cibernetic art research project carp 7

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diabolus second life virtual art space

carpcybernetic art research project

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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 „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 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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4 CARP 7 CARP 7 5diabolus artspace

diabolus second life virtual art space

carp 7cybernetic art research project

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Saying Thank You:

First of all I would like to say to all of you that worked with us in CARP 7 a big big THANK YOU all.

Thanks to Millamilla Noel and Divaolina Kirax, for the beautiful SL and RL socio-foto exhibitions in the CAMERA OBSCURA. Special thanks to Milla for the excellent video made for the videocaleidoscope.

The EMOTICON was also a very interesting project where we can experiment with total new audiovisual effects and methodes. Many thanks goes to Josina Burgess, Millamilla Noel Evaluna Sperber and Caravaggio Bonetto for the beautiful visuals and also a big thank you to Al Hoffman for the great improvisations and concerts. In fact this is our laboratorium in what we can try out many new emotional audiovisual components.

Many thanks to Sca Shilova, Josina Burgess and Cara-vaggio Bonetto for the Human Rights Festival installations in Benvolio sim.

Many thanks to Ida Aabey, and Miulew Takahe for the collaboration in the Double skin mixed reality (Ida Aabeys ARENA project) installation in Benvolio sim.

Many thanks to Nora Koltai, Josina Burgess, Caravaggio Bonetto and István Orosz for the collaboration in the imagi-ne gallery project.

The creative Team has also spend much work in the CHANGE project. Medora Chevalier, Josina Burgess and me have wrote several textst with an important content. Of course was the lost of sims at NMC giving a problem and we couldnt build up 2 productions parallel to each other ( Metropolis and THE CHANGE).

I finished a very important Publication Project: The Arena E-book, it is a authentic document of the Second Life Me-taverse Art. Together with the other CARP documentation it gives a all over view of the most interesting International Phenomenem: Metaverse Art. a special THANK YOU goes

to Roxelo Babenko and arco Rosca for their help, collabo-ration and perfect organisation.

http://artspace-diabolus.com/CARP/arena_1.pdfhttp://artspace-diabolus.com/CARP/arena_2.pdf

website: diabolus.ning.com

http://issuu.com/diabolus/docs/arena_1http://issuu.com/diabolus/docs/arena_2

As a new Publication medium, also for the earlier E-books we will use issuu . The URL-s are:

http://issuu.com/diabolus/docs/1_yes_entryhttp://issuu.com/diabolus/docs/2_dancehttp://issuu.com/diabolus/docs/3_automathttp://issuu.com/diabolus/docs/arena_2http://issuu.com/diabolus/docs/arena_1http://issuu.com/diabolus/docs/carp-01http://issuu.com/diabolus/docs/carp-02http://issuu.com/diabolus/docs/carp-03http://issuu.com/diabolus/docs/carp-04http://issuu.com/diabolus/docs/carp-05http://issuu.com/diabolus/docs/carp-06

Beside all this also 3 RL projects were created and orga-nised in SL: Caravaggio Bonetto has realised 2 Projects for her study Architecure at the TU in VIENNA. With this project was tested what possibilities there are in the virtual world and RL education and how to use them. In Decem-ber a very succesfull mixed reality experiment was orga-nised with the collaboration of. Josina, Cara, Al Hofmann, Me and the RL Galerie-ARTITUDE in Budapest.

The RINGS shows are ended even we still had great suc-ces doing them. A big Thank You goes to our performer group: Junivers Stockholm, Medora Chevalier, Debbie Trilling, Klute Cop-pola , Sca Shilova, Efrantirise Morane, Milla Milla Noel, Blanche Argus, Any1 Gynoid, Josina Burgess and yes, the Yellow Submarine. We did set new benchmarks in the way

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of performing achievement. I thank you for all your hard work.

Since months we are working on our new project : ME-TROPOLIS. After the WALL and the RINGS the same team is working on this new production. We have again many innovations in the new production and we use the inven-tions of the WALL and the RINGS. The great outcome of METROPOLIS is, not only the Audiovisual spectacle but as always usual: the Philosophical message.

