First about the name”C.A.R.P = Cybernetic Art Research Projects.
With this name we like to present our mindset, not splitting Art and Science but integrating creative human thinking and define it.
How CARP was born:
“When I started on Secondlife, exhibiting my paintings there, I of course also went to openings of other exhibitions in different other Galleries. To expand my network and see how other artists worked… SL is a great place to see a lot of Art in a short time and that works inspiring as well. On one of these occasions I went to the Cetus District where many small and bigger Galleries are gathered and saw there works of Caravaggio Bonetto and her Father Velazquez Bonetto. I spoke a while with Velazquez and on a later occasion when I saw him again he asked me if he could make a photograph of me because he was making a study of different avatars in SL. In those days I started the making of “Wearable Art”, using my paintings as textures on them and was experimenting with different models.During the photo session, Velazques told me more about his interests in avatars on SL and some of the stories behind them. One avatar specially had his interest and that was the avatar called: MANAX a rather strange but very special caracter and the person behind it was very intelligent, knew a lot about building scripts and had a very spectaculair way of behaving in SL. After hearing the story behind MANAX I asked Velazquez if it was not possible to do something with this knowledge in the form of a project, and so our first MANAX project started.
I wrote a poem, an rl Actor, 5imon Baker narrated it, Cypress Rosewood, a great musician in rl as well in sl composed music and Velazques invented a light organ for sl with particles and light spitting images of the MANAX figure into the air and around the viewers. It was a great success and we really started to work together since that time, Together as a team we started creating and experimenting.
Velazques had the idea of starting to work with more artists we met on SL and who we admired for the works they make on SL so we asked Juria Yoshikawa, Noizz Papp, Caravaggio Bonetto and MANAX to work with us in a Team and so CARP was born.
We all work different, have our own specialities and interests but all the same Goal: to make NEW ART, experiment, develop, pioneer. Working this way we inspire each other. Work out new ideas and every day again is a challenge. The CARP idea was to make a total new SL “life” ”
THE ART SCRIPTING
THE CARP COMPOSERS (effect networking)The Goal with the black & white Installation was to show the audiovisual effects in a structured (dramatized) form. There is a need for such structured actions, it also is used in SL Performances after examples in RL performances. The SL performance components are becoming their structured forms steered by the intelligence of people in the background. In SL its possible to build structured forms by intelligent automatisms that at the same time communicate
with the environment. This of course needs a permanent communication between the single prims that hold the effects. Without this communication its impossible to synchronize the audiovisual effects with each other in time and space. For this task are 2 solutions possible in LSL.1.- The Prim Channel Communication. Gives the possibility to exchange dates total and freely between the single prims in a 94 meter distance, and those prims stay independent from each other.2. – Linked Prim set Communication. Where the data exchange only takes place in a linked prim set. The maximum communication distance is limited in 30 meter and these LSL functions are not always reliable.In CARP we have tried both configurations.For the Black & White Installation was the Linked Prim set Communication used and for the Dwarf-choir of Nnoiz Papp the Prim Channel Communication.The Prim Channel Communication was also used for the “Dino” of Josina Burgess and “the Caterpillar loves you” of Caravaggio Bonetto.There are 2 possibilities for Audio Presentations in SL.1.- The Plot Music, what of course is a sound streaming non position depending loudness, but with the ability to play a longer streaming. With LSL you only can pull on or off.2.- The max. 10 sec long upload sounds have to be downloaded like photo’s for SL. The short-sounds however have 2 great abilities: The loudness of the sound sources are able to play distance-reliable. At the other hand its possible to use them in LSL in as many events you need.
THE CARP MATRIX
Most of the Audiovisual Effects in SL exist from random-generated and/or un-synchronised sequenzes, or based on prim/environment- events or avatar-signals through sensors or collision. In LSL there is one useful function. It is possible to run more LSL scripts in combination in one task (prim content). The outcome is an integrated total-effect for one prim. This method is easy to run and gives a fast building possibility. A collection of well selected on each other-scripts. All different but well defined and giving each a great effect are also usable in combination and is of value for the working method. The script combinations sometimes
produce totally unexpected but fantastic effects.The CARP Matrix is a collection of “put into the content and forget” script modules who are easy to use in combination.
The making of DWARF CHOIR:
I came on a visit to Velazquez and he showed me his newest test object. It was an array of spheres, interacting and triggering each other in a specific way. This first idea was from Miulew Takahe and Velazquez. After trigger them by collision they started to move up and down. I got the idea of a dwarf choir – dwarfs singing, going up and down. I told velazquez this idea and we suddenly
started…First I had to choose the tuning and recorded the dwarf sounds in my sequenzer. The sound comes out of my Yamaha FS1R synthesizer.The sound control take place over the mod wheel and makes the sounds a little bit „human“. I put 4 sounds on each dwarf.That was funny. But it was to „clean“ for me. So we changed
one dwarf singing wrong stuff. The first trial was a cat sound, than I found a metallic screaming, and we took this one now.After this I worked on the textures. I took photos from me in my musicstudio (one of these 2 minutes sessions…;-)….) and imported this stuff into photoshop. I combined them with a rusty texture.We have 4 frames: a normal state, a singing state, normal2 called the „duck-state“, and a nerved state, when one of the dwarfs is singing wrong.After importing this into SL I put this textures on a sculpted prim (made with rokuro). I modified the textures to get different
characters by stretching the textures and modifying the sculptured prims.Velazquez cares about the clothing then.In each state of the project we tested it out and had MUCH fun…!Now ist planned to organize a „dwarf choir festival“ with many different musicians playing or singing with the dwarfs.
