rinascimento metaverso

edited by velazquez bonetto

This e-book dedicated to

Giorgio Vasari (30 July 1511 – 27 June 1574)

He was an Italian painter and architect, who is today fa-mous for his biographies of Italian artists, considered the ideological foundation of art-historical writing. Vasari‘s Vite de‘ più eccellenti architetti, pittori, et scultori Italiani (1550-68, The Lives of the Artists) is perhaps the most im-portant book on the history of art ever written. In this work Vasari made famous the term ‚Rinascita‘, or Renaissance.

edited by velazquez bonetto

photographers:millamilla noel & velazquez bonetto

event management:josina burgess & millamilla noel

RINASCIMENTOMETAVERSO

A publication of the at space diabolus cybernetic art research project (CARP)

copyrights: cybernetic art research project (CARP) 2010

All rights reserved

Foreword

With the Internet new cultural spaces are created, that is no longer can be captured in the category of a phy-sical space. The space seems no longer a demarcated physical place, but a result of social relations. Space compactions are leaded to medial levels.

Some while now it seems obvious that a totally new un-derstanding of space, a space knowledge is needed. This question is moving up since the 80ties in the run of cultural- and scientific debates. Many scientists look at the new considerations as paradigm-shifts, because not only time is in the centre of culture-science anymore, where it always was in modernity, but now also space in placed in the interest. Space is looked at as Cultural Dimension.

The understanding of the past was that space was un-derstood as territory, existing autonomous from people. And the historic processes were serving as a back-ground and were determined this way. At the other hand area sociologists describe space as a product of human action and perception. Hans Dietrich Schultz publishes this new approach with a pithy phrase: „Space dont exist, Space will made!“ This paradigm shift is looked at as a spatial turnaround or Space critical turnaround.

The Internet let geographic distance disappear and ma-kes it possible to collaborate and work together on a never seen before level. The artists and scientists that work together on the Diabolus Cybernetic Art Research Project, not only live thousands of kilometres away from each other, but even also on different continents. T

Caravaggio Bonettoey meet each other weekly repeatedly in a virtual world.

rinascimento metaverso 9

The installation submitted start from a fundamental principle, that want the art intended part of a system more complex and articulated for the dissemination of information and sharing of ideas. The use of the circle as a synonym for embrace, welcome, in which happens the cultural exchange in the meeting of the different cultures and experiences.

The art is understood as location, micro-world or di-mension, in which the Avatar, immersed in the built environment, key to symbols, feel actor, partakers of a dialogue which takes not only through the words and the relations between the Avatars, but with all the metaverso of which perceives the expressive po-tential, and with symbols that come to life. More spe-cifically the installation is the sum of two fragments of

installations more large.

The first, was built for the artist Paskua, author and the philosopher Edgar Morin of “The manifesto for the metamorphosis of the world”, for which the Butterfly is the rebirth, the hope to a better world, to which of course, the network, with its cohesive force, proactive and innovative can contribute, through better and more free information. The second for Jeffrey Ven-trella, the inventor of Flexy prims of Second Life and scholar of the behaviour of Avatars.

The Avatar intended also as a metaphor of the man, represented by a Pinocchio (the puppet humanized) that has the illusion of leading the world, and certainly is “killer and victim” of Part of its destiny, but that in turn is governed by other wire, by a “Network rational and built” that, in part unaware and in part has decid-ed as follows for him, hands mixtures that have not face, and that also act on the web with attempts to limitation of freedom through the censure.

But puppets and operators are also the traditional media, to whose dubious credibility the people of the network seeks to compensate. The art SO AS A COM-PLAINT, A COMPLAINT not be, but conveyed the drive to a profound reflection and the hope that, thanks to the power that the virtual instruments may act on the ideas and on their spread, something you can change.

Arcana Jansma

10 rinascimento metaverso

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- Why is the Metaverse as a medium interesting to you and why have you chosen this as a platform to express yourself?- Have no limit of material, sound action.

- What topics/areas do you tend to communicate us-ing this medium?- Learn real art and teach or create interest to other people , like me, are not artist. In italy we live of art in tourism but only few people know and appreciate it.

- What topics/areas do you want to work on in the near future?- To continue to copy real art, but with new impression, my art is in the avatar who live the scene. IMMERSIVE ART.

- Which of your creations in the Metaverse do you think are particularly well done or significant and why?- Andy Away Again, a my personal copy of Andy War-hol...we are all icon in this world and have our quarter of hour of fame. I like to amaze people with easy mes-sage, copy to real event, not abstract.

