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carpsecond lifediabolus virtual art space

cybernetic art research projectSL : 2007.11.01- 2007.12.31

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The metaverse symbol

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The word cyberspace is known now as an artword, its born from the word cyber (a shortform from the english word cybernetic that again comes from the greek word „kyber-netike“; „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 an example for cyberspace. The real cyberspace was ope-ned by Secondlife. So you speak of web 3-D or so called metaverses. The metavereses are internet-based virtual time-space-infrastructures. The miracle that we are expe-riencing 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 vir-tual universe as a challenge and a goal doesnt deserve the

name „ avantgarde“

This e-book dedicated to the pioneer of cybernetic art Nicolas Schöffer.

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

and liberating possibilities of our times.

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carp 1cybernetic art research projectSL : 2007.11.01- 2007.11.31

second lifediabolus virtual art space (benvolio)

caravaggio bonetto (naomi devil)velazquez bonetto (lászló ördögh diabolus)josina burgess (jose den burger)nnoiz papp (tobias becker)juria yoshikawa (lance shields)theevil chemistry (MANAX)

text: josina burgessedited by velazquez bonetto

created by the carp team:

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the carp idea treeDiabolus Virtual Art Space: The Cybernetic Art Research Project 1. (CARP)

The aiming of the Project is: To announce new SL possi-bilities.

Progam starting at 2007-11-01 ending at 2007-11-31Phase 1: Creation1.a. Every participant will select the for him or her inte-resting SL Audiovisual components.

Juria Yoshikawa :1. solid/flexi/sensor/collision/sound combination2. flexi/variable rotation/texture change

Caravaggio Bonetto: 1. textur animation/sensor/sound combination2. effect networking

Josina Burgess:1. prim phisical properties 2. primtorture

nnoiz Papp:1. effect networking/sensor/sound

Velazquez Bonetto:1. solid/flexi/groupped prim communication/sound 1.b.Identification of the Research-Goals and Targets.The important SLS Mechanismes will be explained.

1.c.Experimantal Phase.New audivisual Effects will tried out, new scripts will be written.

1.d.Every Participant will develop and build in the „Idea Tree“ his or her ideas with help of the new written scripts

Phase 2: Publication of the Outcome.2.a. 1 week Exhibition of worked out Exponents.2.b. An Electronic Book (PDF) will be published of this Project.2.c. An Audivisual Component and Script-Collection of the worked out outcomes will be given to the Partici-pants.

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

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

Limits: 2000 prim.

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Carp 1 vernissage 2007 11 24

Location: Virtual Art Space Diabolus (benvolio) Owner: Josina Burgess, Velazquez Bonetto & Cara-vaggio BonettoLand : 11608 qmPrim : 2808

Website: www.gallery-diabolus.com

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diabolus art space

caravaggio bonetto

Name: Naomi DevilLives and studies in: Budapest, Stuttgart, WienE-mail: naomidevil@naomidevil.comwww.naomidevil.com

Studies:

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

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

9.The first SL solo exhibition 2007

Group exhibitions:1.The closing exhibition of prof. Caroline Broadhead‘s class, 2002, Salzburg2.The closing exhibition of prof. Rivka Rinn‘class, 2003, Salzburg3.Gallery Vertigo: The Vertigo Chronicle, 2003-2004, Ca-nada4.Artshole / Vinopolis: Art In MIND Part 4, 2004,London5.Gallery Zsidró: Zsuzsa Gesztelyi Nagy‘s, Márta Kucsora‘s, Naomi Devil‘s and Melitta Németh‘s paintings , 2004, Budapest6.Mucius Gallery Coffee: 9 artists of Gallery Mucius, 2004, Budapest7.Selfportait UK 14-19 2005 Touring exhibition: Sunderland Museum & Winter Gardens, Manchester Art Gallery, Nati-onal Museum & Gallery Cardiff, Peterborough Digital Arts Museum & Gallery, The New Art Gallery Walsall, National Portrait Gallery London, London Underground8.Gallery Mucius, Budapest, 2005 A könyv utóélete9.Art Position 2005, Ottakringer Brauerei, Wien10.II. Keruleti Alkotok Tarlata 2005, Budapest (Exhibition of the artists from the 2. district) 11.MOYA (Museum Of Young Art)- New Romantics- from 2005 August- Wien12.IZD Tower Vienna- Devil, Garcia Pozo, 200513.With Adrien Kiss and Istvan Szanto, Akademie der Bil-denden Künste Wien, Projektraum, 2005, Wien14.Mucius & Diabolus Contemporary Fine Art Gallery (Lás-zló Fehér, András Halász, András Koncz, Mucius, Naomi Devil, István Orosz), 2006, Budapest15.Exhibition Room of Ernst Museum Budapest: Dorottya Galeria, Dorottya Open Show, 2006 JUne 6-10., Budapest16.II. Keruleti Alkotok Tarlata 2006, Budapest (Exhibition of the artists from the 2. district) 17.Galerie Exner: Junge Sommer 2006, Wien 18.Art Fair KÖLN 200719.Öszi tárlat Köszeg 2007

