Metaverso is a global project developed by OPEN THIS END (OTE), which is a not-for-profit cultural organization formed by professionals from the areas of art, culture, science, and education, which researches, classifies, develops, and exhibits content generated with new technologies to bring it to professionals, students, and the general public.
The Metaverso project analyzes the relationship between today's art and the ways it is created, proposing a new focus for contemporary art that incorporates digital aspects based on virtual dimensions as a point of inflection for our perception of reality.
The novelty and importance of this model resides in the concept, which serves as a base that foreshadows the presentation of a new reality, as well as in the different levels of virtual immersion that we unveil with Cristina Garcia-Lasuen's text, “Metaverso” with the presentation of a new type of digital art, the exhibit of a new modality of digital film, and, in general, with the introduction of new artistic creations that make up an unprecedented global project that, due to its extreme topicality and innovation, have not yet been on display.
The Metaverso project is comprised of various exhibits, displays, events, activities, diffusion media, and websites that analyze the relationship between current knowledge and new technologies. It anticipates the distinct possibilities of spaces made in 3D by computer called virtual, digital, generated, synthetic, or metaverse worlds.
The displays are exhibited through projections and didactic activities, which count on the participation of the spectator. In short, the exhibit is shown as a first step toward the theoretical articulation of artistic virtual activities, still unknown by the general public. Metaverso, then, tries to lay the base for a type of art that will be habitual in the near future, resulting in, because of its pioneer-like character, a standout display in the ideology of contemporary art.
Metaverso is presented with a program of expositions and activities, which can be carried out at once or in various cycles, related to the most current art and new technologies, making vanguard spaces. The global project has great versatility, since it can be completely on exhibit, shaping up a wide cycle of expositions and activities with periodic updates, of the works on display as well as the activities and related events, or can even be summed up in just one display. It will depend on the possibilities and the depth and extension that are dedicated to it. In either case, an innovative research program is developed, centered upon art, culture, and today's education.
The project is developed in various environments, from cinematographic video, digital artistic media, and performances, in addition to more specific artistic actions. The cinematographic audiovisual content is shown through videos that answer to the triple classification of the current video art that we make: Real, Virtual, and Machinima, according to the new creation phenomenon that we call Cinemapop.
The digital or virtual artistic works are shown through the productions of artists that utilize art and new technologies in the real world sphere and those that are expressed in generated world environments.
PROJECT METAVERSO
Doing such an innovative and extensive exhibit requires more effort than normal. To carry out the display about the different environments and virtual words, an explanatory design divided into various different expositions and numerous cultural activities with public interaction (in person and on the internet) were conceived. They complete the perception of and comprehension about virtual or Metaverse worlds.
We differentiate between the activities developed inside and out of virtual worlds. In both cases, the exhibit itself and its displays are thought up, but with an absolute relationship between them. The activities and encounters are formalized in classes, conferences, workshops, and other meet-ups with experts on the tackled subjects. In particular, the activities that are integrated within the expositions are done without the Metaverse world itself.
The essential explanatory materials are articulated in different artistic environments, like cinematographic video and digital artistic media. The audiovisual content is shown through videos the correspond to the triple classification of current video art.
The material exhibit of the project is perceived as an immaterial adventure, a trip from the most immediate and tangible reality to total virtual immersion. A journey that is developed in 3 areas, through different stages, but that are connected amongst themselves, and that, as was previously mentioned, are: Real, Virtual, and Metaverse, the last one being the greatest degree of virtual immersion.
Level 3
ART AND FILM IN THE METAVERSE
The level of maximum virtual immersion is produced in the worlds called Metaverses. This is the highest degree of virutal immersion levels and that which utilizes the most recent audiovisual techniques.
Machinima comes from machine + animation + cinema. It is the name given to films done within these synthetic digital worlds. Machinima, therefore, is filming in real time within virtual worlds. In that element, they are related to video games, however, metaverses have been made that do not have a game or concrete objective as their goal.
