carp creators velazquez bonetto volume nr. 2

CARP CREATORS Velazquez Bonetto 1

velazquez bonetto 2

a special edition of the virtual art spacediaboluscybernetic art research project:

the CARP creators

2 CARP CREATORS Velazquez Bonetto CARP CREATORS Velazquez Bonetto 3

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 modern 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.


content:

2. virtual theatre, 4D cinema

2.1. the WALL 2.2. the RINGS 2.3. METROPOLIS 2.4. the CHANGE 2.5. emoticon

4 CARP CREATORS Velazquez Bonetto CARP CREATORS Velazquez Bonetto 5diabolus artspace

RL Name: Lszl rdgh Diabolus

About Me: My artistic activity is an integrated part of a wider carrier. It is nourished by more than thirty years of pro-fessional experience gathered in such different fields as industrial design, computer graphics, virtual reality, and human engineering. It has multiple influences on my art. Firstly, owing to years in software production I have develo-ped several new techniques that can be roughly classified as mixed media. On the other hand, industrial scenes, structures and objects have become substantial parts of my artistic language. My industrial experience has helped me to a deeper insight into the entangled economic and political connections that are the propelling forces of our world. Ive got a vivid picture of the looming problems that may lead us toward a sinister future. It is my main concern as an artist to call the public attention to questions where further thinking and searching for solutions is needed

The message of an artwork comes on several channels and addresses both the emotional and the ratio-nal side of the viewer. Every work may have many different interpretations. There is nothing more boring than explana-tions at how it should be understood and nothing more ex-citing and thrilling than a simple and clear artistic language that can talk in a a second of visual delight about human questions of huge magnitude. My works are all reflections of such moments that have forced me to think and to talk in my own language. I have achieved my goal if my artworks have launched a chain of thoughts in the viewers mind. 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: - SL is a concept for creative competence, the perfect fantasy machine, the ideal platform to research and experi-ment the Art of the future.

2: - What I enjoy in SL is the pioneer spirit that rules in this world. In my daily real life working with industrial virtual re-ality I am also pioneering. But in RL you cannot make eve-rything what you could imagine in your fantasy. 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 dema-terialised 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.3: - An Avatar in SL is the real metacommunication. Behind every avatar there is people and the avatars are very able to present or show their mentality and norms.

4: - SL is also in the Social Surroundings with simple rules and a Global Community without any borders. Maybe an example for our RL community.

5: - The most valuable what I got from SL are the good fri-ends I have there: Josina the best Muse ever and the most reliable Partner in all the adventures, Caravaggio, Jan, Debbie, Juria, noizz, Juni, Medora, Milla, Al, Kourosh, and all the others in my friends list.

Short RL bio:Education: Academy of Industrial Design Budapest Depart-ment of Industrial Design (1971-1976) Graduated: summa cum laude as industrial designerAcademy of Industrial Design & University of Engineering postgraduate training in system design (1976-1979)Research and development: Human Engineering Simulati-on, Industrial Avatars (1981-1988 OMFB IFTI) (1989-1998 IST GmbH. ) Human Symulation Technology Project DFKI German Research Center for Artiffical Intelligence (1999-2002). Senior Software Developer: Virtual Reality Industrial Avatars (ICIDO GmbH 2002-) Experience in: Industrial design, graphical design, cor-porate design, system design and organisation, software development and programming. Languages: C++, LSL Special skills: Traditional Art Technics, Computer Graphics, 3D Visualising & CG Special Effects, Computer Aided Design CAD, Engeneering Data Management (EDM) in Intranet and Internet environment. Advanced Information Technology (AIT) (Digital Mock-Up) Ergonomics Virtual Reality & Simulation Technology Design and manufacturing of medical appliances, Design of comunication systems (2000-2001)The list of the publicatins and exhibitions see in the diabo-lus website.


virtual art spacediabolus cybernetic art research project:

the CARP creators.

velazquez bonetto 2.


The basic definitions of the hypermedia Art.