- How do you describe the intention of your Work? That is, why do you create art in this environment? What do you hope to achieve by doing so? What im-pact are you trying to create?- Interest, interest and interest in art...create feeling whit an abstract thing (art) totally useless but so “warm”

- How important is it to you what the public think and feel about your work?- i like people say always the true, who want to know and want to learn

- How important is it to you to get feedback and reac-tions from the public?- Very important...to work again. Always, i have always to learn from people!!

- What special Metaverse tools or techniques do you use in your creation process?- Graphic software for enviroment and avatar

-. How does creating Metaverse Art help you in your RL?- i can live one more time!!

- What themes and technical trends do you think are important for the future of the Metaverse?- We need help from media, SL is a competitor very strong for internet and tv..they hate us.

eros BoaAshes to ashes

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Emotionspsychology

Emotions are a research object of the emotions psychology, but never the question, what emotions really are is answered satisfactory.

Assuming the everyday understanding of emotions, certain psychological states like happiness, surpri-se, grief etc. are described. We presume that our interlocutor knows what is ment with these words, because he has felt before somehow similar condi-tions. Our experience support that this hypothesis likely is true. Everybody seems to understand the-se words. All people show now and then these psy-chic conditions. Emotions are experiences that are similar to everyone. There is in fact no language

that does not have words for such events.As a science the emotions psychology needs a de-finition, that is understandable for everybody and irrespectively if he has or has not experienced the-se emotions.

There are many definitions to find in the emotions-psychologic literature. Even for a part irreconcila-ble categories of definitions, that an emotions defi-nition mostly is part of a wideremotionstheory. Behaviouristic, cognitive-psycho-logic-, attributional-, evolutionalpsychologic. Ap-proach and treat the issue from different point of views, accordingly determine the sense Emotion as different.

Here a few definitions, from what the synthesis at least gives an impression of what emotions can be.

„A emotion is a intersubjectively observable re-sponse pattern, that is released by certain envi-ronmental conditions. The basic response patterns are inborn“.„A emotion is a hereditary pattern of response, that includes profound changes of the physical mecha-nism as a whole, specially when the individual de-tails of the reaction always with some consistency (.) appear, when triggering stimulus is presented“./John B. WATSON (1878-1958)/

„A emotion is a experiencing state, and certainly a experiencing physical reactions, that are following on the perception of a excitatory stimulus“/ William JAMES (1842-1910)/

„A emotion is a experiencing state, that emerge from the integration of physical commotionsand sensations and certain cognitions“./ Stanley SCHACHTER (1922-1997)/

Evaluna Sperberemoticon 5

metaverse performance

Credits:creative director & performer: Evaluna Sperber

soundtrack creator: Junivers Stockholm improvisation soundtrack: Al Hofmann

visual sets: Evaluna Sperber & luce Lavaltechnical direction & scripting: Velazquez Bonetto

text: Caravaggio Bonetto aka Naomi Devilenglish translation: Josina Burgess


„A emotion is a experiencing state, that results from specific ratings and follow certain acts“./Bernard WEINER/

„I see a emotion as a syndrome of different compo-nents: Not only the experience of state belongs to it not only the cognitions belong to it, but also phy-siologic reactions, action impulses and observable behaviour. Beside that there is no doubt, that emo-tions have a genetic base, they are- under Darwin- the basic shapes of the evolutionary adoption“. /Robert PLUTCHIK/

„Emotions are nothing else then certain neurophy-sical reactions. They exist as such just in our brain. They run automatically, we cannot influence them, only give them a meaning after“./Joseph E. LeDOUX/

Emotions are socially negotiated, they are social constructions. There are no emotions such as an „object of itself“, that you can research „objectively“.What feeling a person has in a certain situation is not depending of the biologic reaction program-ming, but of what feeling he believes to have. Only this way the strong cultural and historic differences towards emotions are to explain“./Kenneth J. GERGEN/

To integrate the different theories, a single emo-tions-definition is needed. A so-called Working-definition is accepted to describe phenomenon and harsh delineation of the research fields. Expecta-tions are, that an exact definition will arise as a re-sult of scientific analysis.

The next example of a working-definition is coming from the study-book of Meyer, Schützwohl and Rei-senzein:

1 Emotions are events like: happiness, grief, rage, fear, pity, disappointment, relief, proud ness, as-hamed, guild, envy as well as many other states that are similar to the described ones above.