We cannot forget those ones that gaved so many working-hours for preparing all: Special thanks to nnoiz Papp for the phantastic soundtrack what he specially made for the METROPOLIS production.Special thanks to Josina for the many many characters and costumes and for the many operational ideas.Special thanks to Debbie Trilling for the METROPOLIS video production.Many thanks to windyy Lane and Cara helping me in the concept and build of the METROPOLIS theatre architecture and in the scene design and build. Also big thank to windyy Lane for the many AV animations.A big thank goes to the METROPOLIS performer group: Debbie Trilling, Josina Burgess, Efrantirise Morane and Milla Milla Noel.A big thank goes to Sca Shilova for the new design and build of the Roboter

And now about the CARP 8 projects we have for the near future:

We have to finish 2 Theatre productions. That is our first goal for CARP 8. In the EMOTICON project is still a lot of potential and many new ideas. This also is working as a audiovisual experimental Laboratorium for us. Further we let surprise us with spantaneous new projects that come our way.

As publication Project a Magazin will be developed with the title: HyperArt.

Peace, Love Vodka & Yellow Submarine,Vela

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art space diabolus

the making of The CHANGE

“A dream you dream alone is a dream. A dream you dream together is reality.”(John Lennon)

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The CHANGE the future vision opera (subject and philoso-phical content draft) the 3th part of the CARP trilogy (The WALL (past) The Rings (present) The CHANGE (future))The true future vision has no example in the past

„The ability to think about what will be is a basic condition for successful evolution of “humanoids“. With the develop-ment of cognitive competence, the brain learns to estimate its options for action – it changes from being a unity cont-rolled by instinct to a complicated forecasting instrument. To argue with the future is part of the human nature. Early in the history of mankind came the wish to look ahead beyond our own action horizon and to be able to foresee developments which one cannot influence. Shamans, high priests and other mediators tried to make the people‘s futu-re visible to steer their path smoothly. Some cultures failed in this attempt to reason. Others, which used forecasts as an impulse to ordered self evaluation and self regulation, succeeded.“ (Mathias Horx)

We introduce ourselves to a vision of the future only as a hollywood-booster-movie apocalypse, consumption hell or absurd comic strip. Once we are there, however, she will turn out to be a quite normal place to love, marry, drive a car, working, or give birth to a child........................ and this simple all-days future is our subject and content.

The Lorenzetti code

The Lorenzetti code (the future has the roots in the past) The fresco cycle on good and bad government by Ambro-gio Lorenzetti in the Siena Palazzo Pubblico was created in the years 1338/40, while Siena was establishing itself on the Italian peninsula as an independent city republic. The thesis attempts on the one hand to position this fresco cy-cle in time and space, describing the historical and political environment with particular emphasis on the association between Siena‘s politics and urbanism, architecture and culture at the time. Included are the contemporary interac-tions between an artist such as Ambrogio Lorenzetti and his patrons, the Sienese government. On the other hand, the research status on the hitherto available interpretations of the fresco cycle is analyzed. Finally, the thesis offers a new Dantesque view of the city hall pictures: it is shown how in Ambrogio Lorenzetti‘s fresco cycle the purgatory process of Dante‘s Commedia is visually transposed to the terrestrial sphere of the Italian city states, and Dante‘s universal design reduced to the political domain of the fledgling Sienese territorial state. In particular, the three

murals of the fresco cycle are described as modifications of Dante‘s Inferno, Purgatory and Earthly Paradise. Due to the reduction of Dante‘s universal design to the level of the Italian city state, special importance was attached in Siena to the republican concept in politics, which is also dealt with in the thesis.

Lorenzetti code (Siena 1338)

Vogliete gli occhi a rimirar costei,vo‘ che reggete, ch‘è qui figuratae per su‘ eciellenzia coronata,la qual sempr‘ a ciscun suo dritto rende.

