811 – Presentation 811 – Presentation Jeremy O. Turner Jeremy O. Turner

3 Agent-Based Artistic 3 Agent-Based Artistic Influences in Second LifeInfluences in Second Life

Gazira Babeli Gazira Babeli “Hammering The Void”, [DAM]Berlin “Hammering The Void”, [DAM]Berlin

(2009)(2009) LINK - LINK - http://www.gazirababeli.com/hammeringthevoid.phphttp://www.gazirababeli.com/hammeringthevoid.php Gazira created a gang of bots to interrupt a gallery opening as a Gazira created a gang of bots to interrupt a gallery opening as a

performance art intervention…performance art intervention…

Gazira Babeli Gazira Babeli “Hammering The Void”, [DAM]Berlin “Hammering The Void”, [DAM]Berlin

(2009)(2009) There are implicit claims that the audience will make references between There are implicit claims that the audience will make references between

this performance intervention and art-historical events from the past (i.e. this performance intervention and art-historical events from the past (i.e. happenings) happenings)

There is an assumption that there is only one artist persona with multiple There is an assumption that there is only one artist persona with multiple agents.agents.

STRENGTHS – Virtuosic agent coding (AI behaviors), Iconic avatar STRENGTHS – Virtuosic agent coding (AI behaviors), Iconic avatar personality (the most famous artist in SL) is reinforced, clarity of purpose personality (the most famous artist in SL) is reinforced, clarity of purpose and behavior. Mirrors the tendencies towards remediation and and behavior. Mirrors the tendencies towards remediation and representation in SL. Challenges notions of the avatar self as a persona that representation in SL. Challenges notions of the avatar self as a persona that transcends individual ontological nodes. transcends individual ontological nodes.

FUTURE CHALLEGES –FUTURE CHALLEGES – Is there a way to hype the persona without relying Is there a way to hype the persona without relying

on representation or remediation from previous art-historical events and on representation or remediation from previous art-historical events and paradigms? Can this work go beyond humor and parody? Is there a way to paradigms? Can this work go beyond humor and parody? Is there a way to get attention in a non-coercive manner?get attention in a non-coercive manner?

Gazira Babeli Gazira Babeli “Hammering The Void”, [DAM]Berlin “Hammering The Void”, [DAM]Berlin

(2009)(2009) RECEPTION: Documentation is sufficient enough to RECEPTION: Documentation is sufficient enough to

understand the general concept. However, to feel the understand the general concept. However, to feel the intended visceral nature of the work, one would have intended visceral nature of the work, one would have had to have attended the intervened art gallery opening. had to have attended the intervened art gallery opening. It is also assumed that embodied experience would allow It is also assumed that embodied experience would allow the recipient to reach a sense of transcendence beyond the recipient to reach a sense of transcendence beyond mere parody. mere parody.

Without experiencing this piece directly, the fine line Without experiencing this piece directly, the fine line between “griefing” and “art” would not properly be between “griefing” and “art” would not properly be understood.understood.

The relative virtuosity of the AI behaviors can also not be The relative virtuosity of the AI behaviors can also not be completely appreciated without firsthand experience.completely appreciated without firsthand experience.

Gazira Babeli Gazira Babeli “Hammering The Void”, [DAM]Berlin “Hammering The Void”, [DAM]Berlin

(2009)(2009) ASSUMPTIONS: ASSUMPTIONS: That representation and remediation are the underlying cultural That representation and remediation are the underlying cultural

conditions in Second Life. In this case, Yves Klein’s “Leap into the conditions in Second Life. In this case, Yves Klein’s “Leap into the Void” (1960) is being indirectly parodied. Babeli has explicitly been Void” (1960) is being indirectly parodied. Babeli has explicitly been hyped by Domenico Quaranta and also comparisons with hyped by Domenico Quaranta and also comparisons with Bolter/Grusin (remediation) can be made. Another assumption is Bolter/Grusin (remediation) can be made. Another assumption is that the act of intervention is a natural component of performance that the act of intervention is a natural component of performance art and should be perceived as “griefing”.art and should be perceived as “griefing”.

