and
“realistic” since I first entered SL more than three years
ago. I think the trends will be toward even more realism
and complexity. People who can leverage those well (and
who can script proficiently and efficiently) will continue
to be the creative leaders. It’s really hard keeping up with
the curve--so much to keep learning...
 metaverse art 173

Picture 1: Eden Toll

174 metaverse art

Picture 2: global wood by Caravaggio Bonetto

metaverse art 175
176 metaverse art

Picture 3: global wood by Caravaggio Bonetto

 metaverse art 177

forget that behind every avatar there is a human be-

ing, with feelings, his ambition to have a better world
and life, with his joy and fear, with his intellect.
The Human brain is capable with its capacity for ab-
straction to view our world in a special way, to under-
stand and change it. With the help of our Sensory we
are capable to accumulate the world in a dematerial-
ized form and to insert that into a succesfull surviving

Velazquez Bonetto strategy.

To that we have to mobilize the cognitive abilities of

creative director
our brain, rebuild our dematerialized world in a spiri-
tual world of thinking. In comunication with other
people temporarily our thoughts have to be materi-
artist alized again, the lesser we use material resources to
communicate, the faster and more direct we can ex-
change ideas and thoughts with other people. The
virtual worlds are part of this since the cultural revolu-
tion of the 21th century.
Metaversum is a new kind of language. In a complex
mechanism we are able our thoughts to display as vi-
sions and to communicate with other people in real
and worldwide.
I work since 30 years as a designer, content-creator
and programmer on virtual worlds and virtual hu-
because......
mans (avatars) that help to display visions as simula-
-It is a Paradigm shift for understanding time-space
tions in many Industrial areas and make our material
continuum,
future more comprehensible.
-It has a special quality between the Real World and
For me it was always clear that the Virtual Reality as
the Visionary World,
a Elite technology will transfer as a linked vision ma-
-It means the basic Paradigm exchange in communi-
chine (http://issuu.com/diabolus/docs/avatar_his-
cation and collaboration ,
tory), metaverse technology is ready now to open and
-We are fascinated by the new dematerializing display
available for concepts, visions etc, worldwide-for all
options,
that possess a computer and internet access.
-We are fascinated by the possibillities of borderless
Culture was in the past, in the present and in the fu-
vision transfer,
ture a primary surviving strategy.
These are the technical reasons
The possibilities to investigate this media was found-
ed together with Josina Burgess and Caravaggio
...and yes in spite of all, something remains a constant
Bonetto on June 27th in the Diabolus Artspace and
since 135000 years: the Joy of Creating. We must not
178 metaverse art
 metaverse art 179
the Cybernetic Art Research projects (CARP)

Art space Diabolus CARP Team stand since its founding

for Experimental Art on the most modern medium for
Art. Our goal is: to produce technicaly and contentualy
attempting and innovating ART with the possibilities
of the worldwide web virtual media. In one word we
call this: HyperArt (HAtr). The artistic creations we
represent we name: Hyperfunktionalism. CARP Cre-
ators have created since then many innovations like:
Virtual Architecture, Audio Art, Interactive Kinetic Art,
complex Cybernetic Art, Worldwide collaborative Au-
diovisual Improvisation, Presentation Technics, Virtual
Theatre, 4D cinema, Video, Collaborative Creations
and Art-scripting. The CARP Team has published all
their work, creations, creators and developments in
the CARP e-book Series . (website: diabolus.ning.com)

Basically for me is all what human a displaying theme. Picture 2: THE RINGS the first 4d cynema by CARP
Regardless of the media. The range of topics reaches
from subjective emotional themes till political protest
actions and social future visions. I always try to ask the
right questions, The key for a right answer is always to
ask the right question and that is the greatest art. If
I get the right answers in the area of Art, Science or
whatever don’t really matter. The metaverse structure
is the ideal media to experiment with creative ideas
without material consequences

I am not searching for themes, the themes find me.

You only have to walk around with your eyes open.
The virtual worlds have become a natural part of the
real world. For me a important goal is: To create a al-
ways vivid communication between reality and virtual
reality. I don’t think of formal and technical connec-
tions, like 2 camera images sending form here to there.
I think in contextual connections. Use a new media for

Picture 1: THE RINGS the first 4d cynema by CARP Picture 3: the great WALL collaps by Elfod Nemeth
180 metaverse art
real problem solving, generate future visions. In the
area of Science, Technics and construction it is already
a long time practice. In the area of Art, Culture, Politics
and Social Life the first steps are taken.