2 These phenomenon have the next symbols un-common: (a) they are actual experiences of state of people; (b) they are different in manner, quality and intensity (.); (c) they are usually object focussed (.); (d) people that are in a experience of state of one of them, normally have a characteristic experience (experiencing emotions), and often also physiologic changes appear.

Emotions should be delimited from emotional disposi-tions. When you call Fear an emotion, the belonging emotional disposition should be Anxiety. Emotion is a current experience of state of a person. At the op-posite the emotional disposition is the Quality of this person.

The quality as well as the intensity can be distingu-ishing is used between different emotional episodes. The intensity is to examine, just not give it an absolute measure.

Emotions distinguish the experience of state of a cer-tain person by:-A characteristic experience-Certain physiologic changes-Certain behaviour

Emotions have a biologic function. They are con-nected directly with behaviour. Many researchers, for example Plutschik, see emotions even as evolutiona-ry adjustments mechanisms.In any case emotions permit need- and situational chooses for behaviour. They regulate intensity and


stamina and carry out the mastering of such beha-viour.

Similar difficult, as the giving of a definition, is the classification of emotions. How could they be distin-guished in what kind of features? What emotions are almost similar to¬ each other and what ones not at all? Are there emotions more elemental then the others, that function as basic emotion? At this questi-on the mentioned theories give several answers.

Behaviouristic Theories

Behaviourism is a so-called movement in psychology that was spread mostly in the USA in the years bet-ween 1920 and 1960. An important representative of this movement was John B. Watson (1878-1958)

The central research object of this movement was Be-haviour, the subject portion of the physiologies, that was intersubjective observable and to access equally by several observers. The experience, that was only accessible for the affected person itself, cannot be a subject of physiology. They wanted to describe the re-search object in objective measurements. It was the intention, and surely not possible when experiencing. The behaviour is visual and acoustic observable and to measure. Research subjects of the behaviouristic physiology are only intersubjective observable beha-viours of environmental conditions like several stimu-li. Behaviourists exclude the introspections research method, because they are unreliable, and produce only subjective data.

The Behaviourist Watson hypothesizes that emotions are inborn. So it is clear to observe emotions just with infants, to examine these theses. An amount of expe-riments was performed to experience what extreme

stimuli gave what kind of reactions with infants. Three fundamental different patterns of response could be noted; Fear, Anger and Love. Watson’s hypotheses are that all other reaction pattern ari-ses by classic conditioning.

Notes at Watson’s Theory:. Watson can’t determine emotions from other re-actions. Little statement about emotions of an adult. Watson can not clarify, how the other emotions grow from the fundamental patterns of emotions. Watson’s theory of acquisition of emotions was only proved with Fear

Cognitive-psychological TheoriesJames - Schachter - Mandler

Cognitive-physiologic theories have the percepti-on, that an emotion is a state of experience. Be-sides that the hypotheses is that the deriving of se-veral emotions are depending of certain processes. These processes can have a physiological and co-gnitive nature.

Emotions, definitively private ones, for others not accusable experiences, are communicated to the outside by physical symptoms. Emotions effect certain physical changes. In contrary, physical changes can cause emotions. Normally we assu-me that emotions are the decisive, not the physi-cal change. In contrast the Psychologist William James thinks, that physical changes appear first and that emotions are nothing more then the fee-lings belonging to these changes. James regarded visceral reactions (heart, lung, stomach) as deci-ding. Carl Lange has similar views, but he thinks that vasomotor responses are responsible for the emerging of emotions.


The diversity of physical changes is also after James the foundation of our rich emotional experience. Here-by are not the voluntary motor acts, like mimic and gestures, but the involuntary reactions of the viscera much more important. The emotional reaction is not only showed by just observing an object but by jud-ging the total situation. That is could come to a reac-tion of fear, has to come out of the judgement. Critics of this theory indicate that the same visceral changes can appear at different emotional or non-emotional experiences and that visceral changes are to slow to be the cause of the emotion. When the theory of James is true, also the artificial induce of changes in visceral (like a adrenalin injection) would lead to emo-tions, and that is not the case overall.

Maron has developed and completed this theory. For him an emotion is a physical component and a psy-chological component that include certain cognitions. He assumes that the feeling of a physical change is necessary for experience emotions, but not sufficient-ly. Cognition should appear over the commotion and agitation of a situation, so the emotion can derive. There has to be a linking between agitation and jud-gement of the situation that he calls: „Causal attribu-tion“.