Guardate quanti ben‘ vengan da leie come è dolce vita e riposataquella della città du‘ è servataquesta virtù ke più d‘altra risprende.

Ella guarda e difendechi lei onora e lor nurtrica e pascie;Da la suo lucie nascieel meritar color c‘operan benee agl‘iniqui dar debite pene.

(refren 2x)Pax Fortitudo Prudentia Sapientia Magnanimitas Temperantia Justitia Concordia

Là dove sta legata la iustitia,nessuno al ben comun già mai s‘acordané tira a dritta corda;

però convien che tirannia sormonti,la qual, per adempir la sua nequitia,nullo voler né operar discordadalla natura lordade‘ vitii che con lei son qui congionti.

Questa caccia color c‘al ben son prontie chiama a sé ciascun c‘a male intende;questa sempre difendechi sforza o robba o chi odiasse pace,unde ogni terra sua inculta giace.

(refren 2x)Tyramnides Crudelitas ProditioFraus Furor Guerra Divisio

e per effettoche dove è tirannia è gran sospetto,guerre, rapine, tradimenti e ‚nganni,

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Prendansi signoria sopra di lei,e pongasi la mente e lo intelletto

in tener sempre a iustizia suggiettociascun, per ischifar sì scuri danni,abbattendo e‘ tiranni;e chi turbar la vuol sie per suo mertodisciacciat‘ e disertoinsieme con qualunque sia seguacie,fortificando lei per vostra pace.

(refren 2x)Pax Fortitudo Prudentia Sapientia Magnanimitas Temperantia Justitia Concordia

Questa santa virtù, là dove regge,induce ad unità gli animi molti,e questi, a cciò ricolti,un ben comun per lor signor si fanno.

lo qual, per governar suo stato, eleggedi non tener giamma‘ gli ochi rivoltida lo splendor de‘ voltide le virtù che ‚ntorno a llui si stanno.

Per questo con triunfo a llui si dannocensi, tributi e signorie di terre,per questo senza guerreseguita poi ogni civile effetto,utile, necessario e di diletto.

The name of the gameJosina Burgess/Velazquez Bonetto

Panic is the word on Wall Street. and richness is only just a skin deep. Now banks are fighting for survival.And poorness that has now no rival.crisis leads to cancel tripHey! Don‘t give up the sinking ship.Don‘t give up the sinking ship.

Finance crises, panic, recessionIts a black deadly obsession. economists have theories and also offer you their fees Administrations give the tipHey! don‘t give up the sinking ship.Don‘t give up the sinking ship

don‘t understand why we are in it.

Maybe its all just bankers bullshit.They have golden handshake contractsAnd these are all the well-known facts. A planet where the vips eats vipBut! don‘t give up the sinking ship.don‘t give up the sinking ship.

Stock exchange: the rich can‘t loseIndeed all that for them good news. easy to destroy, and doneThere‘s nothing new under the sun. Animal nature in a dipBut! don‘t give up the sinking ship.don‘t give up the sinking ship.

Future exchange: sell off your lifeAnd set it into overdriveOptions that convey the rightAny time of day or night. Only the money is the vipWe don‘t give up the sinking ship.don‘t give up the sinking ship.

no more exchanging will exist,the way to deal is just a listto dissapear and turn and change new things that has to be arrangedwe people are the ones that planthat „money“ was the better scamthat money was the better scam

now here we sit on what we’ve doneand future is about to cometo show us all we have mistakenall what we planned it has been takenwe have to find a better wayno more delay, no more delayno more delay, no more delay

change is in our hands for nowand in the future it will growinto a better world to live in not only taking but more givvingto share and understand some morejust act couse death is at the doorchange systems before its killingit just depends how much we are willingit just depends how much we are willing

We don‘t give up.We don‘t give up.