If a metaverse creation is a success is easy to measure

from reactions of the audience.
With attentives from the public like:
- i love the colours and the textures,
- nice visuals,
- congratulation great exhibition
I know its better to pack my stuff into my inventory
and never rez it again. In such a case I know that what
I have made has never touched someone and has no
impact power

When after a production like THE WALL, THE RINGS,

EMOTICON, LIVING ARCHITECTURE or V-JAZZ these or
similar texts appear on my screen:

[15:01] Foscos Barbosa: bellissimoooooooo

[15:01] Giulia Janus: fantastico!
[15:01] iTony Pleides: APPLAUSE!!!!
[15:01] Foscos Barbosa: braviiiiiiiiiii
[15:01] Giulia Janus: braviiiiii
[15:01] Elin Egoyan: amazing!!!
[15:01] Aloisio Congrejo ruft: BRAVIIIIIIIIIIIIIIIIIIIIII
[15:01] Henkie Barbosa: ..:::APPLAUSE:::..
[15:01] Giulia Janus: applause
[15:01] Thirza Ember: wonderful
[15:01] Myra Goodliffe: Great
[15:01] Foscos Barbosa: fantastico
[15:01] iTony Pleides: BRAVO!!
[15:01] Tani Thor: ***** APPPPPPPLLLLAAAUUUSSS-
SEEEEEEE***********
[15:01] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)
BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../)

Picture 4: THE RINGS the first 4d cynema by CARP

metaverse art 181
182 metaverse art

Picture 5: the Metropolis creator and performer group: Debbie Trilling, MillaMilla Noel, windyy Lane, nnoiz Papp, Efrantirise Morane, Sca
Shilova Velazquez Bonetto and Josina Burgess
 metaverse art 183
[15:01] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../)
[15:01] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../)
[15:01] Thirza Ember: applause
[15:01] Eliza Wierwight: ~applauds~ wonderful ~smiles~
[15:01] Sistagrlro Wei applauds!
[15:01] Giulia Janus ruft: BRAVIIIIIII
[15:01] Elin Egoyan: me bows her head humble to the creators
[15:01] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:02] Annabelle Fleury: .-’`’-. APPLAUSE APPLAUSE .-’`’-.
[15:02] MicheleR Wrigglesworth: APPLAUSE!!!
[15:02] MicheleR Wrigglesworth: Applause!!
[15:02] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:02] Tani Thor: FANTASTICOOO BRAVIIIIIIIII
[15:02] iTony Pleides: THANK YOU!!!
[15:02] Tani Thor ruft: BRAVIIIIIIIIIIIIIIIII
[15:02] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:02] Elin Egoyan: /applause
[15:02] Annabelle Fleury: Hoooo!
[15:02] Thirza Ember: braviii
[15:02] Tani Thor ruft: BRAVIIIIIIIIIIII
[15:02] Foscos Barbosa: bravissimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
[15:02] Giulia Janus ruft: BRAVI
[15:02] Dubby Loon: fantastic
[15:02] MicheleR Wrigglesworth: ?(`’•.¸(`’•.¸ * ¸.•’´)¸.•’´)?
[15:02] MicheleR Wrigglesworth: «´•..?WOOHOOOOO!?..•`»
[15:02] MicheleR Wrigglesworth: ?(¸.•’´(¸.•’´ * `’•.¸)`’•.¸)?
[15:02] iTony Pleides: APPLAUSE
[15:02] Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:02] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../)
[15:02] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../)
[15:02] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../)
[15:02] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:02] Foscos Barbosa: braviiiiiiiiiiiiiii
[15:02] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:02] Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:02] Elin Egoyan: CHAPEAU!!!!
[15:02] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:02] Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•*
[15:02] Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•*
[15:03] Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•*
[15:03] Tani Thor: braviii braviiiiiiii
184 metaverse art

