cybernetic art research project nr 5

carpdiabolus second life virtual art space

cybernetic art research project

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The metaverse symbol

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The word: Cyberspace is known now as an artword, its born from the word Cyber (a shortform from the english word Cybernetic that again comes from the greek word Kybernetike; The art of navigate and the word Space. On the worldfamous Macy-Conferences in the years 1946 till 1953 Cybernetik was something of high interest. Wellknown and famous scientists as Alan Turing, John von Neumann and Heinz von Foerster started here from scratch the mo-dern computertechnics and the programm-architecture, today the basics for the Cyberspace. The real Cyberspace was opened by Secondlife. So you speak of web 3-D or so called Metaverses. The Metaverses are Internet-based virtual time-space-infrastructures. The miracle that we are experiencing today: the Cyberspace, the dematerialized virtual time-space, the worldwide webbed society. where we surf around with lightspeed. An artist that is NOT using this virtual universe as a challenge and a goal doesnt deserve

the name Avantgarde

This e-book dedicated to the pioneer of the Cybernetic Art Nicolas Schffer.

He was one of the most important artists of the second half of twentieth century. Father of Cybernetic Art, thus of so-called interactivity, he wanted to bring a prospective and non-backward-looking vision of Art, which could help mankind to develop itself with a good hold on true creative

and liberating possibilities of our times.

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carp 5cybernetic art research project2008.05.01- 2008.07.31

diabolus second life virtual art space (benvolio)

caravaggio bonetto (A)velazquez bonetto (D)josina burgess (NL)juria yoshikawa (J)calimera lane (D) debbie trilling (UK) junivers stockholm (S) kourosh eusebio (USA) duggy bing (USA)elfod nemeth (UK)millamilla noel (I)medora chevalier (UK)flower exonar (NL)deruub pastorelli (NL)al hoffmann (NL)blanche argus (S)klute coppola (F)efrantisire morane (I)sca shilova

texts: josina burgess edited by velazquez bonetto & caravaggio bonetto

created by the carp team:

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the carp 5 idea tree

CARP 4 (cybernetic art research project)

We have reached a important goal in the CARP 4 Projects: To tell something important wit all the knowledge we got in SL Art Techniques and the new methods. We have concen-trated ourselves on the Contents first but did not neglect the Forms. The outcome gave new criterions in many products in reach of SL collaborative Art.

A big Thank you to Marion Rickenbacker (UK) for her beautiful photography and for her perfect collaboration. Her exhibition; Camera Obscura has shown total new possibilities to present RL Photo Art in SL.

A big Thank you to Ux Hax (Spain) and maria Grot (Ar-gentina) for their Geometry of Sound Performance. The Hax/Grot Duo presented a Technical and Critique extre-me pretentious work of Art. The Synergy of visual effect, Sound interactivity and animations surprised the audience every time.

A big Thank to Eden Toll (USA) for her Visual Poetry Exhi-bition. Her Concept was: To combine Poetry and Visuality with important interactive effects. Her professional collabo-ration with other Artists has benefit and leaded the Concept to a extreme high level.

The Global Wood Installation (Content Art) of Caravaggio Bonetto (AUSTRIA) was a great inspiration for Josina Bur-gess and Junivers Stockholm to write and compose a new Song and start a beginning point for the future RING Pro-duction. The Global Wood also inspired for more reincarna-tions: as a VJAZZ Session and as a Performance. With the RING Project we wont create only new Visual Effects but we also will have, thanks to Josi Mc Cartnyand Junivers Lennon musical talents in writing and composing our own Song production base.

The Collaborative Improvisation (VJAZZ) sessions ap-

pealed again to many. In all Sessions the Public could en-joy the new particle creations of Calimera Lane (Germany), Josina Burgess (Holland) Caravaggio Bonetto (Austria) and Velazquez Bonetto (Germany) Special thanks to Kourosh Eusebio (USA) for the meditative music, made special for the VJAZZ sessions. The WALL Production was the biggest challenge for the CARP Team. A unnumbered quantity of different Art forms were integrated in this Production. This Production has set in many dimensions new benchmarks. Also in LSL Scrip-ting, Visual Effects, Production Organisation, Animation and Show Controlling. The WALL is also a Show of super-latives The 5 shows in the Diabolus Art Space did run every time with full sim(40 avatars) And the Benvolio Sim was just not big enough for this production. For this matter we replaced the WALL to a 4-sim Theatre in Havens Paradise with a capacity of 150

A special big Thank you goes to Debbie Trilling (UK) She was (and is) Creative director , the motor running this production. Her diversify and fundamental knowledge, her bulldozer persistence and her precision in details were elemental in making THE WALL a Super hit.When someone would like to have a SL production this size and quality: Ask for Debbie

The Dramaturgic centre and highlight of the WALL is the WALL itself.. Elfod Nemeth (UK) has created a special effect what holds together the whole production and what creates at the end Synchronic with the music the absolute WOWWWWW moment. A big Thank you to the wonderful Puppets of Duggy Bing (USA) The wonderful Puppets he created represent a Styli-stic connection with the Video performance of the real Pink Floyd Wall. Duggy also delivered many great graphics for the background projections.

A Special Thank you goes to Josina Burgess (Holland) and Junivers Stockholm (Sweden) for a new song that was specialy written for this Production. This Song tells the con-

6 carp 5 carp 5 7 tent and the meaning of the whole story and encourages to Think.

Thank You also to Caravaggio Bonetto (Austria) Josina Burgess (Holland) Debbie Trilling (UK) and Klute Coppola (France) for the artistique Costumes, Animations and Out-fits who ware always in the Emotional Centre.

The Script Writers are always the Grey Eminences in SL. Al-ways staying on the mysterious background. Wrong. In the WALL Project scripting itself became Art. And Art scripting became a new discipline. In the WALL Project there were 3 scriptwriters/artists: Elfod Nemeth (UK), Debbie Trilling (UK) und Velazquez Bonetto (Germany). It was a really great fun to find out and develop all these new effects with Debbie and Elfod and to realise them. For me it was a big chal-lenge to build the whole Theatre Architecture, The Colour Environment, Texture Projection, Stage and Show control System. A special challenge was to keep the Visual Effects and Audio streaming Synchrony during the 45 minutes the show takes.

Thank you to Haven Colville (UK) and his CREW for the professional 4-sim organisation and support in the migrati-on work.

A special Thank you to George W Bush (USA)for his hu-morous notes in the WALL Soundtrack

And finally a few important notices: All those who wor-ked with us in CARP and offered so many, many working hours..Why? from Idealistic views? Yes, why not? The Ideal to reach out of positive future visions to create a better world, a better life. What are these Ideals and why are they so important and valuable for us? This form of Internati-onal Working Together is so much fun and we all learn so much from each other doing this. It shows a wish of all people and avatars to work together in a peaceful and creative way and overrules all WALLs (national Boarders, Political Systems and Time zones). A true WIN-WIN situati-on for all, and a positives Model behaviour for our real life. To discover, create new thinking, to enjoy success together even in a virtual world. Its worth to a irrational volonteer-

ness. I Thank you so much for this overwhelming Gift!

Velazquez Bonetto

CARP 5

progam starting at 2008-03-15 ending at 2008-04-30

Theme proposal for the CARP 5 Project:..from the CARP5 team I collected the following ideas for:

1. LEGENDS Kourosh Eusebio, Eden Toll, Calimera Lane Create Worlds of Sound, Word, and VisionEvery minds reflection of world is entirely unique,while surely we share our environment in thoughts, discus-sions, and feelings.Art is language. It is a discussion of realms lost and unknown, found and familiar.As with music, each listen channels rivers of sound,in ways singular and universal, to sculpt landscapes of images, words, and emotion.You are invited to share visions and sounds,poetry and prose,as felt from and presented to these pages.Music and images await,ready to inspire and evolve.

2. Worldpeacejamming-vjazz sessions Juniverse and friends, Josina, Velazquez .....

3. The 5 Rings Juniverse Stockholm, Josina Burgess, Caravaggio Bonetto, Velazquez Bonetto

(based of the 4 rings description from H.J.Krysmanski Power Structure Research: Descriptions model of the ruling class today and the 5th. ring from the CARP team) 1. Ring: Money Power: The global wood *2. Ring: CEO Power: The marrionet clowns

8 carp 5 carp 5 9 3. Ring: Distribution Power: The wall *4. Ring: The Information Power: The plastic Bag -> occu-pation of the public space and time5. Ring: The Powerless: This world: The re-occupation of the public space and time

Based on H.J.Krysmanski: Descriptions model of the ruling class today

4.. Project ideas from Debbie4a Jean-Michel Jarres Projekt:The14th of. Juli 1979 Jean-Michel Jarres first Concert took place at the Place de la Concorde in Paris. It already showed very clear in what direction Jarres future concerts would lead too: Lighteffects, Projections, Fireworks and a huge audience 1.000.000 people were watching his firs live concert and gave Jarre a notice in the Guinness-Book of Records for the biggest audience during a concert in all times.( Oxygne Equinoxe Magnetic Fields Rendez-vous Re-volutions Oxygne 7 13 ) Jarre Concert 1989. With this concert in Paris where he did a lightshow at the biggest Buildings of Paris at La Defence and where the architecture including the Arch of Triumph, Jarre did surpass his own record for the 2cnd time, in the Guiness Book of Records a number of 2.000.000 people were written down, some speak of 2.500.000. The room the audience took reached out till behind the Arch of Triumph. 4b. The string theory (a Project of Eifachfilm and Debbie)4c. V2 the technical challange of Werner von Braun