1. The Sculpti project: Biggest success in the CARP 2 project. In fact we used the sculpted components in all the products. A series of (150) own made sculpted bitmaps were used to build free and spectacular effects. Many of us have learned to use this- not easy- technology and used its components in real professional sculptures and pieces of Art. The most spectacular variant was the use of huge prims. But we also experimented with movement control and reaction forms on these sculpted components.
2. The Artchitecture project: Build from the CARP elements in a special way, this means: not the architecture decides what and how the building will look like but the exponents decide how the architecture components will work out together. Art piece and architecture together decide the looks and the effects. So a Synthesis where architecture and Art build together a integrated unit.Visual spectacle and functional building elements are both united in Art-Architecture.When being honest we must admit that this way of Art-Architecture synthesis already was reached in a great way by Antonio Gaudi.
3. The VJAZZ project: New horizons to open: A method of collaborative Spontanety. On the spot creativity ( Collaborative Audiovisual Improvisation or: Virtual Jazz) we named it. Where different artists give different components to modify a piece of Art TOGETHER as a creative collaborative spectacle, as a story. This method has a great attraction and unexpected outcome. In Jazz music this method works already for ages, now we will use this in the visual Art also in a consequent way.-The big spectacle stage in CARP 2 was intentional for the building up of a story. Many of us; Debbie , Josina, Noizz and me contributed a lot in the 2 live concerts of Nnoiz as a 2 hour long Audiovisual Liturgy Orgy that were a great success.
In CARP 1 and 2, our group was concentrated on the learning and understanding of several SL Art-technical possibilities as art-scripting, sculpty . In the next CARP we will, based on this technical knowledge, concentrate at first on creative progress, creative agglutination and creative techniques. Creativity (or „creativeness“) is a mental process involving the generation of new ideas or concepts, or new associations between existing ideas or concepts. Creative innovation might require co-activation and communication between regions of the brain that ordinarily are not strongly connected.Creativity techniques are heuristic methods to facilitate creativity in a person or a group of people. Generally, most creativity techniques use associations between the goal (or the problem), the current state (which may be an imperfect solution to the problem), and some stimulus (possibly selected randomly). A random image, sound, or article can be used instead of a random word as a kind of creativity goal or provocation.
The CARP 3 Project :
We had 3 Theme concepts.
1. Collaborative Improvisation (Virtual JAZZ) (Initial idea: Juria Yoshikawa/Velazquez Bonetto/Josina Burgess) Collaborative Improvisation stand for the creative progress of 3D scenario pictures, concepts or ideas from different people. A Theme is offered to various persons. They will prepare different presentations into the reach of this Theme. Spontaneous collaboration without preparing anything is possible of course. In a session where all artists be together these presentations will be mixed to get a new audiovisual interpretation. The sessions where we sit together and share thoughts and audiovisual interpretations can lead to a deeper understanding or new assotiations.
2. Bi-sociation (initial idea: Arthur Koestler)Bi-sociation stand for the creative progress of knowledge, pictures or presentations from different definitions and concerns. The definition was introduced by Arthur Koestler leaned on the word: association. ( The Human, misdirected of the Nature, 1978) and is today the axiom in creativity as well as in humour research. As a creative axiom Bi-sociation describes the permeate of mind routines during associations of mind attachments. In fact bi-sociation arises over that when the concept is bonded from two standard not belonging together abstraction levels. From bonding things that normal don’t belong together comic can be a result. In the research of humour, people concentrate mostly on the first aspect. Humour and comedy are the result of the collision of different worlds and abstraction levels.This bonding of different never thought about elements can lead to a surprising insight. It can lead to a deeper understanding of fuses. Koestlers thoughts have lead to many different concepts and ideas in creative research. Bi-sociation becomes hereby a method that consciously fuse concepts and other ideas, that normally don’t belong together in routine thinking..
3. Semantic Intuition (inverse thinking)
The Semantic Intuition is a creative technique, where the combination of ideas or/and pictures can generate new ideas. With semantic intuition you build words from 2 different words, or pictures out of picture-components that come from the world around us or the theme or the concept. The new word born from that can deliver new ideas. Often this is described as a inversion of the normal practice of thinking about name after the product is made. With semantic intuition a name is found for a possible product and after that how this product should look like. Practical out of the environment where the ideas should come from, a list will be gathered out of understandings and/or pictures. From this list two word/pictures will be formed into a new word/picture.It will be deliberated what is behind the new word/picture combination.
This time its about the content. In this program The Wall project was finished and performed direct for an audience.
The Global Wood Installation (Content Art) of Caravaggio Bonetto (AUSTRIA) was a great inspiration for Josina Burgess and Junivers Stockholm to write and compose a new Song and start a beginning point for the future RING Production.
The Global Wood also inspired for more reincarnations: as a VJAZZ Session and as a Performance.
VISION of GLOBAL JUSTICE GALA Live audiovisual collaborative improvisation (VJAZZ)
visual artists: Josina Burgess, Caravaggio Bonetto Velazquez Bonetto
audio artist: Juniverse Stockholm
The quintessence in CARP 4 is to bring our knowledge into a Global Common Communication.
the Making of the RINGS and the WALL V2
The living architecture
the final brick in the WALL
the performance of the RINGS
the start of the CHANGE production
the start of the METROPOLIS produktion
The making of the METROPOLIS