The Art and Flux of Telepathy 2.0 in Second Life

2011 ◽  
pp. 47-68
Author(s):  
Jacquelene Drinkall
Keyword(s):  
New Media ◽  
Contemporary Art ◽  
Performance Art ◽  
Virtual Worlds ◽  
Second Life ◽  
The Body ◽  
Art Practice ◽  
Western Front ◽  
And Performance

This chapter looks at contemporary art practice in Virtual Worlds, and the effervescence of new technologically mediated telepathies. Avatar Performance Art by Jeremy Owen Turner and Second Front have explored a variety of Second Life telepathies, and have quickly earnt the title of Virtual Fluxus. Second Front’s links to Western Front, Fluxus, Robert Filliou and the Eternal Network assist the continued internationalised new media and performance collaboration work with telepathy. As the body becomes obsolete, it develops new techlepathy1.

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

Representing, Performing and Mitigating Climate Change in Contemporary Art Practice

Leonardo ◽  
2012 ◽  
Vol 45 (2) ◽  
pp. 124-131 ◽  
Author(s):  
Gabriella Giannachi
Keyword(s):  
Climate Change ◽  
New Media ◽  
Contemporary Art ◽  
Visual Arts ◽  
Art Practice ◽  
Quarter Century ◽  
The Public

Over the last quarter-century, an increasing number of artists have been variously engaging the public in artworks addressing the anthropogenic phenomenon known as climate change. Focusing specifically on works developed in the fields of visual arts, performance and new media, and on a body of theory attempting to distinguish between terms such as nature, landscape, weather, climate and environment, this article aims to offer an exploration of how these works, by adopting, often concurrently, three strategies—representation, performance and mitigation—affect our understanding of our changing relationship to nature and climate.

User-Driven Content Creation in Second Life A Source of Innovation?

2011 ◽  
pp. 1-15
Author(s):  
Sisse Siggaard Jensen
Keyword(s):  
New Media ◽  
Case Studies ◽  
Virtual Worlds ◽  
Second Life ◽  
Open Innovation ◽  
Open Space ◽  
Meaning Making ◽  
Content Creation ◽  
Service Project ◽  
Symbolic World

In this chapter, Second Life is conceived as an open space and symbolic world of user-driven co-creation of content. The questions asked concern the ways in which the actors of three case studies design, mediate, and remediate their Second Life projects and how the choices they make contribute to user-driven content creation and possibly to innovative practices. To answer these questions, concepts of innovation, in particular closed and open innovation are introduced and motivations for engaging in co-creation are identified. It is suggested that we understand user-driven innovation in a world like Second Life in terms of symbolic reorganization of conceptual frameworks and meaning-making. Subsequently, the concept of remediation is suggested as a way to conceive of mediation in the cases studied. It is shown how difficult it is for actors to co-create, mediate, and remediate thus to generate user-driven innovative practices in two Danish business projects (Wonder DK and Times) and in one public service project (Literary). To conclude the analysis of the case studies, it is suggested that methods of creative co-creation and innovative practices can build on the concept of remediation borrowed from research on new media and redefined in virtual worlds.

scholarly journals Journalism in Virtual Worlds

1970 ◽  
Vol 4 (1) ◽  
Author(s):  
Ricardo Cruz ◽  
Ricardo Fernandes
Keyword(s):  
New Media ◽  
Virtual Worlds ◽  
Second Life ◽  
The Internet ◽  
Online Journalism ◽  
3D Environments ◽  
Practice Questions ◽  
Journalistic Practice

This article is based on the idea that immersive journalism in virtual worlds, specifically in Second Life, has similarities with online journalism. To sustain this premise, the literature reviewed will follow the debate about journalism on the Internet, writing and reporting across new media, and speculate on the idea that a new concept of journalism in virtual worlds is growing, as an example of a new trend in journalistic practice. Questions such as the legitimacy of new forms of journalism, and especially of the pertinence of new environments, where they may be put to practice, will be addressed. Consequently, the focus on this paper is journalism in 3D environments. The discussion will provide ideas of new trends on an old business.

Theatre in Second Life® Holds the VR Mirror up to Nature

2011 ◽  
pp. 376-395 ◽  
Author(s):  
Stephen A. Schrum
Keyword(s):  
Virtual Worlds ◽  
Second Life ◽  
Computer Mediated Communication ◽  
Mediated Communication ◽  
Creative People ◽  
Face To Face ◽  
Computer Mediated ◽  
Physical Presence ◽  
And Performance ◽  
Definition Of

As creative people inhabit virtual worlds, they bring their ideas for art and performance with them into these brave new worlds. While at first glance, virtual performance may have the outward trappings of theatre, some believe they don’t adhere to the basic traditional definition of theatre: the interaction between an actor and an audience. Detractors suggest that physical presence is required for such an interaction to take place. However, studies have shown that computer mediated communication (CMC) can be as real as face-to-face communication, where emotional response is concerned. Armed with this information, the author can examine how performance in a virtual world such as Second Life may indeed be like “real” theatre, what the possibilities for future virtual performance are, and may require that we redefine theatre for online performance venues.