Valins questioned the physiologic components. Be-cause we often don’t realize or notice a physical agi-tation, it not this component that is needed for arising the emotion, but the cognitive representation of it.

Attribution Theories

Pride, Shame or Guild are good examples of emotions that are depending from complex thought processes, from cause-write-ups, so called causal attributes. With Schachters cognitive-physiological theory situ-ation-judgement and physiologic-agitation are linked.

When physical agitation is described as the cause, Weiners theory is about that overall events in the environment can be the cause. He does not see the physical agitation as needed for an emotion to arise. His attribution theory deals with the effects of cause-write-ups and the human experience and behaviour especially in motivation and emotion. The attribution approach seems primary important for complex emotions. Characteristic of such com-plex emotions is also the fact, as we do believe, infants or animals cannot feel them, because they don’t have the ability of the needed cognitions.

After Weiners theory emotions appear in three steps: In the first step the individual judges if the goal that is set is reached in the perceived event.At the second step the individual judges the event towards the previous result, like for example the own striving, the own skill, the difficulty of the task or chance.The third step is judging the causal factor when he asked himself the next questions:. Is the cause my doing or others doings?. Is the cause over time stable or variable?. Is the cause controllable for me or not?As a note it can be said, that Weiners theory is not based on any empirical bases and cannot be satisf-actory empirical tested.

Evolutionary Emotions theory

The psychologist Robert Plutchik developed in the 1960 till 1980ties his evolution-psychological emotions theory. His priorities were the research of Emotions, Suicides, Violence and Psychotherapy

Plutschik tried to put his theory together in a syste-matic form of ten postulates.The most important points of this theory are:


. Emotions have a genetic source

. Emotions are the basic shapes of adoption of re-sponses with stabilizing feedback loops that create a certain way of self-regulation of behaviour.. Emotions can be identified on every level of the phy-logenetic stairs. Emotions are complex chains of reactions. There are eight basic or primary emotions. The similarity between the primary emotions can be exhibit in a three-dimensional structural model. All other emotions are a mix or a combination of the primary emotions

Plutschik represents the meaning, that emotions ari-se in the phylogenies from natural selection and the-refore have a somehow genetic base. Emotions are a complex sequence of reactions after stimuli. This stimulus is judged by cognitive evaluation. From the-re, under influence of the central nerves system arise feelings that led toward certain actions. These actions are a feedback to the situation. Plutschik assumes that this pattern gives us an evolutionary benefit

The eight primary emotions are based on physiolo-gical mechanism that during evolution addressed fundamental problems of adoption. The eight prima-ry emotions are: Fear, Trouble, Happiness, Sadness, Trust, Disgust, Anticipation and Surprise.These eight primary functions are to arrange ana-logical in a radial two-dimensional colour circle dia-gram. To this two-dimensional colour circle Plutschik added the intensity of emotions as a third dimension. Emotions with a decreasing intensity were to define. Plutschik has shown the same meaning sometimes spatially, sometimes also two-dimensional.

Secondary emotions arise from a mix or combinati-on of primary emotions. From this mix arise second or third primary emotions, so called Dyads or Triads.

Primary Dyads arise from the mixing of two rela-ted emotions. Emotions that are facing each other cause a conflict that can lead to inhibition of action.

Many researchers consider, that there are a few basic emotions from what all the other arise. Unfortunately there is disagreement about the criteria for a basic emotion. As a result there are several, chosen by different researchers, primary emotions. For Plutschik is the criteria: the large evolutionary adaptive value. Because there are no empirical findings for basic emotions of any kind, the concept of the basic emotions must be seen as failed. Plutchiks theory leaves little space for the cognitive element of emotions. In spite of these cri-ticisms the outcome of this theory is still assessed as significant.

The Plutschik theory serves as a starting point by the Diabolus Art Research group realized project in Secondlife. The project can be seen as an experi-ment, what is aiming to carry out Schöffers spazio-dynamic theatre in the metaversum. The result is a figure of Schöffers events in a virtual world.


I am luce laval and I was born into this virtual world on March 14 2007.

I flew and wandered without a goal for some time to find a reason for “this life’’ until I discovered INDIRE (Italian sand box ) and a window opened into the world of unlimited imagination and creativity and I found my reason.

In the Indire sandbox I met welcoming friends who helped me along this discovery of the ‘’build.’’ They were there with me the first time I showed my work to the Pyramid of Indire Museum and this inspired my creativity to explode. It was also here that I met Jeb Söderström (artist and scripter) who helped me com-plete my training.