Picture 6: The WALL production by CARP team

 metaverse art 185
[15:03] Aloisio Congrejo ruft: fantasticiiiii
[15:03] Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•*
[15:03] Foscos Barbosa: *•.¸(‘*•.¸???APPPPPPPLLLLAAAUUUSSSSEEEEEEE ??? ¸.•*´)¸.•*
[15:03] Tani Thor: BRAVIIIIIIIIIII
[15:03] Josina Burgess ruft: THANK YOU!!!!
[15:03] Velazquez Bonetto ruft: THANK YOU CARP TEAM FOR THE FANTASTIC PERFORMANCE
[15:03] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../)
[15:03] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../)
[15:03] MicheleR Wrigglesworth: ¨•._.•v°˜\/`°v•._)•´¯`•../)BRAVO¨•._.•v°˜\/`°v•._)•´¯`•../)
[15:03] MicheleR Wrigglesworth: *•.¸(‘*•.¸ ? ¸.•*´)¸.•*
[15:03] MicheleR Wrigglesworth: ??? FANTASTIC ???
[15:03] MicheleR Wrigglesworth: ¸.•*(¸.•*´ ? `*•.¸)`*•.¸
[15:03] Annabelle Fleury: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:03] Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:03] Elin Egoyan: HOW DID YOU DO IT!!!
[15:03] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:03] Ariana Mirabella: Amazing!! Thank you... So talented!!
[15:03] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:03] Tani Thor: la cosa piu’ bella vista in sl....braviiiiiiiiiiii
[15:03] Myra Goodliffe: Absolutly Great !!!!!!!
[15:04] Foscos Barbosa: grandissima arte in sl
[15:04] Tani Thor: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:04] Winston Ormega: wow !!!!
[15:04] MillaMilla Noel: grazie
[15:04] iTony Pleides: APPLAUSE!
[15:04] Giulia Janus: SI DAVVERO
[15:04] Giulia Janus: ***** APPPPPPPLLLLAAAUUUSSSSEEEEEEE***********
[15:04] Giulia Janus: UNA COSA FANTASTICA
[15:04] Foscos Barbosa: che bello
[15:04] Giulia Janus: si
[15:04] Tani Thor: BRAVISSIMIIIIII ..TANTO DI CAPPELLO PER IL LAVORO FANTASTICO..QUESTA E’ ARTE PURA.....BRAVIIIII
[15:05] Tani Thor: braviii grazieeeee dello spettacolooooo.....GRANDIIIIIIIIIIII
[15:05] Foscos Barbosa: sempre a questa ora giusto
[15:05] Giulia Janus: fantastico!
[15:04] Foscos Barbosa: bravissimi
[15:04] Vel Alchemi: APPLAUSE!!!! APPLAUSE!!!! APPLAUSE!!!! APPLAUSE!!!!
[15:04] Foscos Barbosa: bravi
[15:05] Rux Anatra: **********APLAUSE!!!**************
[15:05] Radiance Rosewood: yaaaaa woooooot
[15:05] EdDereDdE Laval: ?(`’•.¸(`’•.¸ * ¸.•’´)¸.•’´)?
[15:05] EdDereDdE Laval: «´•.¸¸.•HOOOOOOOOOO!•.¸¸.•`»
186 metaverse art

Picture 7: the living architecture, by Juniverse Stockholm, Caravaggio Bonetto, Josina Burgess and Velazquez Bonetto
 metaverse art 187
[15:05] EdDereDdE Laval: ?(¸.•’´(¸.•’´ * `’•.¸)`’•.¸)?
[15:05] MillaMilla Noel: grazie a tutti
[15:05] EdDereDdE Laval: «´•.¸¸.• ?(`’•.¸(`’•.¸ * ¸.•’´)¸.•’´)? «´•.¸¸.•>>
[15:05] EdDereDdE Laval: «´•.¸¸.ARTIST IS DOING AN AWESOME JOB •.¸¸.•`»
[15:05] EdDereDdE Laval: «´•.¸¸.• PLEASE SHOW YOUR APPRECIATION! •.¸¸.•`»
[15:05] EdDereDdE Laval: «´•.¸¸.• ?(¸.•’´(¸.•’´ * `’•.¸)`’•.¸)? •.¸¸.•`»
[15:05] Tondy Treves: :::::::::::APPLAUSE::::::::::::::::::
[15:05] Betty Tureaud: great work
.
.
[15:08] blanche Argus: . .. ...? ? _ ? ? ? ¦ ? ???? APPLAUSE!!!!???? ? ¦ ? ? ? ? ?... .. .
[15:08] blanche Argus: ? ¦ ? ? ? _ ? ???? ? APPLAUSE!!!!? ???? ? _ ? ? ? ¦ ?
[15:08] blanche Argus: . .. ...? ? _ ? ? ? ¦ ? ??? ?APPLAUSE!!!!???? ? ¦ ? ? ? ? ?... .. .
[15:08] Olympia Fizzle: FANTASTICI!!!!
.
.
[15:16] Imnotgoing Sideways: Thank you all very much for a very wonderful show. It was simply beautiful. I’m left
speechless and breathless. You have truly created magic in Second Life™ (^_^)
[15:16] Elynni Jewell: I can’t even imagine how much work has gone into this

.... 15 minutes standing ovation , Then I know the mes-
sage has arrived in the emotional and rational level.
The production hat the needed aesthetic impact pow-
er, the audience is enthusiastic whatever nationality,
age, culture or language.
The possibillities in the metaverse are endless. I only use 1
rule: First the communication content. Then I choose the
for me best fitting expressionform. HFFHF = Hyperform
follows the Hyperfunction.
That is the only rule of Hyperfunctionalism.

