A la question cruelle et lapidaire, des fameux détracteurs de SL, qui me demandent régulièrement : existe il sur Second Life autre chose que des artistes ratés et en mal de reconnaissance... la réponse est oui, bien sûr.
Adam Ramona en est la preuve ... !
Adam Ramona fait parti de ces êtres enchanteurs que j'ai rencontré sur Second Life. C'est une personnalité riche et attachante. Un artiste qui travaille sur les sens et la matérilaité, l'interaction et la représentation. Ses oeuvres sur Sl sont des installations immersives interactives qui reposent à la base sur des questionnement philosophiques ou physiques et marient textures, sons, littérature et 3D entre eux.
Adam ramona connu dans la RL sous le nom de Adam Nash conçevait déjà des projets audio visuels en 3D, avec toujours comme technique de fond le son et l'image, l'interaction, la génération et la programmation du hasard.
En venant sur Second Life, il a tout de suite compris que les outils mis à sa disposition par l'interface SL allaient lui permettre de concétiser des réalisations par ailleurs impossibles.
Les lois physiques propres à SL lui ouvrant des voies nouvelles il abandonna l'idée de" jouer simplement à SL" et décida de se concentrer plutôt sur la poursuite de ses travaux artistiques directement sur la metaverse.
Son terrain Marnia est donc un atelier à ciel ouvert qui donne sur une plage tranquille où ses installations peuvent êtres découvertes dans un cadre des plus agréable.
Son jardin audio-visuel interactif comprend 7 oeuvres, certaines se trouvent sur le terrain d'autres dans le ciel, l'idée est de se promener a travers.
Je vous livre qq unes de ses réalisations, par contre je fais un copier-collé des notes personnelles, car je n'ai pas le temps de tout traduire en anglais ce soir.
Bonne découverte.
Infra Assemblage
"This work is an attempt to combine the faux-physical respresentational model of Second Life, both the visual metahphor and the physics model, with a programattic form of aleatoric instrument with user input.
These elements combine to make an instrument that is possible only in a realtime 3D environment (though not necessarily a multi-user one) but seems like it 'comes from' the physical world.
Its basic viusal form references that of a 'kinetic sculpture' from the real world. It's semi-aleatoric (chance-based) musical infrastructure owes a concptual debt to a physical device that was installed in the Eames studio for many years. It also references Japanese pachinko machines.
The scale is a rational scale of my own devising, starting at 77Hz and proceeding in intervals based on fractions of 7. It is the same scale as the one used in my work Eudemonia Stellata. The cents-difference of the ratios are derived from Kyle Gann's chart Anatomy of an Octave, http://www.kylegann.com, but the calculations (and therefore any errors) are all my own. The sounds were generated in two methods; a risset drum generator, and a granular/wavetable synthesis based on a sine wave and tabla."
ANAHATA
This work, Anahata The Mute Swan, is an attempt to create an immersive audiovisual sculpture that tries to find silence within noise and acceptance of confusion. The inside is different from the outside. The role of the user is simply to move about within the work, perceiving the same sounds and vision differently according to where they are. Relationships change. The user tries to make sense of it, or not.
The work also superficially references a previous work of mine called Scorched Happiness, a multi-user realtime 3D work from 2004.
Pure Absence
In a virtual world, what is absence?
To be present in the virtual world, is this to be absent from the physical world? Or the opposite - is only my avatar me? What of the things I build? Am I ever absent from the virtual world?
Madness, sickness and death - do they have a home in the virtual world? Or are they to be elided, glossed over, like ugliness is in the uniform absurdly good-look of avatars in Second Life? Madness, sickness and death, these define absence, and therefore life. Physical laws describe only presence, are simple to recreate, and define only lifelessness.
These tones march mathematically, unforgivingly through iterations of symmetrical whole number patterns of hertz: 11, 22, 33, 44, 55, 66, 77, 88, 99, 111, 222, 333, 444, 555, 666, 777, 888, 999, 11111. Madness, sickness and death made me make those tones, and I'm glad they did, but I wish they hadn't. Swim in the delirious onslaught and hopefully you will hear your loved ones calling you from within pure absence. It is all for Shshy.
Anemochord
These 8 flexible poles respond to the wind and
cloud cover that is constantly being generated
by the Second Life environment.
The stronger the wind, the louder the sound.
The more clouds there are, the darker the poles
become.
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"The virtual - is it immaterial? Immersion, is it virtual? Virtual reality, as has often been pointed out, is an oxymoron."AN
