Performances were open-ended, experimental events or happenings that encouraged participants to record what had happened. They introduced the concept of the viewer becoming the work of art through active participation. Her My Friends Are Robots was awarded first place for Best Drama by The Machinima Artist Guild (M.A.G.), an association of Second Life users who produce Animation Films (Machinimas) in virtual worlds.įluxus, an international art movement identified with the 1960s, birthed innovations in filmmaking and performance. It’s something you can share after and have to tell stories with.ĬoleMarie’s work has been exhibited at film festivals and other events in both real and virtual venues. It is a way to hold onto them as more than just memories or places we experienced. Long after the builds are gone the videos become like a trip back in time for friends and the artists who created them. These videos bring them to life for a watcher who might not understand Second Life. My intent is to document the art I find that has hidden stories inside of them. ![]() I think the hard part of SL is that everything is transient. Then, on the other hand, I have my serious documentaries where I capture sims (installations) and live performances from talented artists and musicians like Skye Galaxy, or AM Radio. I try to share what I love about SL and magic. They are like waking dream sequences for me. Skye Galaxy performs Joga by Bjork, ColeMarie SoleilĬoleMarie Soleil: I have my artistic very serious videos where I hide a lot of personal meaning and stories inside of them. It connotes the artistic and performative, or the collaborative action of artist and computer. ![]() In Second Life, the actors are avatars in the scene, and the computer (via screen capture software) doubles as the camera, recording everything that happens in the virtual world. It uses real-world filmmaking techniques that are applied within an interactive, immersive 3D space where characters and events can be either controlled by humans or scripts. Machinima (muh-sheen-eh-mah) is the convergence of filmmaking, animation and game development. This post highlights early visionaries in Second Life who are re-imagining how immersive 3D space can change, or transform 4D art. In the past fifty years especially, ideas about time have shifted from passive to interactive and, currently, to perceptually immersive, via filmmaking and animation, the theatricality of performance, and virtual reality. They have abandoned strict adherence to traditional hierarchies of art and embraced the virtual. ![]() ![]() Second Life artists are exploring how to captivate, or use the element of time to interact with an active audience. Following Virtual Artists’ Immersive Discoveries in a Virtual 3D Frontier, I interviewed several Second Life artists who evoke time in their work. Art:21-Art in the Twenty-First Century, Season 2, Episode: TimeĪrt in the twenty-first century, reflecting and defining new developments in a variety of areas, has radically extended the conventional media of time-based, or 4D work. Some works of art are time-based in that the viewer must experience them through the passage of time, as with music, while others refer to time through links or references to art history, our collective human history, or the timelessness of nature. “Time” is always present in our interaction with works of art, whether we sit to contemplate a painting, stroll past a sculpture, or watch a video piece for its entire duration or cycle. Still from the performance, Car Bibbe 2, based on a script by Al Hansen, and featuring the avatar of Bibbe Hansen.
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