Hypermedia

The prefix hyper- (over or beyond) signifies the over-coming of the old linear constraints of written text. The term hypertext is often used where the term hypermedia might seem appropriate. Hypermedia is a term first used in a 1965 article by Ted Nelson.[1] It is used as a logical extension of the term hypertext, in which graphics, audio, video, plain text and hyperlinks intertwine to create a generally non-linear medium of information. This cont-rasts with the broader term multimedia, which may be used to describe non-interactive linear presentations as well as hypermedia. Hypermedia should not be confused with hypergraphics or super-writing which is not a related subject. The World Wide Web is a classic example of hy-permedia, whereas a non-interactive cinema presentation is an example of standard multimedia due to the absence of hyperlinks.

Functionalism (FFF)

Form follows function is a principle associated with modern architecture and industrial design in the 20th Century, which states that the shape of a building or ob-ject should be predicated by or based upon its intended function or purpose.

The functional architecture and design is the negation of purely aesthetic design principles behind the form deter-mined use of a building or a device. Hence the famous phrase form follows function by Louis Sullivan of the po-pular opinion arose, a beauty in contemporary architectu-re and design is apparent already from their functionality.

The beginnings of this view to the rich aesthetic theorists of the 19th Century (Lotze, Semper, Greenough), in Ger-

many but only with the founding of the German Werkbund under the slogans practicality and purpose form in the rank of an artistic design of serious collected.

The functionalism gained after the First World War and after the interlude of Expressionism, the term new construction, Bauhaus style, or New Objectivity as a de-sign principle more attention again.To really universally building was the epitome of modern functionalism in Germany but only after the Second World War and has thus the architectural language of reconstruction far. Since the beginning of the 1970s gets the formal poverty and the functionalist planning increa-singly in the field of public criticism, which is why the so-called post-modernism in the 1980s functionalism finally completely new design principles tried.

It is the pervading law of all things organic and inorganic,Of all things physical and metaphysical,Of all things human and all things super-human,Of all true manifestations of the head,Of the heart, of the soul,That the life is recognizable in its expression,That form ever follows function. This is the law.

Henri Labrouste (* 11. Mai 1801 in Paris; 26. Juni 1875 in Fontainebleau)Louis Henri Sullivan (* 3. September 1856 Boston; 14. April 1924 Chicago)The tall office building artistically considered, 1896

What is hyperfunctionalismDiabolus, 08 Dec 2007

Hyperfunctionalism define and implement the different aspects of the requested behavior of a generic system in a hypermedia* or metaverse environment. (it is not relevant that the generated virtual construct named art or science or any conventional historical category of the human abstraction) The requested behavior and set of functions derived from the given environment where


the system successfully survive. The definition typically describes what is needed by the system user (design-goal), which internal functions are necessary, as well as, requested properties of inputs and outputs.

Example:In a real environment with gravitation, the material, structural or static properties has primary meaning. Dont survive a system if the functions are not successfully implemented.

In a symulated generative environment where gravitation is not, or particular interpret, the material, structural or static properties has absolutely no significance. If the-se properties are still represented, we are talking about imitation. But the imitative representation of a system also has meaning when used as a transfer medium for lear-ning and training.

There are functions in different environments are identi-cal.An artwork with communicative functions can survive (real or virtual) if binds the human attention, and realise a long time storage of the MEM-s in the central neuronal system (attention is one of the limited cognitive resources of the human brain)

hyperform follows hyperfunction

It is the pervading law of all thingsorganic, inorganic or generic,Of all things physical, metaphysical or virtual,Of all things human and all things avatar,Of all true manifestations of the intellect,Of the heart, of the soul,That the life is recognizable in its expression,

That form ever follows function.This is the law in the real world.That hyperform ever follows hyperfunction.This is the law in the metaverse.

Henri Labrouste (* 11. Mai 1801 in Paris; 26. Juni 1875 in Fontainebleau)Louis Henri Sullivan (* 3. September 1856 Boston; 14. April 1924 Chicago)hyperfunctional extensions by Velazquez Bonetto

Formalism (wikipedia)The concept Formalism calls an art-historical method of the interpretation of a piece of art. Besides, the value of the work lies in the autonomy of the form. The formalis-tic consideration of art stresses qualities as for example composition, colour, lines and texture. Content aspects and relations like subject, history of the origin of the work, historical context and biography of the artist, are se-condary or are not treated.The formalists, as the most important representatives Heinrich Wlfflin and Alois Riegl, aimed at a comparative style analysis which is freely from personal evaluation and is able to solve the *hermeneutics problem of the art history. The formalistic ideas of 19. Cent. served the mo-dern painting as an impulse to develop more freely and to concentrate upon the aesthetic effect from form and structure. The concept of the formalism leaves open itself therefore also on the fine art expand, e.g.in the 20th century from the art-historical methodology has become an art creation methodology. Formalism dominated modern art from the late 1800s through the 1960s.