Being able to record a difficult game, which allowed the player to go on to the next level of the video game and register and access it immediately, was the start of machinima. From that moment on, the most creative players turned the camera around, changed the initial goal and started to film, in addition, improvised scenes in generated worlds.
They are not close-ups, 2D or 3D animations, or CGI pictures. These videos are saved, are recorded, within their own virtual world, generally though a character, an avatar, in the environment called “metaverse,” and are filmed live, just like traditional film was, in the reality that we know. In general, these digital spaces originate from video games and social/recreational programs. This new artistic expression is delivered through an artistic-audiovisual language that is current and individual.
In the metaverse worlds, reality does not participate at all. Everything that happens and affects them is confined to their own creative environments.
The popularization of the artistic creation phenomenon is very recent, but one can see the immense possibilities for the near future, in the creation of movies, spots, chats, and other media within everyone's reach. Keeping in mind this classification of virtuality, it is evident that interest in presenting and starting the exhibition of new art, acts, activities, and film is wide-open and popular. We have named this phenomenon Cinemapop = cinema + machinima + popular.
Machinima is a type of video art that utilizes the techniques and normal phases of movie production, but, unlike traditional filming, it is within everyone's reach. Creative access is as simple as having an idea, a computer with Internet access, and going into any of the metaverses that let you record a short, a feature film, or even a series within their space (Second Life, World of Warcraft, Sims, OSGrid, and others).
The possibilities that new digital technologies offer allow for the creation of a common language of images that transmit information, which allow for emotions to be shared and experienced with new artistic creations. The audiovisual artistic works that arise from this cultural mixing, united with the immediacy and easy of sharing information and resources in virtual space, allows for instantaneous and global diffusion. The creative result is perceived in the existence of new forms of art and video art, among others.
The digital showcase of the internet and current technologies facilitate new opportunities for visual creation. The creations that arise from the cultural, formal, and technological mixing that has characterized our society since the start of the XXI Century have contributed to the existence of new forms of video art. Conceived by Open This End, the current exposition was born from the study that was started a few years ago by Cristina Garcia-Lasuen, the first part being presented at the World Expo Shanghai 2010, where, also for the first time, machinimas and immersive digital art were exhibited as a new type of video art and of art, respectively, and also defined the concept of “Cinemapop.”
At the World Expo Shanghai 2010, under the title: OPEN THIS END, Symbols of Contemporaneity. Cinemapop” OPEN THIS END (OTE) led a daily cycle of successive expositions during the 6 months of the Expo, (from May 1st to October 31st), where, for the first time, the three types of current video art were exhibited. For this classification, various elements were taken into consideration: one one hand, the technique employed and on the other, the degree of virtual immersion that was achieved with this technique. These two distinct factors were applied in all manifestations, including those works that mixed categories, producing hybrid images. Therefore, three categories of current video art can be spoken about: Real, Virtual, and Machinima.
The current project is the development, incorporation, updating, and selecting of this prolonged analysis, which has been happening since December 12th 2008, where current art in the triple classification cited were articulated, and were completed for the exposition cycle of six months of the World Expo Shanghai 2010, with the goal of selecting and exhibiting new art, film, videos, and cultural activities of virtual worlds. The text, “Current Video Art: Real, Virtual, and Machinima,” was published and highlighted on the cover of ARTPULSE, 2010.
This classification corresponds to the analysis and study of the defined and described criteria for the analysis of objective character: in the first place, the media and the tools used in creation; then, the destination and the objective of the creation, and lastly, the degree of virtual immersion obtained.
The virtual selection criteria for the immersion were carried out by following the general philosophical categories of Professor Pierre Levy, but applied to the fields of art, video, and metaverse worlds. To be in agreement with this, Garcia-Lasuen considered the character and nature of each representation, the function that it did, its spatial dimension, the actions that it made, the technique utilized, the activity that it allowed, and lastly, the gradual immersion and the degree of virtuality, as was already pointed out. So, it was concluded that in the final result of all analysis, three large categories for environments or immersion levels can be distinguished: Real, Virtual, and Metaverse.