To follow a “style” is the certain sign of lack of imagina-
tion. From the other site it is in my opinion needed to
have an artistic concept. What kind of expression I use
depends on the content what I want to communicate.
So it gives a close functional relationship between
communicated content and expressions. For example:
when it is about a audiovisual artwork that has musi-
cal components, I like to use hyperformal, emotional
effects and expression forms. When it is about con-
crete rational messages I try to use easy to recognise,
all popular icons, for all to use -understandable for
everyone-forms.
The message of an artwork comes on several channels
and addresses both the emotional and the rational side
of the viewer. Every work may have many different inter-
pretations. There is nothing more boring than explana-
tions how it should be understood and nothing more
exciting and thrilling than a simple and clear artistic lan-
guage that can talk in a second of visual delight about
human questions of huge magnitude. My works are all
reflections of such moments that have forced me to think
and to talk on my own language. I have achieved my
goal if my metaverse creations have launched a chain of
thoughts in the viewer’s mind.
188 metaverse art

Picture 8: the Metropolis 4d cynema production by the CARP team


Very important, I try to link the attention on impor-
tant themes. Attention is a very limited resource of the
human brain. It does matter what for this important
resource is used for. It does matter if we surrender
for commercial media. Do we allow to occupate our
thinking of the world by Multi nationals or do we aim
our attention towards important themes that influ-
ent our life, our social life, surroundings primarily. I
don’t think much of the sterile artistic masturbation.
L’art pour l’art is nonsense. Maybe in the 20th century
it was a interesting beginning. Art for People is abso-
lutely more interesting and Meaningful. For that it is
extremely important what the public thinks and how
they react
Very important.
We ask always for reflections of the audience and it
is important to know if my communicative goal was
succesful or not. The best is when the audience is so
enthusiastic that they react from themselves without
asking. Nothing is better then a spontaneous aesthetic
emotion or a positive aesthetic judgement.
Also very important. In Diabolus/CARP projects most
of the time many different artists work together
on a project. (soundtrack creator, content creators,
text content creators, scripters, animators, machin-
ematograper, art director, producer etc. very artist has
its own style and way of thinking. Still all have to work
together. Without hearing and listen what the others
feel or think, what concepts they have , is not possible.
A major production is based on the consensus of
many different artists. Often we invite colleagues
that are not participate in a production, just to ask for
feedback. And also it is important how our work is de-
scribed in publications.
I use all and everything this technology offers, build
space structures, textures, script writing, develop ki-
nematics and more then that all what is installed on
metaverse art 189
my computer from photo manipulation, sound, video
editor till 3D visualisation programs or sculpti programs.
As a professional Graphic and Industry designer and VR
software developer I use all the competencies I also use
in RL and for me working and fun is the same. It is obvi-
ously that Metaverse art is very technical oriented. The
artistic experiences and ideas are very important but not
enough. You need more technical competency to raise an
idea to a higher level.
In RL I work daily with virtual reality and avatars. In SL i
developed many ideas that today help in RL products. It
starts as a idea, playing around with different possibili-
ties. Then the ideas are coming of from what is born as
Art can be used in industrial vision machines. Most of the
time it helps to fit in a simulation method. SL frees from
the daily work routine and simply helps to be free in the
creating process.
The trends for the metaverse are already visible, in fact
there are 2 essential concepts.
1. Linden Lab is stuck in a rather restrictive sys-
tem. When LL is not able to change its concept on many
levels it will die like the dinosaurs. Secondlife is just still at
this moment the only good and stable functioning meta-
verse system.
2. Open grid has a significant more open and
flexible concept, but still with many operational prob-
lems. When the OSG developer community succeeds to
stabilize this technically, this environment will have a sig-
nificant better development potential.
I am following the development on both platforms.
I prefer to develop new artistic ideas or technics alone.
For smaller objects or for architecture there is no need to
work in bigger groups. I simply need the concentration
for that. In such a case I use my alt or I work in a OSG at
the Metropolis grid or in my local simulator.
190 metaverse art

Picture 9: the Metropolis muybridge workers by Josina Burgess and Velazquez Bonetto
metaverse art 191
192 metaverse art

Picture 10: The artspace diabous in Metropolis metaversum, virtual environment by vealzqoez Bonetto
 metaverse art 193
There is a special way to work together, where new
ideas arise, by brainstorming. With communication
and wild trying out many different possibillities, the
most interesting pieces of art or techniques were cre-
ated. With Josina, Caravaggio and Debbie together we
developed and implemented many new ideas.