5. The CARP 5 technical challenge:synthesis of the controling systems in the task oriented audiovisual language LSL++TOM (task oriented meta-ma-cro) - interactiv action-reaction - human control - automatic controlconfigurator control, interpretation, effects

The CARP 5 Team:

caravaggio bonetto (A)velazquez bonetto (D)josina burgess (NL)juria yoshikawa (J)calimera lane (D) debbie trilling (UK) junivers stockholm (S) kourosh eusebio (USA) duggy bing (USA)elfod nemeth (UK)millamilla noel (I)medora chevalier (UK)flower exonar (NL)deruub pastorelli (NL)al hoffmann (NL)blanche argus (S)klute coppola (F)efrantisire morane (I)sca shilova

How we Work:1. Open communication, co-laboration and co-operation2. Open idea and know-how exchange3. Open audiovisual component and script exchange

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

Location: Virtual Art Space Diabolus (benvolio) Owners: Josina Burgess, Caravaggio Bonetto & Velazquez Bonetto.Land : 44336 qmPrim : 11000Website: www.diabolus.ning.com

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10 carp 5 carp 5 11 CARP 5 Global Wood performance (diabolus Benvo-lio)

2008 05. 08. Friday 1 PM SLT

visual artist: Caravaggio Bonetto (A)poem: Josina Burgess (NL)audio artists: Juniverse Stockholm (S)scripting: Velazquez Bonetto (D)

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14 carp 5 carp 5 15 CARP 5 1th. VJAZZ session (diabolus Benvolio VJAZZ DOM)

2008 05. 08. Friday 1.30 PM SLT - 4 PM SLT

visual artists: Josina Burgess, (NL) Calimera Lane (D) Velazquez Bonetto (D)audio artists: Kourosh Eusebio filestream (USA)

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26 carp 5 carp 5 27 CARP 5 1th. Worldpeacejamming-VJAZZ session the 5 avatar live audiovisual improvisation (diabolus Benvolio 100 meter VJAZZ DOM)

2008 05. 16. Friday 1.30 PM SLT

audio artists: Way Sands (S) Al Hoffmann (NL) Junivers Stockholm (S)

visual artists: Josina Burgess (NL) Velazquez Bonetto (D)

audio engineering: Bibi Book (D)

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36 carp 5 carp 5 37 Josina Burgess is an artist, a singer and a designer from Amsterdam. She saw a SL commercial on Dutch TV and entered the virtual world on 12 December 2006 from curi-osity and eagerness to learn what they did there with art. Her first motive to explore the new technological platform was her interest in art and later the possibility to build an international network to show her real life paintings. Josina had no prior knowledge of scripting but started learning fast. Her first project appeared shortly after her entering and was individual: Josinas Wearable Art.

It is a virtual shop for attractive and innovative avatar clo-thes, and the quality and uniqueness is ensured by using her real-life paintings as a texture. She started building up her virtual network by taking part in social clubs of interest and participating in SL exhibitions for fashion and art. At an exhibition in the virtual gallery Cetus where she exposed her art, she met Velasquez Bonetto, a Hungarian master programmer, architect, and engineer. Having sound prior knowledge and experience, Velasquez started teaching Josina how to build and create. Their first collaborative project Diabolus appeared as a virtual gallery for new technology and art, where through their creations the two partners could spread around brand name and reputation. Their regular exhibitions brought them the interest of other artist-experimentators in SL and opened a sequence of collaborative projects with a rising number of participants.

The current network-based entrepreneurial venture Josina takes part in, is the CARP (Cybernetic Art Research Pro-ject), which unites a network of international professional artists, engineers, programmers, scientists, musicians and architects. The Wall is a sub-project of CARP, constituting a fully automatic, scripted and animated performance with dance and visual effects on Pink Floyds The Wall sound-track. The idea is conveying a message in an innovational unique way and allowing for real- time networking and socialization of visitors. All raised money go to charity. The creators of The Wall are from Holland, the UK, the USA, and the Switzerland, and have not yet met in Real Life. CARP network is constantly improving, innovating and ex-perimenting, not only in terms of art and ideas, but in terms of implementation. They plan their next project The Ring to be a completely new innovational theatre using an A5 SIM and overcoming the laggings of the currently used A4 one. Other future projects include VJazz, or virtual real-time performance of Jazz musicians via the platform of Second Life.

Since revealing of information and constant improving of their creations is the philosophy of CARP, they are run-ning a website, a blog and an electronic book to allow for

feedback and discussions. Moreover, they intend to teach broadly what they do in RL through a research project called Cybernetic Educational Research Project. A future research with Texas University is being currently discussed. Josina Burgess has established a strong interconnection with Real and Virtual Life. Advertisement of her real life paintings through SL and a project for Global Justice in New York have accounted for real life profit. Her virtual partner Velazquez Bonetto, whom she has never personally met yet, is planning to visit her in Holland, thus merging the boundaries between RL and SL and opening the gate for future Real Life collaboration.

Summary:Prior knowledge:Prior knowledge affects both type and scope of innova-tion. Josina s being an artist and a designer in Real Life predicts that her first project is in the fashion industry. Her competitive advantage was that she used her real life pain-tings as textures, ensuring inimitability and uniqueness. The lack of prior knowledge of the means of operation with the platform of Second Life was compensated by the high-ly valuable technical and experiential real-life knowledge, which shaped the innovative extent of her creations. With growing of her SL presence and gathering of more experi-ence, Josina started experimenting with choreography and lyrics too, thus expanding the scope of her entrepreneurial acts and innovation.

Collaborative social networks:The case of Josina Burgess illustrates how the growing number and size of social networks can affect type and scope of user innovation. The more the number of net-works and the number of people within a network are growing, the more the scope of innovation is increasing. Josina started alone with separate entrepreneurial acts, within the scope of her previous knowledge and experience as an artist and designer. As her network expanded she was able to incorporate other peoples knowledge and resources into her projects, expanding the scope and the variety of innovations. From her partnership with Velasquez Bonetto in Diabolus to her collaborative social network in CARP, her projects grew bigger in scale and more compli-cated in terms of design and techniques.

Throughout this process she gathered significant know-ledge, which as discussed above has a direct correlation with type and scope of innovation and entrepreneurship. Networks seem to have in this case another interesting ef-fect; they bring together other networks, by arousing awa-reness and procreative action among co-thinkers. That is our philosophy, she says: to share and collaborate.

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Free transfer of information:Collaboration without free communication wouldnt be possible. That is why in the philosophy of all the projects of Josinas stand out visibility and openness, as well as willingness to inform and teach. The main channels of transmitting information are the project of CARP themsel-ves, which serve as networking platforms from co-thinkers all over the world. CARP encourage user feedback through discussions in their website, their blog and their electronic book. They communicate actively their vision of sharing and collaboration via their Cybernetic Educational Re-search Project, which transmits knowledge and experience to young eager to learn residents. As far as the role of gate-keepers is concerned, Josina clearly describes her partner as such one: if I need something, I ask Velazquez.

Scripting language:Scripting language was characterized as easy and fun, and creating in SL an excellent opportunity to learn building and designing. Real life painting textures, as well as Photoshop ones are transmitted, expanding the scope of the creations out of the means of Second Life. In CARP, however, they find the normal A4 SIMs too laggy to support the gra-phics of their creations. The introduction of a new A5 SIM with the next project The Ring is a completely new techno-logy to make things easier. It will significantly reduce the loading time and increase the quality, thus enhancing the opportunities for further improvements and experimentati-on.

Merging the boundaries with RL and SL:Josina found a real life market for her art through the platform of SL. Exposition of her paintings in SL proved to be an fast and easy, cost-effective and profitable way of marketing. There is no need of conventional advertizing anymore, she says, her art is now exposed international-ly and speaks for itself. The project of CARP for Global Justice was shown on a screen in New York, taking Second Life art into the RL and spreading further the breath of the entrepreneurs projects.

