in other worlds october19, 2011. group #1 – rebecca, lorette, adalene

In Other WorldsOctober19, 2011

Group #1 – Rebecca, Lorette, Adalene

Group #2 – Allison, MaryAnn, Milena

Group #3 –Anthony, Rani & Esther Ann

Group #4: Flynn, Eduardo & Vanessa

“Andy Warhol: Behind the Camera” exhibition held at the University of Delaware Art Gallery in Second Life. “Portrait of Linda Cosset”

Group #4: Flynn, Eduardo & Vanessa

“Haute Culture: General Idea” exhibition at the Art Gallery of Ontario. “The Colour Bar Lounge”

Group #5 - Hira, Raj & Noreen

Group #6 – Amandeep, Romaine & Nick

http://www.youtube.com/watch?v=loXtgQlFXnM

http://www.youtube.com/watch?v=loXtgQlFXnM

Group #6 – Amandeep, Romaine & Nick

Group #7- Jamie, Mamuna & Andrea

Group #8 – Indy & Eugene

Group # 9 – Alex, Nora & Jasmin

6 Theses of Art in Virtual Worlds

There are six aesthetic-technological dimensions that collectively distinguish the art of virtual worlds from earlier forms of art.

immersion,

interaction,

artificial agency,

ambiguity of identity,

environmental fluidity

networked collaboration.

Lev Manovich: Software Takes Command

In the process of the translation from physical and electronic media technologies to software, all individual techniques and tools that were previously unique to different media “met” within the same software environment.


Software production environment allows designers to remix not only the content of different media, but also their fundamental techniques, working methods, and ways of representation and expression.


To describe how previously separate media work together in a common software-based environment, he coins a new term “deep remixability.”


Once they were simulated in a computer, previously non-compatible techniques of different media begin to be combined in endless new ways, leading to new media hybrids, or, to use a biological metaphor, new “media species.” e.g. Second Life uses 3D space as the default platform with other media such as video attached to or directly inserted into this space.

Grau

Primary purpose of image media is to enhance the power of the powerful

Secondary purposes include the marketability of products and personal image cultivation

Emerging media (2003) like Internet, Photoshop, streaming video, multimodal platforms, eg, Open Croquet, SL etc have the potential to destabilize this power relationship

Grau

When a new image media of illusion is introduced it’s a ‘spectacle’ that make sit hard for observers to maintain a critical distance.

As users get used to the media, and become competent using it, can regain some critical awareness.

Through this process formerly heterogeneous media – print, animation, photography, video, etc are becoming more alike (Manovich’s claim about software)

Grau

Under the conditions of interactive, real-time computing operations, the quantities of artist, work, and observer begin to converge.

Interactivity challenges the distinction between artist/user and the status of artwork and the function of exhibits.

in other worlds october19, 2011. group #1 – rebecca, lorette, adalene

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