Dancing in two worlds: Experiencing n/om inside the Ju/’hoan Bushman dance

2020 ◽  
Vol 6 (1-2) ◽  
pp. 7-25
Author(s):  
Hillary Keeney ◽  
Bradford Keeney
Keyword(s):  
Conflict Resolution ◽  
Performance Art ◽  
Southern Africa ◽  
Field Research ◽  
The Body ◽  
Research Interviews ◽  
And Performance ◽  
Spiritual Expression

The Ju/’hoan Bushmen or San of southern Africa host one of the oldest surviving dance forms. Openly conducted in public for the whole community, the dance serves as the primary locus for healing, conflict resolution, wellbeing, rejuvenation, social reunion, spiritual expression and performance art. Central to the dance is awakening n/om, what the Bushmen regard as a vibrational force that resides in the body of the strongest dancers. Often described as an energy or power that makes the body shake, n/om is more accurately a blend of somatic vibration, heightened emotion and sacred song. N/om is also the source of a dancer’s capacity to heal sickness in themselves and others. The following composite account of an insider’s perspective of the n/om dance is based on decades of field research interviews with Ju/’hoan n/om dancers and our own experience as accepted members of several Bushman dance communities. We focus on the experience of n/om in the body and how this enables the dancer to dance between two worlds – that of everyday knowing and the ineffable spiritual realm or what the Ju/’hoansi call second creation and first creation, respectively.

scholarly journals Performance Art After The 1990s

2020 ◽  
Vol 10 (1) ◽  
pp. 74-87
Author(s):  
Liviu Nedelcu
Keyword(s):  
North America ◽  
Contemporary Art ◽  
Performance Art ◽  
Performing Arts ◽  
Art Museums ◽  
The Body ◽  
International Exhibitions ◽  
History Of

AbstractPerformance art has become over-represented in contemporary art museums, at art fairs, at major international exhibitions. In this context, I have proposed a brief overview of the history of performance in North America and Europe, to identify conceptual variations or continuities in post-1989 performing arts practices. What kind of queries caused the resort to the body? Which of the criticisms are still current and which new issues are formulated in the present geopolitical framework or in particular socio-political contexts? In order to answer these questions, I’ve selected a number of national and international male/ female artists whose practices illustrate the main directions in today’s performance art.

scholarly journals Presença e morte: o carácter efémero das artes do corpo.

2021 ◽  
Author(s):  
Pedro Bessa ◽  
Mariana Assunção Quintes dos Santos
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Fine Arts ◽  
Classical System ◽  
Physical Object ◽  
The Body ◽  
Contemporary Dance ◽  
The Arts ◽  
Technical Reproducibility ◽  
And Performance

This paper aims to reflect on a hypothetical threshold-space between contemporary dance and performance art, questioning at the same time the prevalence of too strict a boundary between them. To this end, a range of works involving hybridization of artistic languages ​​were selected and analyzed, from Signals (1970) by American dancer and choreographer Merce Cunningham to Café Müller (1978) by German choreographer Pina Bausch. Both dance and performance art are ephemeral arts or, according to the classical system, arts of time as opposed to the arts of space - painting, sculpture and architecture. They have also been called allographic arts, performative arts or, perhaps more specifically, arts of the body (Ribeiro, 1997). Unlike traditional fine arts, which materialize in a physical object other than the body, unlike video-art and cinema, arts without originals, mediated by the process of “technical reproducibility” (Benjamin, 1992), performative arts require the presence of a human body - and the duration of the present - as a fundamental instrument for their realization. In that sense, the paper also focuses on the ephemerality factor associated with dance and performing arts, and the consequent devaluation these have suffered vis-à-vis other artistic practices, considered to be academic and socially more significant.

scholarly journals Knee-High Boots and Six-Pack Abs: Autoethnographic Reflections on Gender and Technology in Second Life

2009 ◽  
Vol 1 (3) ◽  
Author(s):  
Delia Dumitrica ◽  
Georgia Gaden
Keyword(s):  
Virtual Worlds ◽  
Second Life ◽  
Virtual World ◽  
Real Life ◽  
Gender And Technology ◽  
The Social ◽  
Performance Of Gender ◽  
And Performance ◽  
Visual Element ◽  
Situated Perspective

In this paper, we explore the experience and performance of gender online in Second Life, currently one of the most popular virtual world platforms. Based on two collaborative autoethnographic projects, we propose that gender has to be explored at the intersection between our own situated perspective and the vision embedded in the social and technical infrastructure of the virtual world. For us, the visual element of a 3D world further frames the representation and performance of gender, while technical skill becomes a crucial factor in constructing our ability to play with this performance. As we recollect and interrogate our own experiences in SL, we argue that the relation between gender and virtual worlds is a complex and multifaceted one, proposing our positioned account of experiencing this relation. It is critical, we suggest, that studies of mediated experience in virtual worlds take into account the position of the researcher in ‘real’ life (IRL) as well as the dominant discourses of the environment they are immersed in. In this we must also be critical, of ourselves, our assumptions, as well as the environment itself.

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