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38 carp 5 carp 5 39 CARP 5 Mothball Balckhole

visual artists: Juria Yoshikawa (J)

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visual artist: Juria Yoshikawa (J)

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50 carp 5 carp 5 51 CARP 5 Particle show

visual artist: Calimera Lane (D)

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The WALL and the RINGS

hypercube theatre architecture

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64 carp 5 carp 5 65 CARP 5 NMC-DIABOLUS WALL THEATREthe ground floor

visual artists: Flower Exonar (NL) Deruub Pastorelli (NL)architecture: Velazquez Bonetto (D)

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NMC-DIABOLUS WALL HYPERCUBE THEATREDIABOLUS RINGS HYPERCUBE THEATREthe theatre platform (2008 Juni)

architecture: Velazquez Bonetto (D)

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THE WALL V2NMC-DIABOLUS HYPERCUBE THEATRE

The CARP Wall Team:Creative Director: Debbie Trilling (UK)

Producer: Velazquez Bonetto (Germany)Wall Design: Elfod Nemeth (UK)

Animated Puppets: Duggy Bing (US)Animations: Caravaggio Bonetto (Austria)

Original Music: Junivers Stockholm (Sweden) & Josina Burgess (Holland)

Stills Photography: Adec Alexandria (UK)Dancing & Joyfulness: Klute Coppola (France), Southern

Riptide (US)with valuable contributions from:

Scio Kamanchi (US) Gypsy Paz (US) Lyddyn Tzara (US) Celeste Moonlight (US) DJ Jenns (UK) windyy Lane (US) George W

Bush (US)and, of course, Pink Floyds incredible album The Wall

The CARP Team have especially updated and re-scripted near every element of the show for NMC, as well as adding entirely

new effects and surprises.The Wall V-2 is now even bigger, more colourful and more

visually stunning than ever before!Amazing. Not so much viewed as it is experienced ~

Metaverse MessengerAll I can say is WOW. GREAT show ~ Second Arts

Nothing short of spectacular. A complete immersion ~ Looking Glass

This is Second Life at its best, a creative and experimental gathering of people from all over the planet. Impressive,

touching and thoughtful, and particularly well organized ~ MixedRealites

The Wall V-2 will be performed at twice-weekly at NMC Campus West:

EVERY FRIDAY 2pm SLTEVERY SUNDAY 2pm SLT

Access to the venue is via. the following SLURL:http://slurl.com/secondlife/

NMC%20Campus%20West/127/47/612/

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The WALL V2

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90 carp 5 carp 5 91 Montag, 21. Juli 2008

The Wall Eine virtuelle Multimedia-Show Geschrieben von Giridevi Duranjaya

Vorgeschichte 1979 erschien das Konzeptalbum The Wall von Pink Floyd, einer wegweisenden Rockgruppe, die neben Tangerine Dream, Santana, Jethro Tull u.a. besonders den Sound der 70er Jahre geprgt hat. Die Stilmittel bestanden v.a. in einem Mischen elektronisch erzeugter Klnge zu einer psy-chedelischen Soundtextur. Hier setzte auch die Stimme der Kritiker von The Wall an, denn die Entwicklung des spezifi-schen Pink Floyd Sounds zeigte keine Weiterentwicklung, vielmehr muss man wohl die inhaltliche Entwicklung zu einem Konzept der Darstellung innerpsychischer Zustnde als Entwicklungsschritt betrachten.

Es geht um einen identittssuchenden Jugendlichen, der um sich herum einen emotionalen Wall (of Sound) errichtet hat, genervt und pathologisiert durch mtterliche berfr-sorge, Abwesenheit vterlicher Zuwendung und grausame Schulerlebnisse. Statt die letzte Konsequenz der inneren Emigration, den Suizid zu ziehen, wird der Protagonist zu einem gesellschaftlichen Mitlufer mit faschistischen Zgen. Er schafft es nicht, alle Emotionen zu unterdrcken und klagt sich selbst vor einem imaginren Gericht an. Das Urteil besteht in einem Zerstren der Mauer, die er als Schutz um sich herum errichtet hat.

Dieser Inhalt wurde 1980/81 zunchst in gigantischen Bh-nenshows in den USA/Grobritannien und Westdeutsch-land dargestellt. 1982 entstand ein Film, in dem reale und Zeichentrickpassagen vermischt sind.Eine Reanimation erfolgte nach dem Fall der Berliner Mau-er 1989. Im Juli 1990 wurde The Wall symboltrchtig auf dem Potsdamer Platz mit bekannten Stars aus der Rock- und Popszene neu inszeniert.

Das CARP Projekt

Seit April 2008 zog die erste virtuelle Variante als digitale

Show im Grid von Second Life ber 1200 Besucher in ihren Bann. Wegen des Zuspruchs im Juli neu aufgelegt, wird die Show zweimal die Woche, am Freitag und Sonntaga-bend jeweils um 2 Uhr PST noch eine Weile aufgefhrt. Den Zuschauer erwartet eine minutis synchronisierte, farblich, symbolisch und technisch beraus expressive Show, die ber den Computerscreen bertragen einem wirklich das Gefhl einer Live-Bhnenshow vermittelt. Man kann es als kleines Wunder ansehen, was das CARP-Team (Cybernetic Art Research Project) hier leistet. In einem Interview mit der Projektleiterin Debbie Trilling versuchte ich der Entstehungsgeschichte etwas auf den Grund zu gehen. Auf der nchsten Seite findet ihr einige Bilder und die freie bersetzung aus dem Englischen (Interview und bersetzung: Giridevi Duranjaya).

Giridevi Duranjaya: Debbie, vielen Dank dafr, dass Du Dir Zeit nimmst fr das Interview; ich wei, dass Du eine sehr beschftigte Person in SL bist. Aber ich denke auch, dass es fr Besucher Eurer Show eine zustzliche Erfahrungs-ebene sein kann, ber den Entstehungsprozess und den Hintergrund dieses Projektes mehr zu hren. Nach meinen Informationen bist Du als Creative Director verantwortlich fr das Gesamtkonzept und unsere Leser wrde interessie-ren, woher Du Deine Ideen genommen hast, inwieweit die vorhergehenden Inszenierungen von The Wall eine Rolle gespielt haben und was Du zusammen mit dem Team die-sen historischen Vorbildern neu hinzugefgt hast.

Debbie Trilling: In der Inszenierung von The Wall bei Pink Floyd kommen etliche ironische Bilder zum Einsatz, vor al-lem die Riesenpuppen, die gekreuzten Hmmer und natr-lich die Mauer selbst. Diese haben wir in unsere Produktion bernommen. Aber es war uns sehr wichtig, nicht nur eine Kopie zu schaffen, sondern eine individuelle und knstle-rische Vision und Interpretation. Insofern haben wir viele neue Elemente hinzugefgt. Auch den Soundtrack haben wir neu zusammengestellt, manchmal sehr subtil und kaum wahrnehmbar, manchmal sehr offensichtlich. Ein ausge-sprochener Pink Floyd-Fan wird manches wiedererkennen in unserer Show, aber auch ganz neue Dinge wahrnehmen. Wir haben uns generell sehr bewusst mit dem Geist und

90 carp 5 carp 5 91 der Essenz des Originals auseinandergesetzt.

Unser Motto vom ersten Tag der Produktion an war die Frage Mother, should I trust the government? aus dem Song Mother. Whrend die ursprngliche Version als das individuelle psychologische Problem eines jungen Man-nes verstanden werden kann, der depressiv wird und sich isoliert, bertrgt unsere Version dies auf eine soziale und kulturelle Ebene; sie fragt nach den Einflssen von ue-ren Krften auf Individualitt und Kreativitt. Ein weiterer Leitsatz auer dem oben erwhnten ist Eine Regierung, die wenig regiert ist eine Regierung die am besten regiert. Beide zusammen ergeben die Vision unserer Produktion. Sie hat viel mehr (anti-)politische Untertne als die Original-version.

Giridevi Duranjaya: Die Vision ist eine Sache, eine andere jedoch ist die Realisation. Wie sehr warst Du beteiligt an der Umsetzung der Ideen in textuelle, kinetische, visuelle, sonische und performative Ausdrucksformen? Und wie hast Du die Leute gefunden, die fhig waren, die Ideen in mediale Aktionen zu bersetzen?

Debbie Trilling: Die Wahl des Teams war vermutlich der wichtigste Faktor fr den Erfolg unserer Produktion. Auer mir besteht das Kernteam aus folgenden Personen: Velazquez Bonetto (Germany); auf ihn fiel die Wahl automatisch; er hat auergewhnliche problemlsungso-rientierte, technische und knstlerische Talente und kann grozgig mit seiner Zeit und seinen vielfltigen Begabun-gen umgehen, was man selten findet. Er hilft sehr, damit eine knstlerische Idee sich realisiert. Elfod Nemeth (UK) wurde gebeten, die Mauer zu designen und zu scripten. Er hat eine unglaubliche Liebe zum Detail, sehr fortgeschrittene Scripting-Kenntnisse, aber auch beim Bauen und mit Texturen in SL kennt er sich gut aus und ist ehrgeizig, was Qualittsstandards angeht; er ist ein Perfektionist und hat die Geduld und Fhigkeit mit jemandem solange zu arbeiten, bis ein Ziel auf hchstem Niveau erreicht ist. Duggy Bing (US) war die einzige wirkliche Wahl fr die Herstellung der animierten Puppen. Als RL und SL

Knstler mit auergewhnlichem Talent, was man an sei-nen extrem populren Cartoonimals sehen kann, konnte er die Produktion mit seinem knstlerischen KnowHow anreichern. Caravaggio Bonetto (Austria) bernahm die Ver-antwortung fr die Animationen, die Choreographie und die Kostme. Sie brachte ein knstlerisches Flair, Farbe und eine Gefhlstiefe in die Produktion, die wenige andere htten in dieser Form umsetzen knnen. Josina Burgess (Holland) and Junivers Stockholm (Sweden) steuerten ihr musikalisches Talent bei, um den letzten Song Break those Walls, der am Schluss live per-formed wird, hinzuzufgen. Josina ist auch LeadDancer in der Show. Velazquez, Josina, Caravaggio und Junivers sind Mitglieder des Cybernetic Art Research Project (CARP) und wir haben uns alle dort kennengelernt. Aber auch weitere Personen leisten wichtige Beitrge, z.B. Adec Alexandria (UK), die die Photos fr die anfngliche Photoshow zusammenstell-te, Scio Kamanchi (US), der fr die Hubschrauberszene whrend des Songs Happiest Days of Our Lives und fr die Militruniformen whrend des Songs Run like Hell verantwortlich zeichnet, Gypsy Paz (US) und Lyddyn Tzara (US), die das Glas in der Bettszene (One of my Turns) zerbrechen und Klute Coppola (France) und Southern Rip-tide (US), die tnzerische Effekte und Freude in die Show bringen.