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Muybridge voxel kinoSL innstallationidea, concept & realisation: caravaggio bonettosound design: nnoiz pappscripting: velazquez bonetto

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The caterpillar love youSL innstallation with effect networkingconcept & realisation: caravaggio bonettosound design: nnoiz pappscripting: velazquez bonettothe caterpillar script idea: Josina Burgess

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20 carp carp 21 The rootSL underwater innstallation concept & realisation: caravaggio bonettoscripting: velazquez bonetto

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diabolus art space

velazquez bonetto

RL Name: László Ördögh Diabolus

What motivates a designer, human engineer and virtual reality software developer to go to Second Life and getting involved in this incredible world? Playfulness, the happy homo ludens? Maybe that too. But I have much more serious motivations:1: - What I enjoy in SL is the pioneer spirit that rules in this world. I my daily real life working with industrial virtual reality is 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 . It’s the perfect playground, for thinking „bioavatars“, to experiment with substantial subjects without the material consequences.2: - I started in SL with the idea to build a Avatar Museum there, had to be there because SL is the Future and its useless to stay in the past being busy with that.3: - The most valuable what I got from SL are the good friends I have there: Josina the best Muse ever and the most reliable Partner in all the adventures, Caravaggio, Jan, Juria, Noizz, Terri, Whyzzer, Manax and all the others in my friends list.4: - 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.5: - SL is a concept for creative competence, the ideal plat-form to research and experiment art of the future.6: - SL is also in the Social Surroundings with simple rules and a Global Community without any borders. Maybe an example for our RL community.

Short RL bio: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, corporate design, system design and organisation, software development and program-ming. Languages: C++, LSL Special skills: Traditional Art Technics Computer Graphics 3D Visualising & 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 comu-nication systems (2000-2001)

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Back & white synesthesiaSL innstallation with 16 channel sound systemconcept, scripting & realisation: velazquez bonettosound design: nnoiz pappsolid/flexi idea: juria yoshikawa

1. version

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Back & white synesthesiaSL innstallation with 16 channel sound systemconcept, scripting & realisation: velazquez bonettosound design: nnoiz pappsolid/flexi idea: juria yoshikawa

2. version

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THE SCRIPTING

THE CARP COMPOSERS

The Goal with the black & white Installation was to show the audiovisual effects in a structured (dramatized) form. There is a need for such structured actions, it also is used in SL Performances after examples in RL performances. The SL performance components are becoming their structured forms steered by the intelligence of people in the background. In SL its possible to build structured forms by intelligent automatisms that at the same time communi-cate with the environment. This of course needs a perma-nent communication between the single prims that hold the effects. Without this communication its impossible to synchronize the audiovisual effects with each other in time and space. For this task are 2 solutions possible in LSL.

1.- The Prim Channel Communication. Gives the possibi-lity to exchange dates total and freely between the single prims in a 94 meter distance, and those prims stay inde-pendent from each other.2. – Linked Prim set Communication. Where the data ex-change only takes place in a linked prim set. The maximum communication distance is limited in 30 meter and these LSL functions are not always reliable.In CARP we have tried both configurations.

For the Black & White Installation was the Linked Prim set Communication used and for the Dwarf-choir of nnoiz Papp the Prim Channel Communication.The Prim Channel Communication was also used for the “Dino” of Josina Burgess and “the Caterpillar loves you” of Caravaggio Bonetto.

There are 2 possibilities for Audio Presentations in SL.

1.- The Plot Music, what of course is a sound streaming non position depending loudness, but with the ability to play a longer streaming. With LSL you only can pull on or off.2.- The max. 10 sec long upload sounds have to be down-loaded like photo’s for SL.