History of formalism (wikipedia)

The concept of formalism can be traced as far back as Plato, who argued that eidos (or shape) of a thing inclu-ded our perceptions of the thing, as well as those sensory aspects of a thing which the human mind can take in. Pla-to argued that eidos included elements of representation and imitation, since the thing itself could not be replica-ted. Subsequently, Plato believed that eidos inherently was deceptive.

In 1890, the Post-impressionist painter Maurice Denis


wrote in his article Definition of Neo-Traditionism that a painting was essentially a flat surface covered in colours arranged in a certain order. Denis argued that the pain-ting or sculpture or drawing itself, not the subject of the artistic work, gave pleasure to the mind.

Denis emphasis on the form of a work led the Bloomsbu-ry writer Clive Bell to write in his 1914 book, Art, that there was a distinction between a things actual form and its significant form. For Bell, recognition of a work of art as representational of a thing was less important than captu-ring the significant form, or true inner nature, of a thing. Bells work harkened back to the Aristotelian concept of general forms and species. For Aristotle, that an animal was a dog was not important; that a dog was a Dalmatian or an Irish wolfhound was. Echoing this line of thought, Bell pushed for an art that used the techniques of an arti-stic medium to capture the essence of a thing (its signifi-cant form) rather than its mere outward appearance.

Throughout the rest of the early part of the 20th Century, European structuralists continued to argue that real art was expressive only of a things ontological, metaphysical or essential nature. But European art critics soon began using the word structure to indicate a new concept of art. By the 1930s and 1940s, structuralists reasoned that the mental processes and social preconceptions an indivi-dual brings to art are more important than the essential, or ideal, nature of the thing. Knowledge is created only through socialization and thought, they said, and a thing can only be known as it is filtered through these mental processes. Soon, the word form was used interchange-ably with the word structure.

In 1940, the American art critic Clement Greenberg, in an influential piece in Partisan Review, argued that the value of art was located in its form. The representational aspects of a work of art are less important than those aspects which embody a things internal identity. This led Greenberg to the conclusion that abstraction was the purest art of all.

Greenberg also perceived that impressionism had blurred the boundaries between various art forms. This led to a

confusion of the arts, he wrote, and a lack of purity in artistic endeavor. Defining a work of art by its art form, or medium, limits a works artistic possibilities to the nature of that medium. Yet, this also allows the work of art to stand alone on its own merits.

Formalism today

The concept of formalism in art continued to evolve through the 20th century. Some art critics argue for a return to the Platonic definition for form as a collection of elements which falsely represent the thing itself and which are mediated by art and mental processes. A second view argues that representational elements must be somewhat intelligible, but must still aim to capture the objects form. A third view argues for a diale-discursive ontological knowledge. Instead, structuralists focused on how the creation of art communicate the idea behind the art. Whereas formalists manipulated elements within a medium, structuralists purposely mixed media and inclu-ded context as an element of the artistic work. Whereas formalisms focus was the aesthetic experience, structu-ralists played down response in favor of communication.

Structuralisms focus on the grammar of art reaches as far back as the Post-Impressionist work of Marcel Duchamp. In many ways, structuralism draws on the tools of formalism without adopting the theory behind them.

What Is Hyperformalism?DCSpensley, 17 May 2006(created 4 April 2006)

Hyperformalism is an aesthetic philosphical construct that may be employed by to describe a late 20th century, early 21st century mass art phenomena consisting of scores of personal computer users generating abstract, often spacially unique artworks with software tools.

These spacial realities have no analog in the physical world, and instead of making reference to physical reality, create a unique continuum of reference; a rearrangement of photons to illuminate alternate worlds of form, shape,


color and space.

The term Hyperformalism is derived from the combinati-on of the words Hyper and Formalism (as described by WikiPedia) and is being used here to describe aesthetic self expression without anthropomorphic, or representa-tive context. This seperates Hyperformalism from digital collage, aesthetic photo manipulation and other forms.