HISTORY
Level 1
REAL
At the first level, we find ourselves with the completed artistic interpretations, from our normal, analog, material, tangible reality, which defines our daily environment; that which we know. Therefore, we observe creations suggested by inspired, interpreted, or recorded images from real life. These works are made into installations, actions, shows, videos, and performances from the artists, some used as media for registering or documenting, and other artistic interpretations in the environment, taking advantage of the media and current technological creation tools, and even social and communication media. These are most regular in museums, institutions, and galleries.
In the field of audiovisual creation, especially in real videos, and the same that is found in the other levels of reality, the theme is open and plural. Regarding format, the traditional structure can be maintained or combined with multimedia elements, creating multiple screens and narrative elements that flow in parallel to the main story, but that avoid the normal, traditional Renaissance vision that is based on the conical perspective (Greenway). On occasion, the scenes are photographed and set up successively, called “stop motion,” allowing for the aspect of animation (4th Estate), or rather altering the “tempo,” like in cases of slow motion, fast motion, time-lapse, or bullet time, creating time that is suspended. Other examples alter spatial perspective, like tilt-shift, provoking a “model reality,” or incorporate elements from extra-reality, like in “augmented reality.”
The current situation of communication and worldwide narrative experience has provided new varieties, where the urban scene is recurrent (Lozano-Hemmer), and marks the beginning of descriptions, like “Video Graffiti” of the so-called sub-cultures (Blu, Fingaz), the “Epic Video,” that relates solitary exploits from an unusual cultural blend (Rehage), or rather the “Fan Videos,” that fall into the three current video art categories and that re-interpret famous cinematographic scenes, and that test musical video clips, trailers, or video game teasers or even improvise advertising spots (Sour, Barton, Askew).
Level 2
VIRTUAL
In the second level of virtuality, we find ourselves amongst different digital creations that are about to create a new artistic scenario. In the first place, we can point out animation, perceived as animated drawings in 3D made with CGI (computer generated images), on animated TV series and web-series. Next, we distinguish virtual video, in which artists create a new world, with real aspects, but where all images are always virtual representations, not real. Lastly, we have other digital creations, like video games that are not immersive, where an action environment subjectivized in the first person has been created.
C G I A N I M A T I O N
The main characteristic of this second creative level, in the case of videos, is that the drawings have been made, one by one, by computer, using CGI animation (Computer-generated-imagery). It is a laborious digital process which utilizes 3D technical drawing programs that, depending on the type of drawing that results, we have divided into: Animation-Cartoon and Virtual Video, properly speaking, or CGI.
When cartoon-style images are projected, from the very start of the sequential drawings, we are talking about animation. They can have different durations and formats, like video, film shorts, long length, TV series, or web-series. They can be made experimentally or commercially and can participate in cinematographic animation contests (H5, Gobelins-Lecole, Ringling-college, Hertfordshire-University, UCLA, Acker, Blaas, Baldwin).
VIRTUAL CGI
Not long ago, new professional digital drawing technique programs, within everyone's reach, started to also make drawings that appear to be authentic photographs, making it so you cannot tell the difference from the real ones except for the fantastic themes that reproduce situations that are impossible in our world. To differentiate this from animation, we have called it Virtual Video.
They are distinguished from Real Videos because they are not live films that portray our live world, and they also don't record a virtual world like Machinimas. They also don't recreate subjectivized characters like video games.
Their differentiation from Machinimas is evident and makes it impossible to unify both digital categories. We cannot talk about all things Virtual by generalizing about the whole digital video animation process. There are two important differentiating elements. The first is the technique employed. CGI Virtual Videos are the product of technical drawing programs. The second is that they are not made in immersive-metaverse environments like machinima. Therefore, the technique used is not the same, nor are the process phases, or the spaces either, because in virtual videos, an enclosed space is created with artistic intervention and it is not a space that existed previously; there is no previous digitalized world. They are tridimensional drawings that generate a concrete scenario and that situations and multiple possibilities flow out of, although they are defined and seen beforehand by the creators, artists, graphic designers, and programmers (Seva-Roman, Nunez, Jean, Jantol).