The colors, the reflection and movement are the’’whole’’of my sculptures and, although not a scripter, I create scripts to use in my work.

I like to get extreme and and experiment which some-times results in unexpected effects I had not planned -- “happy accidents.”

I create much of my work on the Platform Kasta-lia in the Vulcano sim, a fantastic island which pro-vides room for me to explore creatively. I have found wonderful synergy here with some wonderful artist friends.

luce Laval

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Lucian Iwish

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“EL MENTUM”by Merlino Mayo

Welcome to EL MENTUM one installation partecipat-ing at the “RINASCIMENTO METAVERSO” - 29 Jan 2010 - presented in Benvolio at CARP (Cybernetic Art Research Project in the Second Life Metaverse Infra-structure)

This realistic field is the door entrance to the virtual world. The Alice’s Mirror you can find always into the Metaverses. To Explore the entire complex installation just reach the hole near the metal structure and simply jump in or walk in it. You will fall into the FIRST ELE-MENT - 1) AIR -... after that just follow the white GUIDE-LINES on the ground and reach the doors on the wall that look as great Symbols, go through those and walk to the NEXT ELEMENT... so in order to see.. for help if

you don’t want to walk you can reach each part with the following Landmarks.

0) Crop Field1) AIR (AER)2) EARTH (HUMUS)3) FIRE (IGNIS)4) WATER (AQUA)5) EXIT with TELEPORT to other artists - with The little ROOM of the Creation -

EXPLANATION

- The Name -

EL MENTUM or ELEMENTUMborn from Latin words AL (changed in EL) that means “Growing” and MENTUM that means “Aliment” so I found intersting the story of this word so near to idea of the ancient Reneissance, and a reborn of the ideas and the new technology research in Arts in the actual scenary of new frontiers as Processing and Augment-ed Reality that for sure will intercept the develop of the tomorrow Metaverses.

- The Structure -

This installation is divided into two big Areas: A) Real World B) Virtual World (dreamlike)

A) The Real World (alaways part of the Maya ‘illusion’ concept)

This is a big Crop field that represent the door en-trance to the Virtual Oniric World. The Alice’s Mirror you can find always into the Metaverses.Here you find a symbolic representation of the four Nature Elements as:

1 -The Trees “Humus - Earth (+)” 2 -The Astrolabe, Stars - “Ignis - FIRE O”3 -The abandoned Watermill - “Aqua - Water (-)”4 -The Scaffolding with windy ropes “Aer - Air (o)” 5 -The central Crop Field that represent the Life Cicle

Merlino MayoEl Mentum


of Nature, Born and Death.6 -The Dodecahedron that represent the invisible Fifth Element. So it looks different from the rest. this figure has got 12 faces (4x3) where 4 is Gaia and 3 is the Sun. Each face is with 5 sides so the five “elements” are com-pletes..There are also some rust metal symbols abandoned near each real element that needs to be understood as the way they looks. Earth “(+)” is a cross into a circle, that represent the number four that is the Terra Mater or GAIA, the number 4 represent the four seasons, the four cardinal directions, ect.Air “(o)” is represented from a point dot into a circle, the dimension around the point means the air con-cept as an empty space around it.Water “(-)” is almost tangible the concept of surface or the lake or sea horizon.Fire “O” is a pure round circle that represent the Sun. “ELMENTUM”There is an Hole into the ground that represent The Door or The Alice’s Mirror that is neces-sary to reach the Dream dimension.

B) Virtual World (dreamlike)This section is a long sequence of big spaces or rooms dedicated to all the single elements, in order from AIR, EARTH, FIRE, WATER, and a final little “Room of the Cre-ation” or the “Creation of the Universe”.Each large space is divided from a tunnel corridor a sort of buffer zone, necessary to avoid sounds inter-ferences.All the walking is built in safe mode to avoid avatars lost into the thousands interspaces hidden into the whole structure.The Walk Line is white and easy to recognize, with big large arrows that shows the right direction.On the Walls are present big huge Symbols that are doors to pass through, each one is positioned to show the next element the visitor is going to reach and to make experience of.


1) So the first ambient is the AIR with men who seems to fall down but basically are fluctuating into the ele-ment of air space, with evocative sounds and an explo-sion of light and colors, to give the idea of moving with all the means.