Hyperformalism is a critical construct that may be emplo-yed by to describe a late 20th century, early 21st century mass art phenomena consisting of scores of personal computer users generating abstract, often spacially uni-que artworks with software tools...these spacial realities have no analog in the physical world, and instead of making reference to reality, create a unique continuum of reference; a rearrangement of photons to illuminate alternate worlds of form, shape, color and space.

Hermeneutics

*Essentially, hermeneutics involves cultivating the ability to understand things from somebody elses point of view, and to appreciate the cultural and social forces that may have influenced their outlook. Hermeneutics is the process of applying this understanding to interpreting the meaning of written texts and symbolic artifacts (such as art or sculpture or architecture), which may be either historic or contemporary.


virtual art spacediabolus the carp creators:

velazquez bonetto

2. virtual theatre, 4D cinema 2.1. the WALL


Break those WALLSlyrics by Josina Burgess

They build Walls between countriesThey declare each other BadThey say: There is the enemyBut the Walls are in their head

There are Generals and there are PresidentsAnd they all speak out to the crowdTo 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 freejust be real not another fake

All these men, great and mightyTell us others they are badBut what real is and what is certainAre the Walls right in their heads It is time to awakenIt is time that it is saidgive us back what you have takenBreak those Walls right in your head

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


Pink Floyd The SL WallMother, should I trust the government?

diabolus art space

Creativ director: Debbie Trilling Producer: Velazquez Bonetto

Choreography and dancing: Caravaggio Bonetto, Debbie Trilling Elfod Nemeth, Klute Coppola

Arena design and build: Velazquez Bonetto Wall design and build: Elfod Nemeth

Puppets: Duggy Bing Special effects: Debbie Trilling and Velazquez Bonetto Costume design: Caravaggio Bonetto, Josina Burgess

Scripting: Debbie Trilling Elfod Nemeth Velazquez Bonetto

Song: Josina Burgess, Juniverse Stockholm

On July 21 1990, nine months after the dismantlement of the Berlin Wall, Roger Waters and an all-star cast perfor-med The Wall at Potzdamer Platz in Berlin. The perfor-mance was watched by a live audience of 250,000 and half-billion people on TV.

And now, the Cybernetic Art Research Project (CARP) bring The Wall to SL...


The making of the WALLThe Special Effect Design: Debbie Trilling, Josina Burgess, Velazquez Bonetto


The making of the WALLThe Scripting: Elfod Nemeth, Debbie Trilling, Velaz-quez Bonetto


The WALL

First Part:

In the FleshThe Thin IceThe Happiest Days of Our LivesMotherDirty WomenYoung LustOne of My TurnsAnother Brick in the WallGoodbyeIs There Anybody Out There?Run Like HellThe TrialOutside the Wall

Second Part:

Break those Walls


The WALL

First Part:

In the Flesh

The Thin IceThe Happiest Days of Our LivesMotherDirty WomenYoung LustOne of My TurnsAnother Brick in the WallGoodbyeIs There Anybody Out There?Run Like HellThe TrialOutside the Wall

Second Part:

Break those Walls


The WALL

First Part:

In the FleshThe Thin IceThe Happiest Days of Our Lives

MotherDirty WomenYoung LustOne of My TurnsAnother Brick in the WallGoodbyeIs There Anybody Out There?Run Like HellThe TrialOutside the Wall

Second Part:

Break those Walls


The WALL

First Part:

In the FleshThe Thin IceThe Happiest Days of Our LivesMotherDirty Women

Young LustOne of My TurnsAnother Brick in the WallGoodbyeIs There Anybody Out There?Run Like HellThe TrialOutside the Wall

Second Part:

Break those Walls


The WALL

First Part:

In the FleshThe Thin IceThe Happiest Days of Our LivesMotherDirty WomenYoung LustOne of My Turns

Another Brick in the WallGoodbyeIs There Anybody Out There?Run Like HellThe TrialOutside the Wall

Second Part:

Break those Walls


The WALL

First Part:

In the FleshThe Thin IceThe Happiest Days of Our LivesMotherDirty WomenYoung LustOne of My TurnsAnother Brick in the WallGoodbye