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The short-sounds however have 2 great abilities: The loudness of the sound sources are able to play distance-reliable. At the other hand its possible to use them in LSL in as many events you need.

THE CARP MATRIX

Most of the Audiovisual Effects in SL are exist from random-generated and/or unsynchronised sequenzes, or based on prim/envirpnment- events or avatar-signals th-rough sensors or collision. In LSL there is one useful func-tion. It is possible to run more LSL scripts in combination in one task (prim content). The outcome is an integrated total-effect for one prim. This method is easy to run and gives a fast building possibility. A collection of well selected on each other-scripts. All different but well defined and giving each a great effect are also usable in combination and is of value for the working method. The script combinations so-metimes produce totally unexpected but fantastic effects.The CARP Matrix is a collection of “put into the content and forget” script modules who are easy to use in combination.

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The first cablebiothopSL innstallation concept, scripting & realisation: velazquez bonettosound design: nnoiz papp

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diabolus art space

josina burgess

Name: José den Burger. SL name: Josina Burgess

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

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

www.josedenburger.artolive.nl

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Cable biothop garage and cable biothopsSL innstallation concept, & realisation: josina burgessarchitecture: velazquez bonettosound design: nnoiz pappscripting: velazquez bonetto

When I started on Secondlife, exhibiting my paintings there, I of course also went to openings of other exhibi-tions in different other Galleries. To expand my network and to see how other artists worked. SL is a great place to see a lot of art in a short time and that works inspiring as well. On one of these occasions I went to the Cetus District where many small and bigger Galleries are gathe-red and saw there works of Caravaggio Bonetto and her Father Velazques Bonetto. I spoke a while with Velazques and on a later occasion when I saw him again he asked me if he could make a photograph of me because he was making a study of different avatars in SL. In those

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days I had started the making of “Wearable Art”, using my paintings as textures on them and experimenting with different models.During the photo session, Velazques told me more about his interests in avatars on SL and some of the stories behind them. One avatar specially had his interest and that was the avatar of MANAX a rather strange but very special caracter and the person behind it was very intelligent and knew a lot about building scripts and had a very spectaculair way of behaving in SL. After hearing the story behind MANAX I asked Velazquez if it was not possible to do something with this knowledge in the form of a project, and so our first MANAX project started. I wrote a poem, an rl Actor, 5imon Baker narra-ted it, Cypress Rosewood, a great musician in rl as well in sl composed music and Velazques invented a light organ for sl with particles and light spitting images of the MANAX figure into the air and around the viewers. It was a great success and we really started to work together since that time, I as an Alpha work from my feelings and expression, Velazques as a Beta can translate my ideas in workable scripts and good building. Together as a team we started creating and experimenting.

We showed dancing Scarecrews, dancing and flying paintings, moving and sounding sculptures. Also we started a store where we sell my wearable art-dresses were several were scripted and animated now . Velaz-ques had the idea of starting to work with more artists we met on SL and who we admired for the works they make on SL so we asked Juria Yoshikawa, Noizz Papp, Cara-vaggio Bonetto and MANAX to work with us in a Team and so CARP was born.

We all work different, have our own specialties and in-terests but all the same Goal: to make NEW ART, expe-riment, develop, pioneer. Working this way we inspire each other. Work out new ideas and every day again is a challenge.

The Cable Biothops Velazques and me builded with spe-cial textures made of car engines, new SL animals, inter-active, so reacting on avatars, some semi-intelligent. The

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idea was to make a total new SL “life” New scripts were written by Velazques and we experimented with looks and moves. The scripts also worked in other ways well. Objects and Sculptures were build and using different scripts in just one object showed a great outcome.Using different scripts on my “Strange Cloud” made it intelli-gent , it started to change shape by itself and is reacting on the avatar that approaches it.

The “Dino” that I made needed a way of “walking”so I asked Velazques to write me a script where it would walk like a “harmonica” and yes it worked out so well that the Team could use that script on other projects as well.

The Breathing script I asked for also is great to work with, I made a sculpture out of blocks, did put sound and texture change inside and the whole sculpture seems to live and breath and is fantastic to look at.Also the “Breathing Room” with textures I make in Pho-toshop is wonderful to stand in and let the rotating and sounds work in to you.

We are just starting here and the ideas plop in my mind waiting to become alive in SL. No limits and no borders, I can create and experiment freely here and its fantastic to work in a Team like this were all of us have the same drive. Standing at the beginning of something Big, New ART of the Future makes me feel great and happy to be able to participate and almost impatient to see where it will bring us all.