There are also very complex productions that without

the collaboration of many avatars would not be pos-
sible to make. Here the many competencies need to
be integrated in a production. This kind of creating
needs a lot of communication from all participants,
precise work and coordination. The participants often
are in different continents, we never set a deadline for
completion and still all comes together.

I find all possibilities and technics to express great

as long it has a meaningful function. Even RL art dis-
playing in SL has a function; to discover and learn art
pieces they otherwise never would see and would
stay unknown. Artworks have the primary function to Picture 11: The artspace diabous in Metropolis metaversum
bring a message to the rational and emotional level.
All these are possible to be shown in many forms. But
yes I prefer primary immersive art, like everything that
is not possible to create in RL.

Picture 12: The artspace diabous in Metropolis metaversum

194 metaverse art

Picture 13: The avatar museum in Metropolis metaversum by Velazquez Bonetto


Werner Kurosawa
aka. Werner Van Dermeersch
Architect
Studied arts & Architecture
Architect since 1984
Teaching art at the faculty of Arts in Antwerp from 1989
till now
http://wernervandermeersch.wordpress.com
http://www.flickr.com/photos/werner_kurosawa
http://www.youtube.com/user/2UC4ANTWERP
http://www.champdaction.be
With the first Gameengines in the 90ties already tought
that it should be possible to have a kind of Metaverse to
interact online with others in 3d space. First work with ga-
meengine was done in 1994 Screens for Composer Serge
Verstockt played by Cjhampdaction.
Metaverse lets you make works possible not possible in
real life. By Costs, Time, Gravity or Scripting in 3d.
metaverse art 195
I’m mostly involved in making 3d Arts in SL. There’s a
great ignorance on RL art in Sl and an even greater igno-
rance of SL art in RL.
I try to make 3d structures not possible in Rl. Especially
based on scale, gravity and generative 3D art.
I’m trying to get SL art into RL gallery’s. Wich was done
with this installation at Linz ART/ Architecture Festival in
Austria.
You could say they are abstract Dan Coyote calls them Hy-
performal. Maybe they are Meta Neo Modern.
The intention is to experiment on space/proportion and
scale to try to understand what we perceive or what we
don’t perceive at all.
I do make my work out my own interest acting on what i
think is important for the moment.
Interest and reaction of public is always interesting but of
no influence on what i make.
Mainly on how people perceive abstract space wich is
with no refference to RL space. How people mov or per-
ceive this and react with or on it.
Work has to be original and can sometimes be referring
to actual situations going on. It may never be ignorent.
The main skills i brought into sl are my skills as an architect
and artist wich i was used to use in RL. The main topics i
used to work on are mainly space, proportion and scale.
Also the way on how we perceive things and how we can
oriantate into an abstract space. Our mechanisms on Per-
ception of how we think to see things is a main concern.
The way on how we oriantate in space where’s “no” grav-
ity or where man can fly seems to be of influence on my
RL work. SL also gives the room to experiment with space
and the reaction of people on it as a kind of laboratory. As
a 3d sketchbook for RL and behond.
196 metaverse art
 metaverse art 197

I think SL is the first step for a 3D internet a 3D WWW.

Wich will become more and more important. Thes e are
just the first small steps into a giant infinite cyberspace.

Most work i do is alone. collaborations is mostly on com-

mission.

Most things i make are NPIRL. RL pieces should stay in RL.

RL mimycry or imitation should only help to learn people
to coop with abstract space or as a scale refference. RL
world is beautifull enough why shoud we imitate it. Meta-
verse should generate it’s own esthetics NPIRL on a META
level only possible in cyberspace.

Snow Voronoi is an evolution in work wich is part of re-

search in RL on generative space. now Voronoi is a self-
organizing structure wich is constantly different, random
and changing. Snow voronoi is as a huge structure like
how snow crystals fall and tend to build up in there ever Picture 2: Voronoi by Werner Kurosawa
lasting uniqueness.

Every part of the structure is based on the Steiner tree

problem and is generated randomly every 30 seconds
30 times. With the help of SL gravity and Physics they all
togheter form a larger structure wich seems to follow laws
of physics in nature and grows like how snow or soapbu-
bles tend to build up ever changing but seemingly the
same. These kind of structures are are called 3 Voronoi
structures.

Quotes on Self organisation / Steiner Tree / Voronoi from

Wikipedia

Self Organisation

The most robust and unambiguous examples of self-

organizing systems are from physics. Self-organization is
also relevant in chemistry, where it has often been taken

Picture 1: Voronoi by Werner Kurosawa Picture 3: Voronoi by Werner Kurosawa

198 metaverse art
as being synonymous with self-assembly. The concept of
self-organization is central to the description of biological
systems, from the subcellular to the ecosystem level. There
are also cited examples of “self-organizing” behaviour found
in the literature of many other disciplines, both in the natu-
ral sciences and the social sciences such as economics or
anthropology. Self-organization has also been observed in
mathematical systems such as cellular automata. Sometimes
the notion of self-organization is conflated with that of the
related concept of emergence. Properly defined, however,
there may be instances of self-organization without emer-
gence and emergence without self-organization, and it is
clear from the literature that the phenomena are not the
same. The link between emergence and self-organization
remains an active research question.