2) The second space is EARTH. Here you find the domi-nant 4 with cross, so the cube volumes are dominant in all that you can see. This space would recall the idea of a forest with big cubed green tree trunks that slowly moves but are strictly connected with the gravity as a strong force from up and down. The trees move all with some large blue light-air volumes to magnify the tree trunks consistence but also the opposite balance between physical forces, as light and shadows or light and heavy, or fight and love. The men this time are all on the ground surface and looks in white light and black reflecting.. they are strictly connected to the ground and still suggest to the visitor the opposite concept, with colors, position-actions and consistence glow and reflection. The sounds are evocative of a for-est full of life.

3) The ambient of the FIRE is represented from the round circle of the Sun, a star with rays that could be represented as rays, the triangle, as like the flames of a camp fire. So you can find here a big cloud of a great number of Triangular flaming parts in the air as a smoke, and a big central fire with moving rays from the center of it. The sounds are from tribal percussions drums, and vibration instruments with the fire sound. The men are all converted to the center with scaling force to give the idea of power energy. The triangle is present also in the volume of the room and the white walking lines. The light is diffused from a center point to the rest of the area. There is also a little circle of acro-batics men, who represent the dance of life.

4) The WATER is a big round sphere with many waves


builted with flexi cones, that create with the right set-tings, a liquide Movement fluent and fluid. The levels calls the water surface as the symbol call the sea hori-zon. Into the center there are rezzers who react to the avatar presence and create columns of bowls of water and oxygen, with strong sounds from the sea waves and water effect. In the Exit little room there are 2 men who swing under the water surface, one going down and one going up.

5) The little Room of the Universe Creation, this is a little corner created to give a rappresentation of the Vibration who create the Universe. It comes from the shadows and is positioned into a large black empty space, as a conception and gestation of something which is being born. The geometrical volumes chang-es from little to bigger as mean of the born and grow-ing concept. The spheres and the boxes. The boxes represent the different dimensions, that change colors from deeper to lighter, the spheres just spot light with a unique big vibration which create all things.

http://diabolus.ning.com/Special Thanks to all the Group of CARP and all dear friends.

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the Metaverse is a place where I can experiment with my own creativity without any barrier and at a rela-tively low cost. Moreover it’s a place that allows meet-ing people from all over the world, from different age groups and socio-cultural backgrounds: this gives the chance to broaden one own’s cultural and artistic ho-rizons.

It’s definitely an instrument to search and discover my abilities. Themes, avatars makeovers, new identities - chromatic effects and brand new aesthetic references.To take photographs in Second Life to me means not only expressing what I see, but also communicating my viewpoint, born from the type of mixing and in-teracting that typically happen in social networks; my pictures often portray other artwork, because

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

A picture has often the ability to manifest something that otherwise will not exist, a hybrid between digital, conceptual and emotional realities that wouldn’t be otherwise formalized. I like to work on photography and art in general and on new ways of producing and exhibiting it not only inside the Metaverse.

The picture “Alien Glow” that partially represents the people of the Metaverse: an avatar staring into the fu-ture. This picture is the winner of the Avatar Pics Com-petition. (that is the 1st crossworld avatar art contest, open to all virtual worlds and avatars, artworks creat-ed in Second Life, IMVU, World of Warcraft, Frenzoo) it has been displayed at the Koinup Art Gallery built for the Second Life 6th Birthday) and in RL into the Festi-val Art in Villa Fogliano – Latina.

I’m a photographer, hence I let my images, colours, contrasts, and lights speak for me. My images repre-sent an instant, a portrait of an individual or the ex-pression of a collective feeling. But in each one I tell a short story.

My work is mostly colours, emotions; sometimes it happens on the spur of the moment, like a snapshot, sometimes it is the execution of a carefully planned concept: the post-production of an idea.Art is created in SL because it’s a ductile and immedi-ate medium to use in order to give substance to one’s imagination. I try to solicit an emotion in the viewer.

MillaMilla Noel

immersive photography


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

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

In SL everything is possible, thus themes can be what-ever our imagination can come up with. Obviously the strength of SL compared to other metaverses if the ability to build your own world around yourself.

As a photographer usually I work alone, but I have a strong connection to my group, “Carp Creator”, which I find very stimulating and full of energy. Together with its members we developed various artistic projects (see diabolus ning). I feel, more generally speaking, a connection also with the artistic community of SL at large.

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shellina WinklerSolkide Auer

nocturna


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rinascimento metaverso

Documents

space compactions

space dont

space knowledge

space critical turnaround

new understanding of

physical space

art intended

history of art