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THE DIVISION PARADOXIdea: Vealzquez Bonnetto. Lyrics: Josina Burgess

spread weapons, people will turn wild and start to kill each otherspread some believes, you will get lost, and noone seems to botherspread bread, you will be full but bread it will be gonespread gold, wake greed and gold is gold and that is never donespread money its a airballoon that flies in wind and thunderand dissapears into the storm that finally takes him under

When you cave give to nature back, all that you have takenIt will return into a space to live and that’s forsakenWhen will you share your wisdom. The wiser we become,And When you spread your love it will come back as it belongWhen you will share just everything you have and clear your mess,It brings back to you inner peace and gives you happiness

The future is a balance between nature, between manand knowledge is producing all the future yes it cancreate for all the people that will recognize it wellthat love is all there is and love is not an empty shell

You cannot change the world without changing first yourselfWhen you believe in dreams, your dream is like a ghost or elfWhen you share your dreams with others all togetherIt can change everything and and it will really matter

Let all that falsehood far behind just put it in a boxOnly think on what it true: the division paradoxOnly think on what is true: the division paradoxOnly think on what is true: the division paradox

The CaveMedora Chevalier

The dark outsideThe cold outsideThe beast outsideThe fear outside

Make the journeyMake the journey

Here we rest and laugh and loveFirelight dancing high above

We are warm togetherWe are bright togetherWe are human togetherWe are fearless together


Here we talk, debate and planWise old women, strong young man.

Hear our drums are soundingHear our voices callingHear our feet are poundingHear our spirits lifting


See our hands are twiningDeep in colours glowSee our marks are shiningMake our soul world show


Come inside the caveLeave the dark outideCome inside humanityLeave the fear outside


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The future flowingMedora Chevalier

Looking at the evening sunlightSpy the shadows growing.High up on the mountain rangesFeel the sunset glowing.As we breathe the chilling air inKnow above all knowing,Every time we draw a breath inThat the future here is flowing.Every time we draw a breath inThat the future here is flowing.

So it is our choice to make hereIn our one brief flowering:Shall our dust dry fruitless, pointless,Shall our death be cowering?Shall we take the path where others mock us,Shall we take it take it knowing?Every time we draw a breath inSee the future here is flowing.

Feel your wings spread in the dark windsFeel their sweep, their power.Feel each feather take its own placeFeel your spirit tower.Greater than the greatest tempestSmaller than the smallest atomHere‘s the force deep in your beingIf you only reach to touch itReach and touch and taste and love itFly upon its shoulders.It is all you are and can beSee the future flowing

It is wildness still to think soWe can lie here sleeping.Why should life be any otherThan the life we‘re keeping?Yet we know our fingers reach outReach out still in wonderIf the dream is shining thereIf it is calling usIf it is wonderfulSee the future here is glowing.

Weapon cemeteryIdea: Vealzquez Bonnetto. Lyrics: Josina Burgess

Why all the fighting, why killing each other,Why do they destroy someones garden and home?Is it because of the others religion,That they cant stand it, cant leave him alone?On television they say this is evil,And evil puts everyone in a deep hole,Evil is greedy , is hopeless, is empty,Evil just wants to eat everyones sole

I long for a future where people are trusting each other again without anger or fear.War has no use it is only discusting, and doesnt solve anything that is well clear. Why is there war? Tell me what is the reason? Is it a solution for you or for me?Where is it good for? What is the illusion is everyone blind and can nobody see?

War, follow orders, kill innocent children?Is that the illusion in what you believe? Is it the oil that the land is destroying,And making rich richer and others in grieve?On television they say this is evil.The oil and the diamonds, the copper and gold.The thieves among us they are counting their money.In jail are the little ones that did was was told

I long for a future where people are willing to help out each other just as it should be.A future without all the wars and the killing, the murder for money and murder for fee.War uses your blood as the ink to print money and blood is the payment for every new gun.Guns to kill people and innocent children and making who-le continents go on the run

I believe in a life where is peace all around us.Where nobody tells us to break someones door.Because his religion and language is differentAnd therfore to kill and leave dead on the floor.Or maybe the skin is again a good reasonTo abandon and hate and letting you fear.The fools and the crazy they follow the ordersThe big ones, the rulers? They dont shed a tear.