““Klein’s void is a nirvana-like state that is void of worldly influences; Klein’s void is a nirvana-like state that is void of worldly influences; a neutral zone where one is inspired to pay attention to ones own a neutral zone where one is inspired to pay attention to ones own sensibilities, and to ‘reality’ as opposed to ‘representation’”. – sensibilities, and to ‘reality’ as opposed to ‘representation’”. – http://blindflaneur.com/?p=555http://blindflaneur.com/?p=555

As a critic, I would write about the Second Life’s cultural As a critic, I would write about the Second Life’s cultural expectations of remediation and the relationship dynamics between expectations of remediation and the relationship dynamics between the featured artist, the audience and the intervening (automated) the featured artist, the audience and the intervening (automated) artist artist

Mosmax Hax (Max Moswitzer)Mosmax Hax (Max Moswitzer)“WhitenoiseNPC”, “WhitenoiseNPC”,

Exhibit A Gallery, Odyssey Island (2009)Exhibit A Gallery, Odyssey Island (2009) LINK =http://mosmax.wordpress.comLINK =http://mosmax.wordpress.com Hax created a meta-avatar system of bots that would auto-design its hive identity by borrowing Hax created a meta-avatar system of bots that would auto-design its hive identity by borrowing

from “freebie” avatars and objects stored within the collective inventory of each bot’s account. from “freebie” avatars and objects stored within the collective inventory of each bot’s account.

Mosmax Hax (Max Moswitzer)Mosmax Hax (Max Moswitzer)“WhitenoiseNPC”, “WhitenoiseNPC”,

Exhibit A Gallery, Odyssey Island (2009)Exhibit A Gallery, Odyssey Island (2009) Implicitly claims to be iconic, auto-poetic and cross-platform.Implicitly claims to be iconic, auto-poetic and cross-platform. STRENGTHS – formal balance between structural maximalism with ornamental STRENGTHS – formal balance between structural maximalism with ornamental

minimalism. Allows for interoperability and is conceptually consistent with Second minimalism. Allows for interoperability and is conceptually consistent with Second Life’s user interface and template objects. Figure-ground and avatar-object Life’s user interface and template objects. Figure-ground and avatar-object relationship is blurred in a creative and memorable way.relationship is blurred in a creative and memorable way.

FUTURE POSSIBILITIES – Color and texture could also be formalized in a FUTURE POSSIBILITIES – Color and texture could also be formalized in a maximalist manner. Also, non-anthropomorphic avatar designs (including invisible maximalist manner. Also, non-anthropomorphic avatar designs (including invisible ones) could be included. To unify the perception of interoperability, newer work ones) could be included. To unify the perception of interoperability, newer work could be optimized for the web-on-a-prim feature on the new viewer (SL 2.0). Ideally, could be optimized for the web-on-a-prim feature on the new viewer (SL 2.0). Ideally, this work could automate custom sculpted designs of new avatar forms emphasizing this work could automate custom sculpted designs of new avatar forms emphasizing the auto-poesis implied in the work.the auto-poesis implied in the work.

Mosmax Hax (Max Moswitzer)Mosmax Hax (Max Moswitzer)“WhitenoiseNPC”, “WhitenoiseNPC”,

Exhibit A Gallery, Odyssey Island (2009)Exhibit A Gallery, Odyssey Island (2009)

RECEPTION:RECEPTION: The reliance on documentation is sufficient for a The reliance on documentation is sufficient for a

basic understand of the concepts and intentions basic understand of the concepts and intentions that motivate the work. One needs to enter that motivate the work. One needs to enter Hax’s chosen virtual world in order to fully Hax’s chosen virtual world in order to fully comprehend the interface limitations that he is comprehend the interface limitations that he is exploiting as well as the degree to which the exploiting as well as the degree to which the experience can be interactive.experience can be interactive.

For example, the level of AI functionality cannot For example, the level of AI functionality cannot be completed interpreted by the viewer without be completed interpreted by the viewer without embodied interaction.embodied interaction.