Because of their characteristics, they tend to be videos or short films, not made in longer duration formats. They require a complex process that needs patience, with images and finishing touches that are manipulated until getting representations that are apparently real, with the feel of tridimensionality, behaving in a way that highlight the unusual. The spectator is surprised to observe an apparent tridimensional reality that recreates a new world that flows between the real and the fictitious.
VIRTUAL VIDEO GAMES
Video games that are not made in the metaverse, but that are created “ex novo” with concrete and limited goals, develop immersed fiction in a limited environment that has been digitally generated ex profeso in order to meet the specific goal or end of the game. Some video games, however, have actually been created to be developed within a metaverse world, and they pertain to the 3rd group of virtuality, called metaverse world, because they are not just specific virtual scenarios. Their complexity makes them the exception.
Normally, we find video games that develop goals and concrete functions to meet, where the user performs a subjectivized role in FPS, as is expected, which has various possibilities of finite, limited, pre-determined behavior, which were generated by the graphic designers that created the video game.
VIRTUAL
METAVERSO
“OPEN ART”: ART, ARCHITECTURE and CULTURE: REAL-VIRTUAL-IMMERSIVE.
Development and realization of current art exhibits: real, virtual, immersive, participatory, and interactive. Live broadcasts of inworld and real events, streaming. Exhibits and projections in 2D and in 3D: images, projection, and live encounters with virtual art. Virtual artists. Types of art and schools: Texture art, bi-dimensional, tri-dimensional....
“CINEMAPOP”. NEW CINEMATOGRAPHY: REAL-VIRTUAL-MACHINIMA. DIGITAL FILM.
Exhibits, forums, round tables, international meet-ups, creation, development, education, digital film school, metaverse scenarios, studios, selection. Current visual art. Film of the new century. Videos that have won various international competitions. Starting from the World Expo Shanghai 2010 until today.
IMMERSIVE PERFORMANCE-ACTIVE PUBLIC PARTICIPATION-EXCURSIONS THROUGH METAVERSE WORLDS
Access to the metaverse worlds with public participation. Selection of places, virtual trips and interaction with avatars and virtual art works. THEORY: “OTE (Open Talk Environments).
“OPEN CULTURE: THEORETICAL DEVELOPMENT OF VIRTUAL WORLDS” “OPEN MUSEUM”. INNOVATION AND THEORETICAL DEVELOPMENT: ART HISTORY- CRITIQUE OF ART IN THE DIGITAL AGE-THE NEW MUSEUMOLOGY-METAVERSE-ART WITHOUT DATES-LIVING ART.
The post-analog museum, education and creation of studies related to art, culture, and new technologies. Development, training, study, selection, promotion, contests, scholarships...
CONFERENCES, CHATS, ROUND TABLES, CLASSES, LIVE WORKSHOPS ON VIRTUAL WORLDS. INTERNATIONAL NEO-VANGUARD OF THE FLUXUS TO THE METAVERSE.
Participation of teacher, students, experts, and specialists from different areas in local schools and universities. Exhibits, reflections, theories. Studies and techniques related to online publications, the virtual edition.
INTERNATIONAL MEET-UP, METAVERSE WORK DAYS WITH ONLINE PARTICIPATION FROM DIFFERENT UNIVERSITIES. THEMES FROM THE VIRTUAL WORLD, THE METAVERSE. VIRTUAL ART, THE VIDEO GAME WORLD, SOURCES, RESOURCES, AND KNOWLEDGE IN THE DIGITAL ERA. CREATION AND AUTHORSHIP.
Organization of meet-ups and work days-organized by schedules-than can be annual, with authors and professors from different international universities. Periodic online round tables with intellectuals from different disciplines of culture and thought with the participation of different groups of young creators and specialists. Open knowledge. Alternative to vertical knowledge approach. Rhizomatic development. Creation and artistic edition.