The idea that the dynamics of a system can tend by them-

selves to increase the inherent order of a system has a long
history. One of the earliest statements of this idea was by
the philosopher Descartes, in the fifth part of his Discourse
on Method, where he presents it hypothetically. Descartes
further elaborated on the idea at great length in his unpub-
lished work The World. Originally, the term “self-organizing”
was used by Immanuel Kant in his Critique of Judgment,
where he argued that teleology is a meaningful concept
only if there exists such an entity whose parts or “organs” are
simultaneously ends and means. Such a system of organs
must be able to behave as if it has a mind of its own, that
is, it is capable of governing itself. The term “self-organizing”
was introduced to contemporary science in 1947 by the
psychiatrist and engineer W. Ross Ashby. It was taken up by
the cyberneticians Heinz von Foerster, Gordon Pask, Stafford
Beer and Norbert Wiener himself in the second edition of his
“Cybernetics: or Control and Communication in the Animal
and the Machine” (MIT Press 1961).

http://en.wikipedia.org/wiki/Self-organization

Steiner Tree Problem

The Steiner tree problem, named after Jakob Steiner, is a

problem in combinatorial optimization, which may be for-
 metaverse art 199
mulated in a number of settings, with the common part
being that it is required to find the shortest interconnect
for a given set of objects. The Steiner tree problem is su-
perficially similar to the minimum spanning tree problem:
given a set V of points (vertices), interconnect them by a
network (graph) of shortest length, where the length is
the sum of the lengths of all edges. The difference be-
tween the Steiner tree problem and the minimum span-
ning tree problem is that, in the Steiner tree problem,
extra intermediate vertices and edges may be added to
the graph in order to reduce the length of the spanning
tree. These new vertices introduced to decrease the to-
tal length of connection are known as Steiner points or
Steiner vertices. It has been proved that the resulting con-
nection is a tree, known as the Steiner tree. There may be
several Steiner trees for a given set of initial vertices.

http://en.wikipedia.org/wiki/Steiner_tree_problem

Voronoi

In mathematics, a Voronoi diagram is a special kind of de-

composition of a metric space determined by distances
to a specified discrete set of objects in the space, e.g., by
a discrete set of points. It is named after Georgy Voronoi,
also called a Voronoi tessellation, a Voronoi decomposi-
tion, or a Dirichlet tessellation (Lejeune Dirichlet), In the
simplest case, we are given a set of points S in the plane,
which are the Voronoi sites. Each site s has a Voronoi cell,
also called a Dirichlet cell, V(s) consisting of all points clos-
er to s than to any other site. The segments of the Voronoi
diagram are all the points in the plane that are equidistant
to the two nearest sites. The Voronoi nodes are the points
equidistant to three (or more) sites.

http://en.wikipedia.org/wiki/Voronoi_diagram
200 metaverse art

Picture 4: Voronoi by Werner Kurosawa

metaverse art 201
202 metaverse art
 metaverse art 203

Picture 4,5,6,7: Voronoi by Werner Kurosawa

204 metaverse art
 metaverse art 205

Picture 8,9,10,11: Voronoi by Werner Kurosawa

206 metaverse art

Picture 12: Voronoi by Werner Kurosawa

 metaverse art 207

Patrick “Flick” Harrison - which is considered to be the

very first machinima documentary shot entirely “in-
world”.
In Second Life, he was a co-founder of Second Front
(2006-2008) and a music composer for the Avatar Or-
chestra Metaverse (2007-2008). Turner is interested in
the transcendence of biological limitations via “Post-
humanism” as well as the ontological transformation

Wirxli Flimflam from “self” to “other”. Turner performs in many virtual

world environments and plans to perform in aug-

Artist
mented reality and nanotechnologically mediated
environments in the near and far future.