Giridevi Duranjaya: Wie hast Du die Arbeit koordiniert? Wieviele Treffen waren ntig und wie oft wurde gebt?

Debbie Trilling: Ganz ganz viele Treffen und Trainings waren ntig, um die zahllosen Elemente der Show zusammen-zubringen. Wir ben immer noch regelmig, vier Monate nach der allerersten Auffhrung. Fr die Koordination bin ich im wesentlichen zustndig. Ich wusste, was ich mir fr eine bestimmte Szene vorstellte und wer im Team das am besten ausfhren kann. Ich beschrieb meine Idee skizzen-artig und lie dann das Teammitglied seine eigene Variante entwickeln. Alle Mitwirkenden sind erfahrene RL-Knstler und SL-Content-Creator; sie alle waren in der Lage auf-grund meiner Andeutungen eine einzigartige individuelle

92 carp 5 carp 5 93 Lsung zu finden.

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

Debbie Trilling: Unsere Produktion The Wall wird von der sich selbst finanzierenden CARP-Gruppe organisiert. Besit-zer sind Velazquez Bonetto und Josina Burgess. CARP ist vllig unabhngig von irgendwelchen Einflssen von auen und finanziert sich nicht aus externen Quellen. Die Produk-tionskosten werden von den Mitgliedern selbst getragen und alle Erlse gehen an Hilfsorganisationen. Wir sind sehr dankbar, von NMC Campus eine Sim-Gegend zur Verf-gung gestellt zu bekommen fr die Auffhrungen.

Giridevi Duranjaya:Welches waren die grten technischen und organisatorischen Herausforderungen im Produktions-prozess?

Debbie Trilling: Ohne Zweifel war die grte technische Herausforderung die Synchronisation der sieben Controller mit dem Soundstreaming nach SL. Dies kostete uns die meisten Nerven und Kopfschmerzen whrend der ersten Zeit. Doch haben wir inzwischen eine Menge Tricks und Techniken dazu gelernt und knnen nun ziemlich garan-tieren, dass an einem guten Tag innerhalb von SL die Synchronisation mit einer Abweichung von einer halben bis zu 2 Sekunden funktionieren wird. Das ist eine akzeptable Toleranz. An einem schlechten Tag gibt es wenig Chancen fr uns, das zu reparieren, wenn es verloren gegangen ist. Manche Sachen in SL kann man einfach nicht kontrollieren. Aber das gibt es ja auch in RL und wenn es passiert, ms-sen wir damit leben, auch wenn es enttuschend ist. Zum Glck kam das bisher sehr selten vor. Organisatorisch gab es keine erwhnenswerten Probleme. Als die Rollenverteilung klar war, war es nur eine Sache der Produktion der einzelnen Elemente und dann ihrer Zusam-mensetzung, schlielich noch die Koordination innerhalb einer Show. Meistens ging es sehr kooperativ zu; natrlich gab es auch die ein oder andere Reibung. Ich behielt mir stets das letzte Wort vor. Es gab z.B. unterschiedliche Mei-

nungen ber die Gre und Hhe der Mauer. Ich entschied letzten Endes immer zugunsten des visuellen Eindrucks.

Insgesamt jedoch herrschte ein groer Teamgeist und jeder arbeitete daran sein Vision und die der anderen Wirklichkeit werden zu lassen. Es ist eine schwierige Aufgabe, wenn man manchmal jemandem, der hart gearbeitet hat, eine Sache zurckgeben muss, um sie zu ndern oder umzuar-beiten; das machte mir manchmal Probleme; aber es muss natrlich sein, damit am Schluss alles zusammenpasst. Die Leute sind alle eigenstndige und auch eigenwillige Knstlernaturen und so kamen natrlich auch manchmal hitzige Diskussionen auf. Hier war Josina stets eine sehr diplomatische und beruhigende Vermittlerin. Letztendlich kamen stets alle zu einer gemeinsamen Abstimmung.

Eines der grten Probleme von seiten der Zuhrer sind die Facelights. Sie mssen unter allen Umstnden ausge-schaltet werden, da sie sonst unsere Lichtkomposition auf der Bhne zerstren. Man sieht dann nur grau. Wir geben jeweils vor Beginn der Show eine entsprechende Ansage aus. Das ist ein Inworld-Problem, denn SL stellt nur 6 Licht-quellen (auer Sonne und Mond) zur Verfgung und diese werden vom Klienten nur innerhalb seiner nchsten Nhe gerendert. Wenn man also neben jemandem im Zuschau-erraum sitzt, der eine Lichtquelle hat und die Bhnenlicht-quellen damit einschrnkt, kann es sein, dass man von der Show nichts sieht. Wenn ich jemanden im Zuschauerraum sehe, der Facelight eingeschaltet hat, dann macht mich das sehr wtend. Giridevi Duranjaya: Was hast Du fr einen persnlichen Hintergrund fr diese Arbeit? Bist Du Medien-Designerin oder etwas hnliches?

Debbie Trilling: Ich war Computerprogrammiererin bevor ich Software-Designerin und -Testerin wurde. Ich beherr-sche etliche verschiedene Programmierungssprachen und habe viel Erfahrung mit allen mglichen Software-Program-men. Ich kann nicht malen oder mit dem Stift kreativ sein in RL, aber ich habe eine Begabung, neue Software sofort zu begreifen und damit in krzester Zeit auf einem hohen Niveau zu arbeiten. Ich benutze den Computer, um kreativ

92 carp 5 carp 5 93 und expressiv zu sein. Insofern wrde ich mich techni-schen Knstler nennen im Gegensatz zum natrlichen Knstler. Meine Kunst besteht eher aus Algorithmen und Pixeln, als aus Leinwand und lfarbe. SL kam zu mir als ob ich schon immer darauf gewartet htte. Und ich hatte das Gefhl, das Medium gefunden zu haben, das zu mir passt. Particle-Kunst in SL war mein erstes Kreativ-Erlebnis und damit stelle ich auch immer noch aus: http://slurl.com/secondlife/Gypsy%20Falls/64/40/803/. Giridevi Duranjaya: Gibt es auch Kompetenzen, die Du Dir whrend des Produktionsprozesses von The Wall neu angeeignet hast?

Debbie Trilling: Velazquez und ich erarbeiteten gemeinsam die Kontroller und Kommando-Parser welche die Show am Laufen halten. Wir haben das so automatisiert, dass wir nur auf Start drcken mssen und alles vollautomatisch abluft. Es gibt sechs solcher Kontroller und einen zustz-lichen von Elfod, der fr die sukzessive Stein-auf-Stein-Konstruktion der Mauer zustndig ist und auch fr deren Abbau und den finalen Kollaps. Alles wurde in der Linden-Scriptsprache geschrieben und alles zusammen genom-men ist natrlich eine Arbeit wie diese mit den stndigen Verbesserungen auch eine gewisse Kompetenzerweite-rung. Das ganze ist auf 160 Avis ausgelegt, auch an Tagen, an denen der Sim berfllt ist.

Giridevi Duranjaya: Weshalb hast Du speziell das Thema The Wall ausgewhlt? Ist das eine persnliche Vorliebe oder hat es auch etwas mit dem Wndebauen in SL zu tun? Ich denke da auch an die roten Bannlinien, an die man stt, die fr die einen einen gewissen Schutz bedeu-ten, fr die anderen aber ausgrenzend wirken. Debbie Trilling: Es war eher eine spontane Idee und bereinkunft mit Velazquez, die uns kam, als wir ber den Plnen zum Berliner SIM saen. Wir legten eigentlich sofort mit dem Arbeiten los. Es dauerte eine knappe Woche, bis die Sache zu einer offiziellen CARP Produktion erklrt war und die Basiskonzeption stand, die auch heute noch das Projekt trgt. Ich denke, Velazquez und mich hat dabei vor allem sofort die Mglichkeit gereizt, das ganze als Show umzusetzen mit den entsprechenden Effekten und Scripts

und somit dieses Projekt von den raffiniertesten und aus-geklgeltsten Techniken des SL-Scriptings profitieren zu lassen.

Ich habe zwei Hauptkriterien fr The Wall:1. Alle Objekte, Skripte, Kostme, Bilder usw. sollten ausschlielich fr diese Show produziert sein und nicht irgendwo aus zweiter Hand gekauft. Alles sollte erstmalig sein und noch nirgendwo in Gebrauch. Das schafften wir zu 95%. Wir erhielten einige Tanzanimationen und Kampf-posen als Spende und verwendeten sie natrlich. Genau dafr suchen wir aber im Moment auch nach einem talen-tierten Scripter fr Animationen, der Lust hat, an zuknfti-gen CARP-Produktionen teil zu haben.

2. The Wall sollte neue Mastbe setzen fr Live-Auf-fhrungen in SL, einen neuen Standard fr andere, um sich motivieren zu lassen, es nachzumachen und eventuell zu verbessern.

Giridevi Duranjaya: Welche Projekte sind in der Zukunft geplant?