“ME AND MY AVATAR” THEMES ABOUT QUESTIONS OF REAL AND DIGITAL IDENTITIES”
Participation in different encounters about reality, its simulation, and the identities of the I.
“OPEN PLAY.” DEVELOPMENT OF VIDEO GAMES. WORKSHOPS ABOUT VIRTUAL WORLDS.
Education and creation of studies and techniques related to art, culture, and new technologies applied in virtual environments and video games. Creation, development, education, school of authors, study, selection, promotion, contests, scholarships.
“OPEN TECH” INNOVATION AND DEVELOPMENT OF NEW TECHNIQUES: VIRTUAL REALITY-AUGMENTED REALITY-AUGMENTED
Education and creation of studies and techniques related to the development of technological and computer possibilities and novelties, applied to the knowledge of the arts, culture, and new tools. Study, selection, promotion, contests, scholarships.
“OPEN BOOK” -DEVELOPMENT OF ONLINE PERIODICALS AND PUBLICATIONS
Education and creation of studies and techniques related to online publications, editions, study, selection....
SIMULTANEOUS OR INTERMITTENT EXHIBIT IN DIFFERENT MUSEUMS AND ART CENTERS THAT ARE RELATED.
The post-analog museum. Reflection on the virtual exhibit in time and space. Collective intelligence of Pierre Levy applied to the explanatory environment.
OPEN THIS END SOCIAL INNOVATION PROJECT IN RL: “CASONA”: INNOVATION AND DEVELOPMENT OF SOCIAL PROJECTS.
Education and creation of studies and techniques related to social innovation projects. Collective participation. Architecture, Urbanism, and Re-population. Study of distribution and innovation of new crops. Rationalization of new ares of cohabitation. Rich sensory map. Study, selection, promotion, proposals, contests, scholarships, big brother. Explanatory space for the display. Within it itself. Open This end, in collaboration with the Madrid Architects School, presents 3D models: Works exposed. Since it is an expositive project of long duration, the selected works require a selection and integration that is unconventional in relation to normal contemporary art exhibits.
“CAFE” ANIMATION INNOVATION PROJECTS
Different displays about animation in 5 areas of creation.
1. CAFE. A story of animation. Art.
2. CAFE. A story of animation. Cinematography: Feature Films and Shorts
3. CAFE. A story of animation. Digital Film and Machinima.
4. CAFE. A story of animation. Series and Web-series. Flash Animation and Ads.
5. CAFE. A story of animation. Video Games.
The classification of the activities from the global Metaverso project can be summarized in the creations of the three large areas of virtuality. According to Cristina Garcia-Lasuen's text (2008) (following the general philosophical pondering of Pierre Levy on things virtual), with the goal of selecting and classifying the creations and possibilities of virtual worlds. It was published and announced in the institutional papers of the Universal Expo and in various special publications like “Today is Art,” among other media, in 2010.
In relation with contemporary audiovisual creations, Garcia-Lasuen wrote the text “Actual Video Art: Real, Virtual, and Machinima,” published and announced on the cover of “ArtPulse,” and in other media, in 2010. In this text, the three previously described levels were classified, brought closer to the environment of video creation.
The project's exhibits are articulated in the different environments that are centered around the artists, the cinematographic videos and the digital cultural events. The audiovisual content is show through videos that correspond to the triple classification of current video art: Real, Virtual, and Machinima, that we described at the World Expo in Shanghai, according to the new creation phenomenon that we call Cinemapop.
The digital works are shown by artists that utilize art and new technologies within the real world and virtual spheres, and productions that are expressed in the environment of the generated world. It is completed with different cultural activities and interactions from the public that is present and online. Also, one can access the immersive experience by accessing the metaverse world.
Doing such an extensive innovation exhibit requires a larger effort than normal. To carry out the display about the different environments and virtual worlds, we conceived numerous activities, according to degrees, that complete perceptions and understandins about virtual or metaverse worlds.