Well, the metaverse has fascinated me for some time...I

really got into the idea when I read Bruce Damer’s
book “Avatars” in 1998 or so. I have been involved in
virtual worlds performance since 2002 and have par-
ticipated in virtual worlds as a resident since 2001...
In fact, I have performed online (in an AOL chat room)
since 1996. I even signed up for Second Life’s beta in
late 2002 although I did not get in due to the limita-
tions of my computer that I was using at the time. I
mention all of this to provide some historical context
behind my ongoing fascination and engagement
RL Name: Jeremy Owen Turner
with the Metaverse. There are many reasons why I
am drawn to this medium...I like idea of being able
Blog: http://wirxliflimflam.blogspot.com
to transform into multiple identities - all of which ex-
press different aspects/facets of my total personality. I
RL Bio: Jeremy Owen Turner (b. 1974, Victoria, BC,
am reminded that my biological self is just one avatar
Canada) is a virtual worlds performance artist and
among many possible ones. I am also drawn to East-
composer living in Vancouver. He has been perform-
ern (Vedic) philosophy so I am very much drawn to the
ing in real-time environments since 1996 and in vir-
concept that all reality is somewhat “virtual” - so I like
tual worlds specifically since 2002. One of his avatar
how “art” and “life” are very close together in mediums
performance art groups was with Alberto Guedea and
such as Second Life.
was known as “The Gates” (2002-2005). This group
used Digitalspace Traveler as their chosen metaverse
Right from the beginning, I felt that avatar perfor-
medium. Turner also performed in an internet punk
mance was the most “authentic” form of art-making in
group using Skype and MSN Messenger. with Guedea
the metaverse due to the ways in which “life” and “art”
called “The Hotmails (THM)” from 2005-2006. In 2003,
explicitly blur together through the cyclical act of real-
he co-produced “AVATARA” with Donato Mancini and
208 metaverse art
 metaverse art 209
time performance.

In real life, there are many more inhibitions to per-

forming since there can be severe social and physical
consequences when getting people to challenge their
own sense of reality. In Second Life, one can create in-
terventions that creates a hypermediated awareness
of their avatar and their positioning within the meta-
verse. As art, I like to catalyze this awareness of the av-
atar body and its cultural relationship to a world that is
both radically different AND similar to the “real” world.

This depends on which avatar I assume. I have many

avatar ALTs to express different aspects of myself as
well as certain themes. Some of my ALTs are not even
artists - this gives me an opportunity to explore the
Metaverse outside of the artistic discourse and enjoy
it for what it is (or could be). As Wirxli, my role is to re-
mediate the “Real Life” (RL) performance art-historical Picture 2: MdM arena performance
discourse into Second Life (SL). This means assuming
the “shamanic trickster”, “clown” or “joker” archetype,
to some degree. As Wirxli, I also explore the themes
of celebrity excess and the self-mythologizing of the
artist-as-genius. I think in the future, I will also explore
automated agents/bots as well as the personification
of non-anthropomorphic “alien” avatars.

As Wirxli, I am pretty much exploring all I want to ex-

plore. I am starting to realize how one-dimensional a
character Wirxli really is. I feel that in order to grow
as an artist and as a complete person, I should expe-
rience the Metaverse using other ALT identities...this
will likely include the creation of new personalities. I
usually explore what the themes are within a given vir-
tual world and/or metaverse and determine a series of
themes from that. My RL self is personally interested
in: Transcendence/Mysticism, Extropianism/Posthu-

Picture 1: Wirxli in action MdM arena 2009 Picture 3: MdM arena performance
210 metaverse art
manism, the occult, Minimalism/Maximalism and re-
lated topics.

As Wirxli, I create performances and not persistent

“creations”, per se. Anything that persists is only the
documentation. I do not seem to have created any
kind of virtual object with some sort of legacy be-
hind it. The closest thing I have “created” was a luxury
sportscar that was co-designed with Sugar Seville but
almost no one has seen it. I am my own worst critic
and always believe in retrospect, that my own artistic
output is not as valuable as avatars. I actually am much
more interested in other avatar artists than myself and
sometimes wish I did what they were doing that what
I ended up doing.

I believe forming Second Front and becoming the

first resident on Odyssey Island are probably the most
significant activities I have undertaken within Second
Life. I am also happy to have composed some large-
ensemble compositions for the Avatar Orchestra
Metaverse. I am unsure of the long-term significance
there except that the “new music” (i.e. “contemporary
classical music”) discourse was able to continue flour-
ishing within the Metaverse - but, other composers of
the AOM have done the same thing. I am also proud to
have spent more time snorting pixellated cocaine than
conducting proper intereviews within SL.
If I am proud of anything, it is my appearances in the
media - especially, “The AVASTAR”.

I communicate my throughts primarily through IM and

text-chat - as well as communicate visually through
Non-Verbal Communication (avatar body language)..
sometimes, I use the voice channel for private conver-
sations but that can compromise my avatar’s gender-
ambiguity.