Debbie Trilling: Ich plane im Moment zwei Solo-Projekte unter der Schirmherrschaft von CARP: V-2 ~ Gravitys Rainbow. Das ist ein Edutain-ment-Projekt rund um die deutsche WW2 V-2 Rakete und Thomas Pynchons Novelle Gravitys Rainbow. Auch mein Sim in SL heit so; hier zwei Webadressen: http://en.wikipedia.org/wiki/Gravitys_Rainbow http://www.v2rocket.com/start/start.html Hubble in Particles: Das ist ebenfalls ein Edutain-ment-Projekt um das Hubble Teleskop, das die Photos der Frhphase des Universums wiedergibt mithilfe von Second Life Partikeln. Die nchste groe Team-Produktion wird sein The Rings - The Metaverse Protest Musical, wo ich als Special Effekt-Knstlerin mitarbeite. Das ist eine Produktion von Velaz-quez.

Giridevi Duranjaya: Debbie Trilling, wir sind beeindruckt und bedanken uns fr die ausfhrlichen Statements!

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The making of the RINGS

Lyrics/songs: Josina Burgess, Medora Chevaier, Junivers StockholmCreative director/producer: Velazquez BonettoSpecial effects: Debbie TrillingCostumes: Josina BurgessScenario design and graphics: Velazquez Bonetto, Cara-vaggio BonettoActors: MillaMilla Noel, Josina Burgess, Medora Chevaier, Junivers Stockholm,

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98 carp 5 carp 5 99 Velazquez and me discussed (like we do all the time) the Philosophy of H.J Krysmanski and his Power Structure Research.

We got the idea to do something with that subject , maybe build a performence around that. Velazquez wanted to develop a new theatre and new technology and started building his Hypercube, while I was thinking about storyli-nes and how to visualize all that.

Velazquez and me talked about our idea with Junivers, maybe he could think with us and make some music to it...the great thing was that Juniverse also had thoughts about similar things and contacted Medora Chevalier, in rl working for a organisation caring about the homeless, she also had ideas and we started to discuss all in every monday meetings.

From there the 4 of us started to work, and really hard. Velazquez (as usual) was the motor and started building in such a fast way that in a few days the idea for the theatre already changed in a real SL theatre with everyting in and on it, The RING was the name we used for the show to be andm Juniverse and me started to work on songs.

I wrote sonme lyricks, Juniverse composed and we were sending files from Sweden to Holand and vice versa. I sang in and Juni sang, the voices together sounded really good so we did some more. Juniverse composed the most won-derful music and also medora started writing lyricks. The RING was becoming sl reality and we decided to devide it in chapters with every time another subject about injustice. poverty, environment, greed, power, etc.

Every day the RING was in our minds, Velazquez develo-ped a total new technology in steering and scripting, build a controler that is able to steer many things at the same time, moving prims and let them live and record them. Velazquez build big puppets and I stood beside him wat-ching, learning and copying what he did so I could build a puppet too. Then he did let them move...it was fantastic!

Meanwhile other artists, scriptwriters, builders and dan-

cers like Debbie Trilling, Flower Exonar, Sca Shilova, Milla Milla Noel, Blanche Argus, Efrantirise Morane, stepped in to help us make this new show work and become special. The whole building and scripting of the theatre was totally Velazquez work, he was performing miracles.

We discussed about having some interaction with the audience and I got the idea that it would be so cool when the seats with the audience in it would fly up and into the stage and be like in the whole experience. Velazquez made it happen and (of course) it worked. 360 degrees panoramas were used, emitters, a total city was build on the stage, trees grew and disapeared, objects moving all around, Vjazz on the stage, and we the actors worked on the storyline.

I made several new costumes and we went searching for good animations and avatars like butterflies to make the show even more interesting. The more the RING grew the more enthousiastic we became. Miulew Takahe stepped in and made a cam system for us that is able to shoot clo-seups or different views and on the spot the audience sees what its showing.

In the state we are right now, rehearsals started and as far I can see this Metaverse Protest Show will be a huge step towards what is possible to create in SL and more then that we will be able to bring a message too.

Josina Burgess

100 carp 5 carp 5 101 In order to understand why I was one of the four people that initiated The Ring I have to tell a background story about my SL music.

I have been jamming and playing in SL since my very early days. It was always done with pure SL technology. Some instruments were playable for real and some were loop instruments. Often the jams were open for anybody to participate in, but there was also bands with rehearsals and giving concerts. (SL Art Ensemble and World peace jammers). Some of us also collaborated with individuals and other bands in SL. One of the bands was AOM (Avatar Orchestra Metaverse).

The network grew over time and resulted in many things. One was that The Dove Rhode was given a piece of land at the Burning Life and there we had open jams. So... the network grew even more. One day Eden Toll came to a jam. She was a member of the CARP team. She liked what we were doing and asked me to join the CARP team for the coming up event called VJAZZ.I liked the idea. But it also meant that i had to start to stream. I had tried it but deci-ded not to do it because it was to limited. I couldnt jam when i was using stream. But now i wanted to try again. There was a big element of jamming in VJAZZ. Visual art was supposed to meet music in aimprovisation. Eden introduced me to Josina Burgess and Velazquez Bonetto. They liked my improvisations and I started to collaborate also with them. Now other things than VJAZZ came up - like the Global justice event where we made a VJAZZ session.

Another big interest I had was about nonprofit and help organisations in SL. I had made a lot of research about them. I found places, met people and tried to understand the problems they had in SL. Amongst my SL friends I had one working in RL for homeless people. We started to discuss a lot, also with others from these organisations, about what changes that was needed. We understood that empty regions was one of the big problems for them and they needed help in order to bring their information to an audience. During this time The Wall was produced and i had been asked to write an original song to the lyrics from

Josina Burgess. The Wall was a big success and the music collaboration with Josina was fun, easy and gave a good result. People liked the song.

Now... The CARP team is a very productive team and as soon as The Wall was ready they wanted to start a new project. Josina and Velazquez asked me once again to write original music but this time for the whole show. They handed me the background theory of H.J.Krysmanski. It had a lot of similarities to my own thinking and I saw the chance to do things concerning the nonprofit and help organisations. I talked to my friend from the homeless organisation, Geni Figaro/Medora Chevalier, if this was a thing that could help them. Aftersome short discussions we knew that this was a chance to so something for this kind of organisations and we decided to try and combine our ideas with Josinas and Velazquez ideas. They both agreed that we had very much the same views and decided to start the process. During the initial phase of the production things changed a bit, but the core of our idea was still there.

We didnt reach the nonprofit and help organisations the way we wanted and needed. We realised that the full potential of our project The Ring couldnt be reached within the time we wanted so we decided that we could try and reach that in version 2 of The Ring.For me personally the production of The Ring meant a lot. Its based on my music in collaboration with Josina Burgess and Medora Chevalier. That is of course a great thing for me, but finding people that had so much to say about the state of the world we live in, and what is needed to do in order to make a better world, was even greater. Im very happy for this. We all need to help and to start think about it and get more aware is one of the main goals with The Ring.

Even if people, in this case The Ring team, have some good causes, the production of a show has a lot of ele-ments that are technical. Velazquez was/is our main scripter and builder and tried to listen to our ideas in order to do all the magic we asked for. I have been impressed of Velazquez many times and he didnt let me down this time

100 carp 5 carp 5 101 either.

My RL profession has been working with media, especial-ly TV and live broadcasting. Therefore I had made a lot of research in SL about this field. I found some very nice equipment. One system that I liked a lot was made of Yumi Marakumi - the Bijo cam system. I introduced this system and the idea of using cameras in order to deliver cam views to the audience and recording videos of the show. The team liked the idea and Velazques eventually found time to script his own system.

When i write this we have come a long way. Were about to have open rehearsals and so far the ones that saw and heard the show have been very positive to it. The cam system is ready to be programmed and put in the time line. This is about to be done now. We also wrote special ma-nuscripts for 2 of the songs. After rehearsals of these, and programming the cam system, we are ready for the big audience. In our planning there also is things concerning the non profit and help organisations. I think we all did something that can change how SL can help these organisations. So this is the beginning for a new platform, both in technology and the reason why to produ-ce events in SL.

Im very happy to be in it ! There are many people to mention that has meant some-thing to me -too many to be honest. But 2 people have had a special influence for me to be able to do all the things ive done lately. One is Bibi Book that helped me with the streaming and helped me get a streaming server. The other one is Barney Boomslang that gave me the streaming server.

Thanks a lot, and thanks all you that i didnt mention.

Junivers Stockholm

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104 carp 5 carp 5 105 My dear friends,

You are truly becoming my friends as we come to know each other as individuals as we work hard, debate, dis-cuss, argue, celebrate and laugh.

First, I am so proud to be with you in this work. The ambi-tion is high and we are getting a long way. Already it is a work that will set a new benchmark in SL.

Vela - you are a master craftsman of a whole new art form. You are the maestro who turns dreams into beautiful repre-sentations using amazing new tools and finding completely new solutions to our outrageous ambitions :)))) I take my hat off to you!

Josi - you are passionate, visionary and so committed. I love your voice with all its lights, shadows and colours. Thank you for making us all look so stunning with your lovely costumes. I just feel so beautiful and strong as I fly as your angel or forest spirit.