I long for a future where doors are all open, no reason to close them theres nothing to hide.I long for a future with peace for all mankind and religion and language go side by side

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I want to dig graves for the weapons to barry, and on it i will put a big golden cross.Where is war good for? Tell me what is the reason? Loosing those weapons? It is no loss!

HSv2 EducationMedora Chevalier

Sit downBe quietLook hereConcentrate!Still stillDon‘t talkWatch meConcentrate!

Outside the sky is greyOutside the street is greyThe clouds and birds all greyOutside the future‘s grey.


Outside my mind is wanderingOutside I search for somethingFor something lovely flyingFor something that‘s ALIVE!


There! What was it?There! Is that what colour is?There! Is that what music is?There! Is something that‘s ALIVE!

Sit DOWN!No I stand tallLook HERE!It‘s not beautifulSit STILLNo I‘m dancingWatch MENow I feel ALIVE!

Don‘t give upMedora Chevalier

When you‘re feeling weak and lonelyDon‘t give upWhen the world is hard and phoneyDon‘t give up If you feel that change is neededThere are others who will feel itDon‘t give up Don‘t give up Don‘t give up

When you see our planet dying Don‘t give up If you hear the statesmen lyingDon‘t give up Let our banners be unfurledLet‘s unite and save the worldDon‘t give up Don‘t give up Don‘t give up

If you see the people starving Don‘t give up If you hear the wealthy laughing Don‘t give up Against every cold warmongerThere‘s a thousand fighting hungerDon‘t give up Don‘t give up Don‘t give up

When you see them cold and homelessDon‘t give up When you hear them mocked as worthlessDon‘t give up Reach your hand and see them true

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Let their talents come shine throughDon‘t give up Don‘t give up Don‘t give up

When the partying is overDon‘t give up When you‘re home and with your loverDon‘t give up Make your own connections widerAct together, make things better!Don‘t give up Don‘t give up Don‘t give up

Don‘t give up Don‘t give up Don‘t give up !!!

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The Change video experiment

Thoth Jantzen

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art space diabolus

the making of The METROPOLIS

„Einen Mittler brauchen Hirn und Hände.Mittler zwischen Hirn und Händenmuss das Herz sein.”

Thea von Harbou, Fritz Lang

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METROPOLIS story plot V_1.0

Virtuelle Raum: 100x100x200 meter Audiovisual Komponente: Überwiegend schwarz-weis Scenarios in ein Mischform. - 3D Nachbau von original Metro-polis (bpw.Herzmaschiene) - Neue visuelle Elemente aus unsere Zeit aber auch monochrom. Soundtrack: cca 45 min. nur instrumental Musik (so verrückt wie irgent möglich) Schauspiel: wie bei der original nur Gestik und Pantomim. Spielraum: keine herkömliche Frontal-Theater Kon-zept sondern volle immersiv Kontrol, fliegende sitze und 4D live-cut Kamera system. Scene-Kontrol: Master Controler V_11.0 mit lokal Translation/OrientationRollen: Maria und Marias roboter Dubel Joh Fredersen Freder Fredersen Rotwang Josaphat Arbeiter 11811 Grot

scene 1 die StadtIn einer überdimensionierten und technisch entfesselten Stadt namens Metropolis leben die einzelnen Gesell-schaftsschichten voneinander völlig getrennt. Die Ober-schicht genießt paradiesische Lebensverhältnisse und gibt sich in einem „Yoshiwara“ genannten Amüsierviertel rauschhaften Vergnügungen hin. Im „Klub der Söhne“ lebt die junge Elite in absolutem Luxus, während die gewöhn-lichen Arbeiter im Untergrund der Stadt hausen und in Zehnstundenschichten an überdimensionalen Maschinen schuften müssen. Das Hirn von Metropolis ist Joh Fredersen, der aus seiner Steuerungszentrale im „Neuen Turm Babel“ die Stadt steu-ert und überwacht.