Picture 4: MdM arena performance

metaverse art 211
212 metaverse art
As Wirxli, my performances/compositions are very
post-modern. Part of the reason for this is to accurate-
ly reflect back the post-modern nature of Second Life.
In terms of the degrees of aesthetic formality being
explicitly referenced, this depends on the theme of
the performance/composition. In my “real life”, I am
VERY much interested in extreme formalism and ab-
straction. Part of my undergraduate work was about
Mininalism and my current MA thesis is titled “Neo-
Modernist Visual Design of Avatars in Second Life”. I
admire avatar artists here who use hyperformalism
and abstraction. I am actually contemplating a Green-
bergian critique of avatar design within SL. I hope to
one day make an ALT whose appearance and person-
ality is totally non-anthropormorphic, alien, abstract
and minimal. I have not yet succeeded yet but I am
getting closer to that idea.
I think I answered some of this above. As Wirxli, I want
people to be aware of the cultural, ontological and vir-
tual presence of the avatar body. I also want to blur
the line between “audience” and “artist”, while at the
same time - asserting my unique identity as an avatar
“artist”. Ultimately, I want to remind people that the
lines between “performance” and “lifestyle” are also
blurred. I want to engage in activities that I would be
too shy to enact in “real life” (RL).
Sometimes, I produce artifacts as “performance resi-
due” but this is simply to remind people of my avatar
and not so much about the unique properties of the
object itself.
As Wirxli, it is extremely important. Wirxli’s whole
identity and sense of self-worth insecurely revolves
around the opinions of peers. This mirrors my “real life”
insecurity as an artist and creator. Similar to Warhol,
Wirxli relies on the media at large to define who he/
she is as a persona. I have other ALTs though that care
less about what the public thinks. I even have one ALT
that prefers to experience SL in solitude.
As Wirxli, I am more sensitive to feedback/reactions
from my peers and friends than I am from the general
public in SL. This is because my peers and friends un-
derstand the context from which I create my work and
define myself.
I would never do anything to intentionally alienate ei-
ther my friends nor my peers.
Ooops, I answered this already ;-) I guess the feed-
back from Artists/Colleagues/Peers is so important
to me, I was eager to answer it in the first question.
Having said that, I am not as interested in the opinions
of artists who rely on importing traditional plastic art
expression into SL...Not that I want to alienate them
necessarily but they are working within a different
context than me so their opinions are less valuable for
the ways in which I wish to improve myself and my art.
I do however, have many friends within SL who come
from a plastic arts context and I never intend to alien-
ate them either but this is more for friendship, rather
than for artistic reasons.
I perform using whatever is available to me or what
friends give to me. I have no special talent for con-
tent-creation outside of sound-making although I
would like to customize agents/bots using LSL (Lin-
den Scrtipting Language) one of these days. From RL,
I guess my music composition background is what I
import into the Avatar Orchestra Metaverse. I am an
electro-acoustic composer and have made a few hun-
dred albums over the past decade...most of which
have never been released. I am just mentioning this to
indicate that I can create custom sounds and import
them into SL with relative ease. I guess I also import
my RL social skills into SL although one might argue
that it is through the metaverse, that I improved my RL
social skills..it is a feedback loop.
It reminds me of the virtuality present in our own so-
 metaverse art 213
called “reality”. Being in the Metaverse also reminds
me of the potential agency I have in any world that
could allow me to impact and perhaps even transform
it in a significant way. Being in SL has even helped
lower my inhibitions slightly in RL. As a result, I feel
much more confident when I engage in social situa-
tions with others.

Creating performances/compositions as a “Virtual

Worlds Artist” also helps give siginificance to my life
as an artist working within a very historically-specific
milieu. As a result, I feel like I am part of a larger art-
historical continuum.

The Metaverse needs to eventually find a way to com-

pletely blur with the “real” one while maintaining its
sense of transcendence and ontological transforma-
tion of both the “self” and the “other”. I think once
Nanotechnology can make virtual objects, agents
and avatars “real”, then we will have the next phase of
artistic evolution ready to work with. In this sense, I
think concepts such as “Posthumanism” and the “alien
other” will become that much more important - pos-
sibly even redundant.

This would depend on which avatar I decide to be

but I am usually more comfortable collaborating with
others as I like the social nature of the Metaverse and
sometimes, I can define myself further with the “other”
as a companion. In addition, I like to work with others
that have complimentary skill-sets to mine - especially
when it comes to realizing more ambitious large-scale
projects.

With minor exceptions, I pretty much exclusively spe-

cialize in Metaverse only art (“NPIRL”). I have been this
way for quite awhile and plan to be so until the worlds
blur into one completely magical realm where the vir-
tual becomes “real”.
214 metaverse art

Picture 5: The Wirxli Flimflam memorial in benvolio