Juni - wow that music! Do you really understand what a great work you have composed? Like all maestros you always have that dissatisfaction with your work. There is always another level to take it. Well, while you must keep climbing Mount Parnassus of course - do stop to draw a deep breath and see how far you have climbed, our talen-ted friend! Your deep belief that music can draw together and bind people together to transform the world through our SL connections permeates the whole work. Now there is this great idea you have had to use the camera system in performance. For the first time in SL all the audience will get to see the drama properly. This is ground breaking. I am sure other will follow but it was your conception first.

And all my fellow nymphs, demons, angels, world destro-yers, dancers with all the many talents you are bringing to this. Bravissimo! Its so great to work with you all. Thanks too for the challenges, critiques and ideas - they are what drives the Ring deeper, darker, richer :))))

SL has been a place where there has been some great

entertainment innew forms, arts and arts experiment - but not yet Art - in the sense of something that speaks beyond its own time and can touch and change many lives. Do you know that we have a good chance to get there? We might fail - artists do - but we might succeed!

As we open up rehearsals we hear the audience response and feedback.Now we start to understand the impact the work can have on other people. I hope they will give us critiques too to help us to strengthen it. It may mean some changes but it will make it greater.

So I want to share a little bit about my RL self with you before going on to share my vision of the back story to King of the World. Junis script adds to the lyrics I wrote and his great music but it is still changing and evolving as we test ideas. I want to challenge us all to push it up to be real drama. So people feel differently at the end. Heres why.

In RL I have always been a campaigner - for peace, for womens rightsand, for a long time for arts and culture. During part of the 11 yearsI spent in that field I ran the national organisation for artists andarts organisations - theatres, galleries, concert halls, festi-vals, community arts. I made some changes I am proud of (ask me if you are interested). But the main thing I re-member is that really great artists get the strongest artistic experience from working with people and communities who have been blocked outside the gates of the city - helping tell the true stories of their experience so other people can see and feel it. We are on track to do that.

When this becomes Art it crosses boundaries of age, class, race, nationality and time. Think of Shakespeares King Lear in the storm seeing the poor people he never saw when he was in power Poor naked wretches (poor people)...that bide (suffer) the pelting (blows) of this pitiless storm, how shall your houseless heads and un-

104 carp 5 carp 5 105 fed sides...defend you.. Oh I have taken too little care of this! Take physic (medicine), pomp (rich people).expose yourself to feel what wretches feel! King Lear Act I, Scene 4

Now I run a national homelessness charity. Our campaign is to end homelessness, starting with rough sleeping.. We have persuaded the mayor of London, the European Parliament and the Government to aim to end street home-lessness. We know people can get out. 20,000 people left the streets of London in the last 10 years. There are 300 left each night. In New York and Paris, Rome, Madrid there are thousands. This can change.

Most people look at people sleeping on the streets as diffe-rent - bums, no hopers, addicts, stupid dangerous. Lower than a rat. In fact they are you or I but unlucky. They were teachers, bankers, musicians, soldiers, businessmen or people whose childhood was hurt by losing their family or abuse. And the better news is that all around us in our society are perfectly normal people with jobs and families who were once those bums other people despise. Some of them are my friends or work in senior jobs in my sector

King of the World is about one mans journey to discover that. How one bad business deal leads so quickly into losing everything. Friends very quickly become ex friends. Like many others he uses drink or drugs to hide the pain and the cold and make him feel better about himself.

The aim is to take the audience on that journey with him. They start almost ignoring the homeless people sitting quiet on the stage. Maybe they laugh when the car almost runs one over. They focus on what the rich guy and his girl are doing. By the final verse they need to see the homeless as people who are, not comic, but like us, needing respect and understanding. In the end they are the ones who help the guy who has lost everything.

Everyone else continues to walk on by. We know it is the poor in communities who often show the most solidarity and help others if there is a disaster and lose everything.

So the homeless need to look like ordinary people but down on our luck, sad,injured but by the end helping the guy who has fallen down.

The audience has to recognise us as the victims of our damaging moneyobsessed culture. But at the end people like us. People who are decent and caring and who need a helping hand out. Were still searching out some great animations and poses.

Our first open performance upset someone. You know why? She suddenlysaw what SL could be used for - real Art about real issues for humanity. And she was upset at how shed wasted her time before. Lets tap into peoples emotions, their care for each other, and go change the world!

Medora Chevalier

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The lyrics of the RINGS

Music & lyrics: junivers Stockholm,

I see the writings on the wall.I know this means were gonna fall

We get what we deserve, we get what we deserv.

We get what we deserve

The diabolus artspace presentsThe RINGS (Homo sapiens Version 2.0) protest musical

Lyrics: Josina Burgess(NL), Medora Chevaier(UK), Junivers Stockholm(S)

Music: Junivers Stockholm (S), Josina Burgess(NL)

Creative director/producer/builder/scripting: Velazquez Bonetto(D)

Special effects: Debbie Trilling (UK), Elfod Nemeth(UK)

Costumes: Josina Burgess(NL)

Scenario design and graphics: Velazquez Bonetto(D), Caravaggio Bonetto(A)

Panorama Photography: Jan van der Woning(NL)

Actors:MillaMilla Noel(I), Josina Burgess(NL), Medora Chevaier(UK),blanche Argus(S), Klute Coppola(F), Debbie Trilling (UK)Junivers Stockholm(S), Sca Shilova, Efrantirise Morane (I)

108 carp 5 carp 5 109 Medora Chevalier: narrator text

THE RING

Our story begins with the innocentsOur innocence. We live our lives. We believe we are free. We believe we are innocent. What do we know of reality? What do we know of the circles we round?We dance to the tunes others make? In the centre is wealth beyond our wildest dreamsIn the outer darkness the poor, the hungrey, the homeless, the raped, the slaughteredIf the power of the Ring is unbrokenWhat will become of our beautiful world?

.... WHAT WE DESERVE

Our world is injuredWe cannot let it dieWe see it as something apartBut feel it!We are connected to all people, to all natureSo why - why on earthIs it money we worshipThe root of war, the root of destruction?

... GLOBAL WOOD

We feel so high on money!It pours through our pockets and our hands!We can do anything!We are Kings!Out of my way losers!You bring it on yourselves!Im far more than okayBut there - just 2 pay cheques away

...KING OF THE WORLD

They build the walls to keep the privilegeWe like the walls - they keep our fears away!Keep the poor the other side!Keep the stranger the other side!Keep the enemy the other side!Do we keep the wallsDo we sigh a deep sigh that they are thereBut do nothing?Or do we BREAK them?

... BREAK THE WALLS

Giving up the old certaintiesWe are alone on the rockWe burn under the sunOur mouths dry Our skin tauntBut what is that call behind usCan we turn and hear where it leads us?

...DESERT/FOREST SONG

The source of strength is thereWe can draw it inWe use focus itFeel our own strengthBut what to doThe time is shortWho are the voices who can guide us?Where do they lead us?Will we hear before it is too late?

...7 TO 12

It is NOT too lateWe are not aloneWe are togetherNature itself is with usLife is strongWhen it is beautifulTo save the futureWe must celebrate its lifeBreathe the airFeel the wind blow through usDance on the breezesDraw in the strengthUse it togetherThere is HOPE

...ONE

Imagine theres no wars can you?Imagine all the people living life in peace can we?Can we unite?Can we act?Its up to usYes we canTogether

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Josina Burgess: narrator text

THE RINGS

The story we are going to tell you is based on the philosophy of Krys-manski and many other great thinkersOur world in fact is ruled by a few people..the super-super rich.They stand in the inner Ring of the world and rule from there, they send out their orders to the other rings..the presidents..generals..militairy..administrations etc etcat the almost last Ring there is us and the very last there is most of all the the people with almost no chances in lifethe poor..fugitives the homeless.We want to send out a message to youWe are stronger then we thinkWe can unite..we have a voice..we can call out and change the worldbut what do we do?????

WHAT WE DESERVEWe get what we deserve..because..we polute..destroy..consume and throw awayignore..we do all of that to our world ..and our world..the beautiful planet we live on responseswe all see it happening around usand we get what we deserve

GLOBAL WOODThe world is like Global Wood..where money hangs on trees.the greed for more power, more money is of all timesit never stops, we all are in that race to get more and more, we think we help by giving money to good causes, and sometimes it helps really, but never enough, millions are send to countries suffering from disasters, many times that money ends in the wrong pocketscan we change that? How can we really help? Is it worth to search a little and find the real people that use our money honoustly and give the real help to the people in need

KING OF THE WORLDThe city.many of us live therealways in a hurry..always with our heads and minds focussed on the next step to takebusy with our own problems..our eyes closed to those ones living around us and dont have the possibilities we have ..victims of their own mistakesbut still victimswe walk by..we pass without giving them second look or just a smile..we ignore

BREAK THE WALLSWe listen to our rulersour presidents and generals..do we take for gran-ted what they say can we think ourselves? Break the walls in our heads as well the walls in theirs? Can we find peace in a world where wars are all over and going on and going oncan we?.

DESERT/FORREST SONGWe sometimes feel ourselves lost in a desert of lonelynesswe some-times feel like there is no hope..but there is always hopeeven in the darkest moments you can find it in whats around you..can find a helping hand and accept that handevery moment can become a turning point for you as well for othersthere is strenght in everybody, find that strenght and you find hope..

