The Brooder at Galeria Olga Santos, Porto II

The crossover between virtual worlds and tangible world (especially the virtual and tangible artworlds) is not easy. With funding you can make something quite spectacular, but still not easy…

Artists, curators and critics from the virtual art world often complain about using these worlds just to simulate the tangible artworld, disregarding the specificity of virtual worlds’ media and possibilities.

When showcasing our virtual world in the tangible world, we have faced the exact opposite problem. Sometimes people want to replicate the experience of being immersed in a collaborative virtual environment, and the possibilities they afford. We don’t believe immersive experiences in the tangible world are impossible. That would be quite foolish, because there has been plenty of immersive art in museums, galleries and public spaces. What we find impossible to replicate is the experience of being immersed in a creative collaborative virtual environment in a museum or gallery, etc. We can provide a computer with an avatar logged in the specific space of the virtual world you want to show. But that is definitely not the same experience as having your own, expressive avatar actually exploring and interacting with that place.

We did this once for “… de Maria, de Mariana, de Madalena”, we had to assist people, they didn’t really explore the world or the avatars, and our computer almost died!

From that moment on, we decided to show in tangible world all the things you can create using virtual worlds, like virtual photos and machinimas, but which are now a different thing, not the virtual world itself.

We think art from virtual worlds should be experienced in virtual worlds! But we can make other stuff there, to be experienced in the tangible world. This connection is important, not only because any form of expression is a valid way of expression, but because it connects different audiences and places.

Please visit “The Brooder” at Galeria Olga Santos, and also at the virtual world in Delicatessen.

Have fun!

 

This is our little corner as guest artists at Domingos Júnior’s exhibition “Cântico dos Cânticos e outros…” at Galeria Olga Santos, Porto.

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Once again our little corner at the opening.

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Europe

“Europe” is the new project by Meilo Minotaur, with sound by Takio Ra, at Delicatessen Sim on Craft World.

First level “Europe — The Lethargy”

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Second level “Europe — The Gear”

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Free avatars can also be found…

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This is still a work in progress, and new levels may arise…

PainLines

Delicatessen opened a new sim on Craft World.

The first project, “PainLines”, is by Paula Abreu aka White Paper.

Paula Abreu aka White Paper is a young student at the Polytechnic Institute of Viseu – School of Education, completing the Arts and Multimedia Program. She begins her artistic activity in virtual worlds with PainLines, a virtual installation at Delicatessen Sim in the Craft World.

This is an environment that combines two-dimensional and three-dimensional elements and invites the visitors to go through/uncover the details that the design/reality hides about violence against women. It is in this sense that we can go around and observe the movements of each character and capture the emotions of each composition.

You can find how to start in Craft World here.

And you can register an avatar in Craft World.

On Craft please open the map, type Delicatessen on find and the numbers 171 78 486 on location, then click teleport.

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hop://craft-world.org:8002/Delicatessen/160/78/486

Art Practice in Collaborative Virtual Environments

Catarina Carneiro de Sousa aka CapCat Ragu and Luís Eustáquio aka Takio Ra wrote an article for Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums about Art Practice in Collaborative Virtual Environments.

This article aims to describe the types of artworks one can find in Collaborative Virtual Environments (CVE). CVE are virtual, digital spaces where users can collaborate in the creation of diverse spaces and artefacts. Most artworks in CVE resist being compartmentalized into a taxonomic classification given their unstable and fluid nature, often open and participatory. The playful dimension of the creative act also contributes to this, for although present in several types of artwork, it is prevalent in CVE. This playful dimension extends to the enjoyment of these projects, where it can contribute to transform the aesthetic experience into a creative activity, as we shall demonstrate. While demonstrating why the division of such practices in rigid and specific typologies is in essence a fruitless toil, we will provide a succinct description of the various art forms that can be found in CVE. One can start by dividing artistic manifestations in two main groups: those happening in CVE and those derived from CVE. The former is further separated in spaces/objects, avatars and performance, while the latter is divided between virtual photography and machinima. It is important to point out, however, that it is common for an art project to span more than one of these categories since they often develop asynchronously and vary in both appearance and process, throughout the project development, as we shall describe. Although still far from mainstream experience, a growing number of artists is using CVE to develop artistic research and practice, as they offer conditions not found anywhere else. However, emerging technologies such as affordable headset devices might place us on the verge of a new era in CVE, one of new possibilities for digital art.

Kikas Babenco & Marmaduke Arado, performance at Slactions, 2013. Screenshot by CapCat Ragu.

Kikas Babenco & Marmaduke Arado, performance at Slactions, 2013. Screenshot by CapCat Ragu.

Machinima, Arte e Documento

Catarina Carneiro de Sousa aka CapCat Ragu published an article about the use of machinima to document art projects:

Machinima, Arte e Documento: Machinimas como forma de documentação de projetos artísticos e processo de criação partilhada em ambientes virtuais colaborativos

Abstract
This paper intends to reflect on the use of machinima as a form of documentation of artistic projects undertaken in collaborative virtual environments online. Artistic projects in user generated virtual environment have an ephemeral and volatile nature. In many of the circumstances it is not possible for the authors to archive the work in its entirety, thereby using registration forms to document their own work or that of others. The capture of moving images on the screen becomes a way of trying to register the spatiality and interactivity of these environments. However, this registration process can never be neutral and reflects the personal and creative vision of its author (whether or not the creator of the work documented). Can the creative nature of recording and editing machinima make these records a new work?

Catarina Carneiro de Sousa aka CapCat Ragu published an article about the Meta_Body project for Cultures-Kairós:

Meta_Body — um projecto artístico de construção de avatares enquanto partilha criativa

Abstract

This article describes the project Meta_Body, developing in an online virtual environment, the Second Life platform, and in « real life » in several contemporary art exhibitions. Addresses two main principles in this project – the creation of virtual corporality and the shared creative process of avatar building, sharing, transformation and embodiment. Also explores the metaphorical aspects of virtual corporality and embodiment and discusses the possibility of a creative process as an aesthetic experience.

Only in portuguese.

You can find other papers about this project in english:

The Meta_Body Project

Meta_Body — A Project on Shared Avatar Creation