scene 2 MariaSein Sohn Freder Fredersen trifft eines Tages auf Maria, eine geheimnisvolle Frau aus der Unterstadt, und verliebt sich in sie. Auf der Suche nach Maria erlebt er die Not der Arbeiter im Untergrund der Stadt und versucht erfolglos, seinen Vater von dessen hartherzigen und ausbeuterischen Regiment abzubringen.

scene 3 11811

Gemeinsam mit dem von Fredersen entlassenen Josaphat und dem Arbeiter „11811“ plant er, eine Initiative zur Än-derung der Verhältnisse in Metropolis zu beginnen. Doch „der Schmale“, ein Agent von Joh Fredersen, treibt „11811“ in die Unterstadt zurück und sperrt Josaphat in dessen Wohnung ein.

scene 4 UndergroundMaria verkündet den Arbeitern in konspirativen, gottes-dienstgleichen Sitzungen in den Katakomben der Stadt die baldige Ankunft eines „Mittlers“, der eine Brücke zwischen Hirn (Führungsschicht von Metropolis) und Händen (Arbei-terschaft) bauen wird. Joh Fredersen sieht durch den Einfluss Marias auf die Arbeiter die Gefahr einer Revolte und weist den Erfinder Rotwang an, einem Maschinen-Menschen das Antlitz Mari-as zu geben, damit dieser die Arbeiter beeinflusse.

scene 5 RotwangFredersen und Rotwang verbindet eine besondere Bezie-hung. Einst hat Joh Fredersen dem Erfinder dessen ge-liebte Frau Hel genommen. Bei der Geburt von Freder war sie gestorben. Mit dem Maschinenmenschen will Rotwang sich nun seine Hel neu erschaffen.Aus Rache hintertreibt er Joh Fredersens Plan und bringt den Maschinenmenschen dazu, die Arbeiter in der Gestalt Marias zu einer Revolte aufzuhetzen.

scene 6 RevolutionDer Mob stürmt die unterirdischen Fabriken und zerstört dabei auch die für Metropolis lebenswichtige Herz-Ma-schine, woraufhin die Wohnquartiere der Arbeiter im Untergrund der Stadt überflutet werden. Der echten Maria gelingt es aber, zusammen mit Freder Fredersen und Josaphat, der sich inzwischen befreit hat, die Kinder der Arbeiter im letzten Moment vor dem Ertrinken zu retten und im „Klub der Söhne“ in Sicherheit zu bringen.

scene 7 Der Herz-MaschineGrot, dem Werkmeister der Herz-Maschine, gelingt es, die revoltierenden Arbeiter zur Besinnung zu bringen. Sie erkennen die ausgelöste Katastrophe und wähnen ihre Kinder ertrunken. Nun wendet sich die Wut gegen die ver-meintliche Anstifterin Maria. Der Maschinen-Mensch mit Marias Gestalt wird einge-fangen und auf einem Scheiterhaufen vor der Kathedrale verbrannt.

scene 8 Der Mittler Zeitgleich wird die echte Maria von Rotwang gejagt und aufs Dach der Kathedrale gehetzt. Der Erfinder ist wahnsin-nig geworden und sieht in Maria seine Hel vor sich. Freder

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Fredersen rettet Maria und liefert sich einen finalen Kampf mit Rotwang.Unter dem Motto „Der Mittler zwischen Hirn und Händen muss das Herz sein“ versöhnen sich anschließend der Fa-brikant Joh Fredersen und die Arbeiterschaft durch Freders Vermittlung.

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METROPOLIS Story Plot

Metropolis is set in the year 2027, in the extraordinary Gothic skyscrapers of a corporate city-state, the metropolis of the title. Society has been divided into two rigid groups: one of planners or thinkers, who live high above the earth in luxury, and another of workers who live underground toiling to sustain the lives of the privileged. The city is run by Johann ‚Joh‘ Fredersen (Alfred Abel).