7 TO 12 /GROWING OLD SONGWe will grow older..and what world will we give to the generations after us? What do we do to give them a world to live on in harmony? Are we going to make this world a great place for them to live on? We can..but do we will? Are we willing to take the steps needed to make this world a place of peace and harmony for our children and grandchildren? We are able to do that..when we unite

BEAUTIFUL WORLDOh this world. our blue, beautiful planet is so wonderfulther is beauty in nature and flowers.. in lakes and parks.. in animals and children.in love and in warmth. The World has so much to offer.its our home.we breath her air and feel her wind through our hair..we see her beauty and enjoy it.let it stay that way forever

THIS WORLDIt all about usWE all togetherImagine how our world would be when we unite and stay togetherImagine there was no more war..Imagine the-re was food for allImagine we would live in peace and harmony.Ima-gine WE can do that all.

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A human being is part of a whole, called by us the Universe, a partlimited in time and space. He experiences himself, his thoughtsand feelings, as something separated from the rest--a kind of optical

delusion of his consciousness. This delusion is a kind of prisonfor us, restricting us to our personal desires and to affection for a few

persons nearest us. Our task must be to free ourselves from this prisonby widening our circles of compassion to embrace all living creatures and

the whole of nature in its beauty.

Albert Einstein

The global Wood

The Global Wood. Lyrics by Josina Burgess

There is a wooda Global wood, where money hangs on treesIt generates a Global wealth for just a few to see

Only a few.. a Happy few.. they closed an evil pactThis small amount of Human Snakes.. that made this self-select

Billions go to Afghanistan and millions to Atjeh The victims of old Pakistan, for the happy few a playA Game to get the money there, for nobody to find

Just in Their pockets it will end ad suffering leaves behind

Its a global wood Global woodIn - balance is the name

The dance around the money treeFor the happy few their game

And Libras arms are not alike, the balance is not rightThe suffering of half the world causes hate and war and fight

But the happy few , the Happy few, dont care. Dont feel. Dont seeThey dance their dance of ignorance .. around the money tree

Its a global wood Global woodIn balance is the name

The dance around the money treeFor the happy few their game

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Music: Junivers Stockholm, Lyrics: Medora Chevalier, Additional lyrics: Junivers Stockholm

Chorus 1:Open your eyesOpen your ears

Open your mind to see the truthOpen yourself to change it

Chorus 2:Open your eyesOpen your ears

Open your heart to feel itOpen yourself to share it

King of the world, he walks on by

King of the worlddoesnt see the homeless guy

King of the worldmoney gained, the evenings funHis mind is full of triumphs won

King of the world, why should he careKing of the world,

its not him in dispareKing of the world,

he reached success, now hes the besthe knows how to invest

King of the World

King of the world, one deal too far

King of the world, No more family or car

King of the world, His money gone, and friends go too

Soon the drink is all thats true

King of the worldlower than a rat

King of the worldThey dont know that

King of the worldWhen spirits drown him

Hes not down! Hes the King of the world

King of the worldlower than a rat

King of the worldThey dont know that

King of the worldWhen spirits drown him

Hes not down! Hes the King of the world

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132 carp 5 carp 5 133 King of the world Total time 3.40 (220)

Actors: All (juni, Josi, Medora, Vela, Deb, Milla, Blanche, Sca, Efran.)Rich guy in city overcoat with Briefcase (rags underneath) (juni)GF smart suited, short skity high heels. (has a sports car - and mobil phone) (Deb)Evil looking big guy with truck loaded with weapon - parked and waiting. (Vela - or?)2 Homeless beggars in rags that annoice people (Josi, Medora and Milla or Blanche)1 Hooker (Blanche)1 smart looking guys making a deal with the hooker (Efran)2 Police (Sca, milla)

Debs car and a truck are integrated to the scene. Before the scene starts Deb, juni are already in the cars. Debs car is hidden behind houses at the right of the stage.The truck is parked in stage center back at the skyscrapes and the driver stands outside thetruck smoking. The 2 guys and the hooker stands nearby the truck. 2 homeless are by thehomeless cardboard houses. 1 homeless (Josi) are closer to the au-dience.All actors TP to their place before the song starts and comes up with the sceneries.

SONG INTRO0 - 8 Guy talks to hooker. 1 homeless by small cardboard houses walking towards the audience carrying a sing saying hungry and homeless - kneels infront of the audience and begs. 1 homeless is in a cardboard house walking out of it.OVERVIEW CAM - CENTER (0) (Cam1)

SONG INTRO 8 -15 Car drives across stage towards the truck - almost runs over a homeless. Parks by the truckLOW ANGLE - HALF CLOSE CAM - CENTER (8) (Cam2)

SONG INTRO 15 - 34 Deb and juni comes to the truck. Jumps out of the car. Talks to

the truckdriver. Truck driver shows weapon. (The hooker and the guy are in the view too). Poseballs are used were its neccessary.OVERVIEW HALFE CLOSE CAM - RIGHT (15) (Cam3)CLOSE UP - weapon (28) (Cam4)

REFRAIN 1 34 -1.05 1 homeless warming hands by fire (the back to audience). 1 still infront of the audienceHALFE CLOSE CAM - audience and begger in background (34) (Cam5)CLOSE UP - beggar crying, 1 homeless in background by fire (49) (Cam6)OVERVIEW - audience, beggars back (57) (Cam7)

VERSE 11.05 - 1.38 The homeless infront of the audience walks back to the other one. juni walks by the homeless cardboard boxes. Homeless approaches him begging. He just walks right into them and continues to the bank.OVERVIEW CAM (same as in scene before - no changes) (Cam7)OVERVIEW CAM VERY WIDE (64) (Cam8)MID CLOSE CAM - juni walking towards homeless (1.11)(71)(Cam9)CLOSE CAM - juni walk right into homeless (1.16)(76) (Cam10)LOW ANGLE WIDE RANGE CAM juni walking towards bank (1.22)(82) (Cam11)CLOSE CAM from left - juni walks into bank (1.31) (91) (Cam12)

INSTRUMENTAL BRIDGE1.38 - 1.54 The guy and the hooker starts dancing/kiss juni walks back with money.OVER VIEW CAM (1.38)(98)(Cam13)MID CLOSE CAM - hooker and guys (1.42)(102)(Cam14)CLOSE UP - Hooker (1.46)(106) (Cam15)MID CLOSE - Hooker and guys (1.50)(110)(Cam16)

REFRAIN 21.54 - 2.25 juni shows money for truckdriver - hands him the money. Deb gets crossed and walks away and stops (by pose-balls) and starts argueing. Juni argues too and gets slappedMID CLOSE UP - juni shows the money - Deb walks away, juni after her (Cam17)(114)

132 carp 5 carp 5 133 CLOSE UP Deb and juni argueing (125) (Cam 18)CLOSE UP Deb and juni argueing (130) (Cam 19)MID CLOSE Deb and juni argueing (135) (Cam 20)

VERSE 2 City changes to cardborard city - 5-10 secs fade (if possible)2.25 - 3.00 Deb walks away. Makes a phone call. Policecar comes. Police goes out of car. Deb points out juni. Homeless watch it happen. WIDE RANGE City changes, Deb walks away to new position (145) (Cam 21)MID CLOSE UP Deb makes a phonecall (155) (Cam 22)MID WIDE Policecar comes, drives up to Deb. Deb pointing out juni (165) (Cam 23)

VERSE 3 (same as 2) 3.00 - 3.30 Police walks up to juni. Juni pretends to be innocent. Police grabs juni and walks towards the police car.MID WIDE Police walks up to juni () (Cam 23) swift poseballs?CLOSE UP Police and juni talking (180) (Cam 24)CLOSE UP Police and juni talking (190) (Cam 25) MID CLOSE Police and juni talking (200) (Cam 26)MID WIDE Police walking away with juni () (Cam 27)

SONG ENDING3.30 - 3.37 juni jumps into the mousetrap and clothes changes to rags.MID CLOSE juni in mousetrap (210) (Cam 27)

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Music: Junivers Stockholm, Lyrics: Josina Burgess, additional lyrics: Junivers Stockholm

They build Walls between countriesThey declare each other BadThey say: There is the enemy

But the Walls are in their head

There are Generals and there are PresidentsAnd they all speak out to the crowd

To convince just everybodyThat theres a war that is allowed

Look in your heart to seeif there is a wall to breakand let your mind be free

just be real not another fake

All these men, great and mightyTell us others they are bad

But what real is and what is certainAre the Walls right in their heads

It is time to awakenIt is time that it is said

give us back what you have takenBreak those Walls right in your head

Break those Walls............Break those Walls............

Break those WALLS

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Lyrics Medora ChevalierMusic: Junivers Stockholm,

On the rock the child s aloneHe looks at sand and sky and stone

The heat burns deep through skin to boneNo sound of life around him.

A far bird sings her gentle songThe boy turns round and gazes long

The forest stands there - dark and strongIts deep song calls out to him.

His bare feet feel the calling pathHis toes the dampness of the earth

A place where small things move and birthThe forest living draws him.

Deeper, darker, richer, coolA bubbling green life giving pool

Deeper, darker, richer, coolHe fills his body, floating, stillDeeper, darker, richer, cool

Soaks in the force around him.

Now he hears the lifes forces soarBirds and insects, forest floorInvade his being, living loving

He is not he but all.