The explanatory space is conceived to be a trip that consists of three levels, that go from reality to total immersion in virtual worlds. Therefore, the global theoretical base comes from the aforementioned writings about the levels of virtuality in art, developing a participation-based digital adventure, in the achievement of an understanding and living of total virtual immersion.
The current nomadic situation and worldwide experience provide new perspectives related to storytelling and fictionalized documentation. What is real produces what is real.
CHARACTERISTICS OF THE METAVERSES
Metaverses have the characteristics that Professor Edward Castronova has described, identifying 3 fundamental distinctions between metaverses that reinforce our differentiation between the 2 previously mentioned categories, Real and Virtual. The difference regarding the Real environment is evident, since in metaverse worlds, our reality does not take any part. What differentiates it from the Virtual are concrete, distinctive elements like non-existence or creation in a previously generated space, which implies the non-persistence of the virtual environment and the impossibility of interacting with other users.
Metaverses have:
- -Interactivity. This is the capacity that the user has to communicate with the rest of the people that are in the virtual world and also to interact with the elements that exist in the metaverse. It means that their actions can cause reactions or have influence over other users and objects.
- Corporeal nature. The metaverse environment that is accessed is created, like the Real, in three dimensions, and therefore is comprised of volumes that occupy space and cast shadows. Occupying space and having volume is subjected to determined physical laws, although they do not coincide with those of Earth. This results in less restrictive limitations, which allow for a wider creation than in the real world, although there are some limited resources; for example, “infinite” elements cannot be created. Access to the metaverse is always done in the first person, so that each individual corresponds to an avatar and vice versa.
- Persistence. The metaverse world and the characters and objects and elements that inhabit it exist even if the user is not connected. The system continues functioning by itself and does not disappear or stop. It maintains place memory and saves the previous positions of the users when they end their sessions. The effect would be the same as awakening from a dream. Although the user is not conscious of what happens while disconnected from this world, when they return, they will find themselves in the same place and position. The same as when we wake up from a dream in reality.
These activity areas are *Art, *Cultural activities and shows, and *Cinemapop. Their analysis and study correspond to the criteria described here, which are based on objective analysis elements. First, the media and tools used in creation; then, the destination and goal of the creation, and lastly, the degree of virtual immersion obtained.
Also, the project presents a set of activities simultaneous to the exhibits that try to immerse the public and make them understand.
These activities are presented in two formats: the Master area done by artists and experts in generated worlds, and the Pop area, created for students and the public.
In every area, complementary activities for the seasonal exhibits are developed, like classes, conferences, and workshops, which complement information and knowledge about the Metaverse world.
Depending on the possibilities that exist, COMPLEMENTARY ACTIVITIES can be presented.
With the exhibits, thematic content can be developed about the different themes related to the displays and additional cultural activities about the Digital Arts, new film, video games, Metaverse worlds, among others. Classes. Conferences. Interviews. Chats. Round Tables. Art Workshops.
EXPLANATORY ELEMENTS OF THE METAVERSO
At first, the Metaverso exhibits show elements and concepts they correspond to:
*Art *Cultural activities and show, means of communication, and performances *Cinemapop
ART
Art, Architecture, and Design. 2D and 3D. Static Art. Environments. Dynamic Art. Kinetic Art. Reactive Art. Interactive Art. Immersive Art. Mimetic Art. Photography, Digital Paintings, Tridimensional Art, Designers, Scripters, Environmental Art, Art Shows, Architecture, Nature and Countrysides. Environments. Happenings and Performances. Architecture and Design. Landscapes. Videos. Projections. Immersive areas. Installations, Programmers, Design, Buildings, Structures, Environments.
PERFORMANCES HAPPENINGS AND EVENTS
Cultural Performances, Museums, Art Galleries, Theater, Ballet, Entertainment, Musicals, Social Events, Avatar Designs, High Design Shows, Live Music, Concerts, Dance Performances, Sports, Activities and Pastimes, Entertainment, Science and Technology, Means of Communication: Digital TV Programs, Live TV, Radio, Digital Magazines, Press; Cultural and Educational, Tours and Games. Social Events, High Design Shows, and Pastimes.