Is There Anybody Out There?Run Like HellThe TrialOutside the Wall

Second Part:

Break those Walls


The WALL

First Part:

In the FleshThe Thin IceThe Happiest Days of Our LivesMotherDirty WomenYoung LustOne of My TurnsAnother Brick in the WallGoodbyeIs There Anybody Out There?Run Like Hell

The TrialOutside the WallSecond Part:

Break those Walls


The WALL

First Part:

In the FleshThe Thin IceThe Happiest Days of Our LivesMotherDirty WomenYoung LustOne of My TurnsAnother Brick in the WallGoodbyeIs There Anybody Out There?Run Like HellThe TrialOutside the Wall

Second Part:

Break those Walls


The WALL production in Havens paradise

2008 Mai


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 WallThe 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 GlassThis 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/


The WALL V2


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

architecture: Velazquez Bonetto (D)


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


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


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


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!


art space diabolus

the wall

The Final Brick in The Wall....


The Final Brick in The Wall....Mother, should I trust the government?

Friends

The Wall has been running since April 2008, after being originally concieved as a CARP Project in January. To date, we have performed 28 times to around 2000 people. This is an average of 70+ attendees per performance, and we all remember the night that we had an audience of 160...

Our production has been critically acclaimed, audiences have loved it and some have returned time after time...

One of my original objectives with The Wall was to set a new benchmark for live performances in Second Life. The general view seems to be that we have achieved this, and this is my opinion too. When I watch the show now I see very little that could be done to improve it ~ and currently my list of improvements is less than five items.

Everyone who has been involved with the show has gone that extra mile to make it what it now is; I feel that we all can be, indeed *should* be, justly proud of what has been acheived with this production.But, as me ole gran, gawd bless er art, used to say, All goods things must come to an end....So, it is with some saddness that I have decided that the Final Brick in the Wall will be at 2pm on Sunday 24th May 2008.I will not here go into each and every reason I have for this decision, and instinct and intuition play a part too, but will briefly mention two:

1) It was always my intention that The Wall would end on a high-note, and not skulk off into the shadows like some defunct West End show. Last nights show was a wild runaway success. I believe that as a performance we have reached our peak. Next weekend we play PeaceFest 08, and I suspect that this will attract a new and large audience for us. We then play one more weekend after that, to ride that wave....and then call it a day.

Me old gran, gawd bless er cotton socks, used to say, Debs, keep um wanting more...and, if that fails, get a lar-ge divorce settlement. She was a woman of wise cliches.

2) The Rings premiers on 6th September and it is impor-tant that CARP direct all our energies into this production, with the intention of making it at least as successful as The Wall. The Rings is a large and important show, and it makes sense to me that we promote it to the new group members that have joined since seeing The Wall. CARP have received a lot of postive attention as a result of The Wall; it is sensible that we utilise this. Let us keep delive-ring fresh, high-quality, unique and important shows to our potential audiences.

Again, as me ole gran used to say as she darned grandpas underpants, Out with the old; in with the new.So, thats it really. Those are my thoughts, my instinct, my intuition and ultimately my decision. It is accompanied by a sense of sadness; but a good sadness, a healthy sadness ~ the sadness of leaving behind a loved one to set off on a world sightseeing tour.I sincerely hope that The Wall has left you with proud and joyful memories.I want to thank you all for tolerating my occasional out-bursts of temper, my nit-picking of every detail, my con-stant fiddling with most every element of the show.

I want also to thank you all for the tremendous efforts you have made in those elements of the show that you were personally responsible for. Finally, many sincere thanks to Vela & Josina for allowing me the opportunity to direct this production, and having the belief in me that it would be a project worthy of CARP. If you have any concerns, or want to discuss this further then please IM me....

Oh, and one final word from me ole gran, up in High Hea-ven, Debbie! Stop picking your nose and eating it!


virtual art spacediabolus the carp creators:

velazquez bonetto

2. virtual theatre, 4D cinema 2.2. the RINGS


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,


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


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


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


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-


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


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)


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


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.


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


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


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


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


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


one


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..


art space diabolus

the rings

.....The CARP creative team add a 5th ring: the looser and the victims of this system,

carp creators velazquez bonetto volume nr. 2

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