The beautiful and evangelical Maria (Brigitte Helm) takes up the cause of the workers. She advises the desperate workers not to start a revolution, and instead wait for the arrival of „The Mediator“, who will be the „heart“ between the „head“ – Fredersen the conceiver of the city – and the „hands“ – the people who labor to make it a reality. The Mediator, she says, will unite the two halves of society. The son of Fredersen, Freder (Gustav Fröhlich), becomes infa-tuated with Maria, and follows her down into the worker‘s underworld, where he experiences firsthand the toiling lifestyle of the workers, and observes the casual attitude of their employers about the workers well-being. He is dis-gusted after seeing an explosion at the „M-Machine“, when the employers bring in new workers to keep the machine running before taking care of the men wounded or killed in the accident. Shocked at the workers‘ living conditions, he joins Maria‘s cause.

Meanwhile his father, Fredersen, consults with the scientist Rotwang (Rudolf Klein-Rogge), an old companion and rival. Fredersen learns that the papers found with some dead workers are plans of the catacombs beneath the city, and witnesses a speech by Maria. He also learns that Rot-wang has built a robot, and wants to give it the appearance of Hel, his former lover who left him for Fredersen and died giving birth to Freder. Fredersen persuades him to give the robot Maria‘s appearance instead, as he wants to use the robot to tighten his control over the workers. Rotwang complies out of ulterior motives: he knows about Freder‘s and Maria‘s love, and plans to use the robot to deprive Fredersen of his son.

The real Maria is imprisoned in Rotwang‘s house, while the robot Maria is first showcased as an exotic dancer in the upper city‘s Yoshiwara nightclub, fomenting discord among the rich young men of the city. The robot then descends into the worker‘s city and encites the workers into a full-scale rebellion, during which the „Heart Machine“, the power station for the city, is destroyed. Neither Freder nor Grot, the foreman of the Heart Machine, can stop them. As the machine is destroyed, the city‘s reservoirs overflow, flooding the workers‘ underground city, which would have drowned their children, who were left behind in the riot, if not for the heroic rescue efforts of Freder and Maria.

The workers do not know that their children have been saved, and when they realize the damage they have done and that their children are lost, they attack the upper city. Under the leadership of Grot, they chase the human Maria, whom they hold responsible for their riot. As they break into the city‘s entertainment district, they run into the Yoshiwara crowd and capture the robot Maria, while the human Maria manages to escape. The workers burn the captured Maria at the stake; Freder, believing this to be the human Maria, despairs, but then he and the workers realize that the bur-ned Maria is in fact a robot.

Meanwhile, the human Maria is chased by Rotwang along the battlements of the city‘s cathedral. Freder chases after Rotwang, resulting in a climactic scene in which Joh Fre-dersen watches in terror as his son struggles with Rotwang on the cathedral‘s roof. Rotwang falls to his death, and Maria and Freder return to the street, where Freder unites Fredersen (the „head“) and Grot (the „hands“), fulfilling his role as the „Mediator“ (the „heart“).

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created by windyy Lane

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created by windyy Lane

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art space diabolus

emoticon 1the realtime collaborativeaudiovisual improvisation

Caravaggio BonettoVelazquez Bonetto

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art space diabolus

emoticon 2the realtime collaborativeaudiovisual improvisation

Josina BurgessVelazquez Bonetto

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art space diabolus

imaginethe contemporary art galleryof Nora Koltai

István OroszJosina BurgessVelazquez BonettoCaravaggio Bonetto

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art space diabolus

cypress in LAthe concert of cypress rosewood in the Living Architecture

Visual artists:Josina BurgessVelazquez BonettoCaravaggio Bonetto

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art space diabolus

Human RightsFestivalThe Global Players

installation by

Josina BurgessCaravaggio BonettoVelazquez Bonetto

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art space diabolus

„double skin“

Nathalie FougerasMiulew TakaheVelazquez Bonetto

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art space diabolus

sca shilova

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art space diabolus camera obscura

millamilla noel

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art space diabolus camera obscura

divaolina kirax

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cibernetic art research project carp 7

Documents

vision of art

father of cybernetic

josina burgess

word space

cybernetic art nicolas

special thanks

change project

english word cybernetic