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The cable biothop garage and the cable biothopsSL innstallation concept, & realisation: josina burgessarchitecture: velazquez bonettosound design: nnoiz pappscripting: velazquez bonetto

First I did build a kind of „skeleton“adding many prims close together then from there I started sculpturing it in a shape it looked like some dionsaur type of thing but still abstract. Then I used a cable (engin) texture on them and used totallyclear on the sides to make it more abstract. I got the idea that it would be nice when it would be able to walk like a „harmonica“ and also it should follow an avatar. Velazques invented a script that did the trick and the „Dino“ is very alive and alert now and follows you where you go, slowly but secure, and every part of his „body“follows the other like a „harmonica“. Of course this script brings more ideas and I will use it for sure on other new objects.

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For this Cable Biothope I did build from simple forms a birdlike object and used bitmaps from engine textures on it in yellow and red. Inside a collision script that reacts on commands as #dance and #stop so it can hop and bounce around giving of funny sounds I also added. To have the effect I need 2 objects at least so they go in collision and activate each other. But its very funny to see them dance.

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The one frame exhibitionconcept & realisation: Josina Burgessscripting Velazquez Bonetto

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„Breathing Blocks“, With this object I again used the carp matrix prim torture scipt Velasquez made for me, here the texture also was important white and black through each other gaved an extra dimension on the stripes and points, the voxel sensor script makes it possible aagin to walk through and hear sound. Its a nice object with unexpected views of textures inside it I made several snapshots from different angles and got this way totally new textures again

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„And then there was light“, for this project I asked Velaz-ques to write me a script that makes the object „breath“ I made a box and hollowed it, then i made it closed and did put he script inside , it worked wanderful, I also used a voxel sensor script with totallyclear texture to make sound come in as well and the possibility to walk thorough the ob-ject and let it dissapear before me and come back again, also a collision script so it reacts on the avatar. I chose for thunder and light sounds, also added a rainbox and some mist and the whole thing gives a feeling like standing in a overwhelming nature disaster with sounds and just reacting as i wanted.

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62 carp carp 63 nnoiz Papp (RL name: Tobias Becker)scoremusic-composer / music for animated movies / sound-designer / keyboarder /oboist / 3D / video-installations

1980-1986 Musikhochschule Köln (studying music for teaching in schools, oboe and (jazz-)piano)since 1985 ca. 250 musicproductions for german children´s TV (Sendung mit der Maus)since 1982 working as an studiomuscian with oboe (for example Klaus Schulze) and keyboards (since 1984 with compu-ters) in many different styles (from pop to heavy metal with U.D.O. and AXXIS)10 CD´s productions (4 under the pseudonym „SVENSSON“ - electronic & oboe, 4 archivmusic cd´s for selected sound, Koch-music-library and sonoton)live music with TRIOGLYZERIN, a trio thats playing live with old silent movies in cinemas (http://www.trioglyzerin.de)since 1996different internet activities (quicktime vr - flash - 3d) see the links below....2006 live-video-installation at „Wuppertaler Bühnen“, visualizing Nyman´s opera „The man who mistook his wife with a hat“ with VJ softwareIn SL since end of may 2007, trying to put the things together.....

SL-related:http://www.nnoiz.com/container/nnoizPapp-media.htmInternet:http://www.filmmusik.de/tbhttp://www.nnoiz.dehttp://www.krachmaschinen.dehttp://www.filmmusik.de/svensson (oboe&electronic)http://www.haralds-klang-plantage.de (acoustic&electronic lounge sound) in german...sorry...english version coming soon....http://www.darknnoiz.de (dark ambient)

diabolus art space

nnoiz papp

nnoiz Papp (RL name: Tobias Becker)scoremusic-composer / music for animated movies / sound-designer / keyboarder /oboist / 3D / video-installa-tions

1980-1986 Musikhochschule Köln (studying music for tea-ching in schools, oboe and (jazz-)piano)since 1985 ca. 250 musicproductions for german children´s TV (Sendung mit der Maus)since 1982 working as an studiomuscian with oboe (for example Klaus Schulze) and keyboards (since 1984 with computers) in many different styles (from pop to heavy metal with U.D.O. and AXXIS)10 CD´s productions (4 under the pseudonym „SVENS-SON“ - electronic & oboe, 4 archivmusic cd´s for selected sound, Koch-music-library and sonoton)live music with TRIOGLYZERIN, a trio thats playing live with old silent movies in cinemas (http://www.trioglyzerin.de)since 1996different internet activities (quicktime vr - flash - 3d) see the links below....2006 live-video-installation at „Wuppertaler Bühnen“, visualizing Nyman´s opera „The man who mistook his wife with a hat“ with VJ softwareIn SL since end of may 2007, trying to put the things toge-ther.....