The Forest

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Lyrics & Music: Junivers Stockholm, Additional lyrics Medora Chevalier

I thought Id lost my soulI was blinded, couldnt see my goal

And then I found myself...But now its seven to twelve

Ive got kids of my own And they have kids - thats the seed Ive sown.

What I leave - thats for them to tell... But now its seven to twelve

And the winds of changes also reached me. What a time to be the one that sees it clear.

Ive got seven minutes to eternity Thats the way it is

Thats the way it is - to grow old

I feel like stopping Time. Make the best of it and give whats mine!

Let eternity look out for itself... But still its seven to twelve

I think I finally understood - Its about love, peace and brotherhood.

Dont just imagine - come on, lets get it done! Come on and lets get it done!

Though its seven to twelve

7 2 12

Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed it is the only thing that ever has.

Margaret Mead

If I have the belief that I can do it,I shall surely acquire the capacity to do it

Mahatma Gandhi

Darkness cannot drive out darkness; only light can do that.

Hate cannot drive out hate; only love can do that.

Martin Luther King

Education is the most powerful weapon, which you can use to change the world.

Nelson Mandela

You give but little when you give of your possessions.It is when you give of yourself

that you truly give. Kahlil Gibran

We must have perseverance and above all confidence in ourselves.

We must believe that we are gifted for something and that this thing must be attained.

Marie Curie

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one

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Lyrics Josina BurgessMusic: Junivers Stockholm,

Am I awake or sleeping..My brain gets over used

Its like a nightmare deepenMy mind is all convused,I walk around in circlesMy voice out of control

My spirit reaches for miraclesTo drag me out this hole

My heart goes out for everyone that feels the same, the same like me

That wants this mess be cleared and goneTaking out the misery

My heart goes out for everyone..

We live a life of emptinessWe do not search the thruthWe want a lot, but doing less

And think that is enoughThe competition leads nowhere

Our fights will have no endInjustice is all over thereThe rich will never bend

This World

But when we will wake up some day and straight our backs our backs uprightWhat when our voices scream the Nee

To those who want no light and turn them brightCould we together change that tide..

Could we unite and change the worldAnd set it into light

Could we together change that worldAnd let the sun shine brightIts all about us waking up

And stand up for our rightsTogether we could reach the top

And put the world in lights

Could we unite and send the word throughout the world and make it rightCould we together change that world

And make wars disappear and hold us tightCould we go out and spread the word

I wonder if we would and could..

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174 carp 5 carp 5 175 The WALL production in Havens paradise

2008 Mai

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184 carp 5 carp 5 185 Kourosh Eusebio Concert in AURORA dom diabolus artspace 2008 06 17

Audio Artist: Kourosh Eusebio

Visual Artist: Josina Burgess

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188 carp 5 carp 5 189 Al Hoffmann Concert in the Al Hoffmann dom diabolus artspace 2008 06 23

Audio Artist: Al Hoffmann

Visual Artist: Josina Burgess

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diabolus art space

josina burgess

Name: Jos den Burger. SL name: Josina Burgess

Jos studied at the Famous Artists Schools of America and graduated in illustration, advertisement,free painting and drawing. She studied under Ben Stahl, Al Parker, Jon Witcomb, Fred Ludekens, Peter Helck, got her papers in 1967 and then decided to become a ...........singer! As a singer she worked successfully in the Netherlands especially in the 70ties (was the first female protestsinger) . She made several albums , was a member of the Knokke Songfestival Team and had her own radio and personality show on the Dutch Television. She worked with the well known Ted de Braak in all Dutch Theaters and was a guest in many radio and television shows. She traveled around the world and performed in the Intercontinental Hotels,Theatershows, on Cruiseships and in many International Television Shows. In Spain she was appearing for 4 years on Spanish television and in the years after that she became the leading lady of the well known close-harmony trio The New Shepherds and after that of Close Encounter and was leader of her own 7 mans band Septem-ber. Made several albums again and performed on Dutch radio and television. During all these years of traveling she continued painting and drawing and was inspired by the countries she visited. The work has many facets, just like a human has many sides in his or her personality. Feelings and impressions, sometimes subtile, but also powerful and above all the use of bright colors are specific for her Art. Non-figurative, abstract as well as figurative paintings, explosions of color, gold and bronze, memories and feelings are telling their story.

In the end of 2006 I started Secondlife, after seeing something about it on the Dutch television. I was really interested to find out what happened there with Art. I Found that many galleries interested to exhibit my Art and started from there. But just showing images of my real life paintings was not enough and I started to search for new challenges. So I went into to making dresses using the images of my real paintings as textures on them and called them Wearable Art. It was an immediately success and after I met Velazques Bonetto I started to experiment more with different textures I made from images of projects in SL as well as images or de-signs I made specially for the dresses or other projects. From Velazques I learned how to use scripts and started to animate the dresses as well. Going from there I went into building sculptures and installations using scripts in an Innocent way and some times the effects were amazing. It has my total interest now and I love the new challenges and possibilities to create a total NEW ART that never existed before elsewhere.www.josina.eu

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diabolus art space

caravaggio bonetto

Name: Naomi DevilLives and studies in: Budapest, Stuttgart, WienE-mail: [email protected]

Studies:

2002-2003-2006: Sommerakademie fr Bildende Kunst Salzburg2004-2007: Akademie der bildenden Knste Wien,Kontextuelle Malerei: prof. Muntean/Rosenblumprof. Elke Krystufek prof. Angela Hans Schreil2006-7: Technisches Universitt Wien Architecture BA

Solo exhibitions:1.Gallery Tet: The Digital Oil, 2004,Budapest2.Gallery Mucius, The PINKFERNO, 2005, Budapest3.Gallery Nagyhzy, Happy Birthday, 2005, Budapest4.Galery Art Position, 2005, Wien5.MOYA (Museum Of Young Art), Einzelaustellung Naomi Devil, 2005-2006, Wien6.Gallery Mucius, DOWNLOAD::MEDIA, 2006, Budapest7.Hungaryan Cultural Center Prague,SACE WARP, 2007, Prague8.Gallery Bast-Art,Du bist was du siehst (You are what you se), Wien, 20079.The first SL solo exhibition 2007

Group exhibitions:1.The closing exhibition of prof. Caroline Broadheads class, 2002, Salz-burg2.The closing exhibition of prof. Rivka Rinnclass, 2003, Salzburg3.Gallery Vertigo: The Vertigo Chronicle, 2003-2004, Canada4.Artshole / Vinopolis: Art In MIND Part 4, 2004,London5.Gallery Zsidr: Zsuzsa Gesztelyi Nagys, Mrta Kucsoras, Naomi Devils and Melitta Nmeths paintings , 2004, Budapest6.Mucius Gallery Coffee: 9 artists of Gallery Mucius, 2004, Budapest7.Selfportait UK 14-19 2005 Touring exhibition: Sunderland Museum & Winter Gardens, Manchester Art Gallery, National Museum & Gallery Cardiff, Peterborough Digital Arts Museum & Gallery, The New Art Gallery Walsall, National Portrait Gallery London, London Underground8.Gallery Mucius, Budapest, 2005 A knyv utlete9.Art Position 2005, Ottakringer Brauerei, Wien10.II. Keruleti Alkotok Tarlata 2005, Budapest (Exhibition of the artists from the 2. district) 11.MOYA (Museum Of Young Art)- New Romantics- from 2005 August- Wien12.IZD Tower Vienna- Devil, Garcia Pozo, 200513.With Adrien Kiss and Istvan Szanto, Akademie der Bildenden Knste Wien, Projektraum, 2005, Wien14.Mucius & Diabolus Contemporary Fine Art Gallery (Lszl Fehr, Andrs Halsz, Andrs Koncz, Mucius, Naomi Devil, Istvn Orosz), 2006, Budapest15.Exhibition Room of Ernst Museum Budapest: Dorottya Galeria, Dorot-tya Open Show, 2006 JUne 6-10., Budapest16.II. Keruleti Alkotok Tarlata 2006, Budapest (Exhibition of the artists from the 2. district) 17.Galerie Exner: Junge Sommer 2006, Wien 18.Art Fair KLN 200719.szi trlat Kszeg 2007

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velazquez bonettoRL Name: Lszl rdgh Diabolus

What motivates a designer, human engineer and virtual reality software developer to go to Second Life and getting involved in this incredible world? Playfulness, the happy Homo Ludens? Maybe that too. But I have much more serious motivations:1: - What I enjoy in SL is the pioneer spirit that rules in this world. In my daily real life working with industrial virtual reality I am also pioneering. But in RL you cannot make everything what you could imagine in your fanta-sy. There the discussion goes about much money, resources, manage-ment, hierarchy, organisation, economical efficiency and so on, not really about things that really matter. SL is a dematerialised world with a high degree of abstraction to realize all possible and impossible associations . Its the perfect playground, for thinking Bioavatars, to experiment with substantial subjects without the material consequences.2: - I started in SL with the idea to build a Avatar Museum there, had to be there because SL is the Future and its useless to stay in the past being busy with that.3: - The most valuable what I got from SL are the good friends I have there: Josina the best Muse ever and the most reliable Partner in all the adventures, Caravaggio, Jan, Juria, Noizz, Terri, Whyzzer, Manax and all the others in my friends list.4: -

cybernetic art research project nr 5

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