CINEMAPOP
The new media for cinematographic creation. Exposition of machinimas and immersive videos.
C O M P L E M E N T A R Y A C T I V I T I E S
With these exhibits, thematic content will be able to be developed about different themes related to the displays and additional cultural activities about digital art, new films, video games, metaverse worlds, among others.
-Classes
-Conferences
-Interviews
-Talks, round tables
-Art workshops
The exhibits are presented in accordance with the three described levels of virtuality, within the Real, Virtual, and finally the Metaverse environments.
It is approached in two intensities: Master and Pop, depending on the depth and knowledge had about the material.
IMMERSION LEVELS
INTRODUCTION
METAVERSO AREAS
METAVERSO EXHIBITIONS
METAVERSO ACTIVITIES
REAL
ELEMENTS
METAVERSE VIDEOGAMES
Video games that are made in the metaverse pertain to this 3rd virtuality group, to the metaverse world, because they are not specific virtual scenarios that fulfill a series of goals or subjectivized and predicted functions.
The Internet's digital showcase democratizes new opportunities and promotes more freedom for audiovisual creation. Current digital artists have generated their own explanatory space in their own metaverse worlds and on social networks, where diffusion is public and free. This is a far cry from the traditional artistic circuit. They have not had to be subjected to the physical limits of the Earth, because in digital worlds, creative possibilities are practically limitless. It is an art that is born, and is, essentially, free.
The resulting works reflect the culture of the moment. They relate the movie industry with video media, and they add the acoustics of the musical video-clip and the spectacle of the video game scenarios.
“If you pertain to the world of art, you cannot ignore immersive virtual worlds any longer!” says Rose Borchovski, also called Saskia Boddeke, and she adds: “only open virtual worlds can be the owners of an unprecedented intensity, mainly due to the identification of the avatar: anyone can create a digital alter ego, and then, enter a space of digital acts at any time, surrounded by sound, images, interactive objects in 3D, that are going to be explored and manipulated and artistically analyzed or “attacked” by others-experts or random people-user images visiting that, from behind their computer screens, will share and give shape to a unique emotional experience.”
"Claudia222 Jewell A Drift" based on "El Jardín de las Delicias by Hieronymus Bosch (El Bosco). Enviroment and art by Claudia222 Jewell. Film by Nicolex Moonwall
Metaverso by OPEN THIS END
Humanoid. Animations. Example of AOs.Marcus Adkins
"Claudia222 Jewell A Drift" based on "El Jardín de las Delicias by Hieronymus Bosch (El Bosco). Enviroment and art by Claudia222 Jewell. Film by Nicolex Moonwall
"The Golden Age of the Russian Avant-Garde" by Peter Greenaway and Saskia Boddeke aka Rose Borchovski With the Artists: Bryn Oh, ElifAyiter AlphaAuer, Nessuno Myoo, Jo Ellsmere , Caer Balogh , Soror Nishi , Eupalinos Ugajin. Machinima by Sophia Yates
A short movie about the plague. Directed by Olivier Dubocage, Michal Firkowski, Benoît Galland and Gildas Le Franc. Copyright Supinfocom 2008. lapeste.fr/
Images from Metavers Worlds
Images from Metavers Worlds
Bryn Oh: "This is my machinima created for Peter Greenaways project "The Dance of Death". It is made up of five modernized characters from the original Totentanz, the famous 15th Century wallpainting in Basel, whose purpose was to remind people that whether rich or poor, King,Priest or whore, everyone has to die and will be equal. The five characters I chose were the artist, the Doctor (computer repairman), the Daughter, the Herald (reporter) and the Mother. Each connected to tell a small narrative."
Maurice Benayoun "A Photo Safari in the Land of War"
Realidad virtual cartel de neón