SL-related:http://www.nnoiz.com/container/nnoizPapp-media.htmInternet:http://www.filmmusik.de/tbhttp://www.nnoiz.dehttp://www.krachmaschinen.dehttp://www.filmmusik.de/svensson (oboe&electronic)http://www.haralds-klang-plantage.de (acoustic&electronic lounge sound) in german...sorry...english version coming soon....http://www.darknnoiz.de (dark ambient)

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Dwarf choir:

I came on a visit to velazquez and he showed me his new-est test object. It was an array of spheres, interacting and triggering each other in a specific way. This first idea was from Miulew Takahe and Velazquez.After trigger them by collision they started to move up and down. I got the idea of a dwarf choir - dwarfs singing, going up and down. I told velazquez this idea and we sud-denly started...First I had to choose the tuning and recorded the dwarf sounds in my sequenzer. The sound comes out of my Yamaha FS1R synthesizer.The sound control take place over the mod wheel and

makes the sounds a little bit „human“. I put 4 sounds on each dwarf.That was funny. But it was to „clean“ for me. So we chan-ged one dwarf singing wrong stuff. The first trial was a cat sound, than I found a metallic screaming, and we took this one now.

After this I worked on the textures. I took photos from me in my musicstudio (one of these 2 minutes sessions...;-)....) and imported this stuff into photoshop. I combined them with a rusty texture.We have 4 frames: a normal state, a singing state, normal2 called the „duck-state“, and a nerved state, when one of the dwarfs is singing wrong.After importing this into SL I put this textures on a sculpted prim (made with rokuro). I modified the textures to get dif-ferent characters by stretching the textures and modifying the sculptured prims.

Velazquez cares about the clothing then.

In each state of the project we tested it out and had MUCH fun...!

Now ist planned to organize a „dwarf choir festival“ with many different musicians playing or singing with the dwarfs.

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Scare crows:

The scare crows were the first objects I worked on together with Velazquez.I changed the design at my island ( a little bit postpunk, rusty style with my avatar face inside ) and modified the sounds, the reaction and moving times, so that the scare crows don´t act synchronized.After testing them there and presenting them at the dorkbot event in october I put back a copy to the diabolus gallery.

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diabolus art space

juria yoshikawa

After two decades of creative pursuits - ranging from conceptual art, installation, poetry, performance, compu-ter art, animation, photography and digital design - Juria Yoshikawa (a.k.a. Lance Shields, Tokyo-based new media artist and designer) arrived in Second Life in the winter of 2007 looking for a new artistic spark. Rather than bringing in rl artwork, Juria is compelled to use mainly the elements that make up sl itself. A typical Juria Yoshikawa virtual art-work mixes kinetic objects, light sources, animated texture, ambient noise and av animations. She inevitably chooses scales larger than conventional gallery work because she is interested in people experiencing the work in a physical way - flying through them, riding on them and socializing within the art. To Juria virtual art is about freeing oneself up to create in ways she finds impossible in real life.

In my real life, I am Lance Shields, a new media artist, creative director, interactive designer and social media specialist. Graduating with a BFA in new media from San Francisco Art Institute in 1992, sculpture and installation are where I started my rl creative career but I became progressively more involved in the digital and interactive. I see Second Life as a return back to my artistic roots yet at the same time combines my newer interests in the pheno-menology in the virtual world. Phenomenology is defined as “the reflective study of the essence of consciousness as experienced from the first-person point of view”. In my commercial life, I am a social media strategist a global company embrace social networking, blogging and Se-cond Life.

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space drawingconcept & realisation: Juria Yoshikawascripting Velazquez Bonetto

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The spagettimonsterconcept & realisation: Juria Yoshikawascripting Velazquez Bonetto

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96 carp carp 97 TheEvil Chemistry: Who are you?

MANAX: I am me.

TheEvil Chemistry: Why do you play sl?

MANAX: I get some sort of sick, twisted enjoyment out of using virtual reality to make myself more busy and neglecting to relax more than it would occour in rl.

TheEvil Chemistry: What do you do on sl?

MANAX: I usually get myself into a bunch of messes that I can‘t work my way out of, then I get banned a few times, then I build something.

TheEvil Chemistry: How many times have you been banned?

MANAX: Justly, twice. The third time was because I orbited someone who was trying to grief me on my land, because eject wouldn‘t work. Recently, my account broke, and i had to switch over to a fifth one.

TheEvil Chemistry: Are you afraid of being banned?

MANAX: Not as much as I‘d expect myself to be.

TheEvil Chemistry: How do you get your ideas for your builds on sl?

MANAX: I ask native leprechauns their opinions.

TheEvil Chemistry: What is your favorite thing to make in sl?

MANAX: Weapons and vehicles have usually proven the most entertaining.

TheEvil Chemistry: What skills do you have in sl?

MANAX: Building, mostly. I‘m also a par scripter. I do custom charachters, too, obviously.

TheEvil Chemistry: What are the favorite groups you are in?

MANAX: Probably the ones I made, lol. The Robot Comedy Nipple., MEVco, and People Against Negative Gormabs

TheEvil Chemistry: Could you explain those groups to me?

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TheEvil Chemistry

TheEvil Chemistry: Who are you?

MANAX: I am me.

TheEvil Chemistry: Why do you play sl?

MANAX: I get some sort of sick, twisted enjoyment out of using virtual reality to make myself more busy and neglec-ting to relax more than it would occour in rl.

TheEvil Chemistry: What do you do on sl?

MANAX: I usually get myself into a bunch of messes that I can‘t work my way out of, then I get banned a few times, then I build something.

TheEvil Chemistry: How many times have you been ban-ned?

MANAX: Justly, twice. The third time was because I orbited someone who was trying to grief me on my land, because eject wouldn‘t work. Recently, my account broke, and i had to switch over to a fifth one.

TheEvil Chemistry: Are you afraid of being banned?

MANAX: Not as much as I‘d expect myself to be.

TheEvil Chemistry: How do you get your ideas for your builds on sl?

MANAX: I ask native leprechauns their opinions.

TheEvil Chemistry: What is your favorite thing to make in sl?

MANAX: Weapons and vehicles have usually proven the most entertaining.

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TheEvil Chemistry: What skills do you have in sl?

MANAX: Building, mostly. I‘m also a par scripter. I do custom charachters, too, obviously.

TheEvil Chemistry: What are the favorite groups you are in?

MANAX: Probably the ones I made, lol. The Robot Come-dy Nipple., MEVco, and People Against Negative Gormabs

TheEvil Chemistry: Could you explain those groups to me?

MANAX: Well, MEVco is my buisness. It‘s the group of peope I go to and pay to get things made, that I couldn‘t do, myself. Usually some of the more difficult scripts, and textures for them. TRCN. is a comedy/philosophy group I invented to try and lighten the mood a little, and PANG is most relatable to an antigriefer group, except it‘s an anti-asshole group, instead.

TheEvil Chemistry: What are you working on, right now?

MANAX: Like always, about 2857 things. The biggest one, though, is the Deathbot. It will basically be Dopestyle, or Mystitool, ot any other HUD application, but better at everything.

TheEvil Chemistry: How long do you think it will take you to finish it?

MANAX: No more than by the time Havok 27 comes out.

TheEvil Chemistry: Why do you build the strange, dark, and often abstract things you make on sl?

MANAX: Well, a good deal of it is boredom, and the wish to express myself in a conveiniant, yet versitile way, as sl provides, but there is one greater purpose.

TheEvil Chemistry: What is that?

MANAX: Well, the biggest problem I have with the world of today is that no one ever questions anything. They just accept the mainstream, because everyone else does, and go with it. By building the inquisitively designed things I make, I like to make people think, some.

TheEvil Chemistry: What do you do on sl when you don‘t build or script.

MANAX: I race with my own cars.

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TheEvil Chemistry: Where do you do that?

MANAX: The first two rules indicate that I‘m not supposed to talk about it.

TheEvil Chemistry: Do you know any good jokes?

MANAX: Yes.

TheEvil Chemistry: Why do you wear a staple remover around your neck in real life?

MANAX: It requested to be adorned there.

TheEvil Chemistry: What do you think your entire life will lead up to?

MANAX: Me dying.

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