Mosmax Hax (Max Moswitzer)Mosmax Hax (Max Moswitzer)“WhitenoiseNPC”, “WhitenoiseNPC”,

Exhibit A Gallery, Odyssey Island (2009)Exhibit A Gallery, Odyssey Island (2009) ASSUMPTIONS: That the audience will perceive this work ASSUMPTIONS: That the audience will perceive this work

as a systems-based automated entity. There is also a as a systems-based automated entity. There is also a cultural expectation that the viewer will recognize all of the cultural expectation that the viewer will recognize all of the objects and avatars as templates. There is also the objects and avatars as templates. There is also the assumption that the process is fully autonomous and auto-assumption that the process is fully autonomous and auto-poetic in terms of the ways in which the body-parts are poetic in terms of the ways in which the body-parts are retrieved and accumulated from the inventory.retrieved and accumulated from the inventory.

REFERENCES (implicit): Eco’s open work (1962) and REFERENCES (implicit): Eco’s open work (1962) and Barthes “Death of an Author” (1967)..also Barthes “Death of an Author” (1967)..also Castellanos/Gromala’s “Symbiogenic Experiences In the Castellanos/Gromala’s “Symbiogenic Experiences In the Interactive Arts” (2009). Interactive Arts” (2009).

As a critic, I would write about the perception (and As a critic, I would write about the perception (and occasional illusion) of auto-poeisis when encountering occasional illusion) of auto-poeisis when encountering systems-based entities. In addition, I would be interested in systems-based entities. In addition, I would be interested in the limits of interoperability as it relates to the presentation of the limits of interoperability as it relates to the presentation of a given artistic opus.a given artistic opus.

Selavy Oh Selavy Oh “Identity Absent”, Brooklyn is Watching (2010).“Identity Absent”, Brooklyn is Watching (2010).

LINK = LINK = http://ohselavy.blogspot.com/2010/02/identity-absent.htmlhttp://ohselavy.blogspot.com/2010/02/identity-absent.html

  1) a bot (a script-driven avatar) called Identity Absent that continuously switches its appearance between the 16 1) a bot (a script-driven avatar) called Identity Absent that continuously switches its appearance between the 16

default appearances supplied by Linden Labs (the pictures above shows an overlay of three different looks), and default appearances supplied by Linden Labs (the pictures above shows an overlay of three different looks), and 2) a simple media-on-a-prim doing a Google search for the name of the closest avatar 2) a simple media-on-a-prim doing a Google search for the name of the closest avatar

Selavy Oh Selavy Oh “Identity Absent”, Brooklyn is Watching (2010).“Identity Absent”, Brooklyn is Watching (2010).

CLAIMS = That avatar and agent identities are variable and are based on an CLAIMS = That avatar and agent identities are variable and are based on an arbitrary selection of template humanoid body shapes and accessories.arbitrary selection of template humanoid body shapes and accessories.

STRENGHTS = The audience controls the agent’s identity as an “open work” STRENGHTS = The audience controls the agent’s identity as an “open work” (Eco, 1962). There is relative virtuosity in the AI coding. This is one of the (Eco, 1962). There is relative virtuosity in the AI coding. This is one of the first pieces to be optimized for SL’s new viewer. A direct correlation is made first pieces to be optimized for SL’s new viewer. A direct correlation is made between virtual worlds and other online media into a genuine “web 2.0” between virtual worlds and other online media into a genuine “web 2.0” experience.experience.

FUTURE POSSIBILITIES = Non-Humanoid avatar designs could also be FUTURE POSSIBILITIES = Non-Humanoid avatar designs could also be retrieved using google. Also the textures could be retrieved based on the retrieved using google. Also the textures could be retrieved based on the google search itself rather than just auto-googling the name of the closest google search itself rather than just auto-googling the name of the closest avatar. Invisibility should be a possible texture that could be applied to avatar. Invisibility should be a possible texture that could be applied to make the agent completely “absent”. The deformed avatar design should be make the agent completely “absent”. The deformed avatar design should be visible after each accessory has been attached to the body in order to visible after each accessory has been attached to the body in order to suggest a cumulative effect to the ontological disintegration.suggest a cumulative effect to the ontological disintegration.

Selavy Oh Selavy Oh “Identity Absent”, Brooklyn is Watching (2010).“Identity Absent”, Brooklyn is Watching (2010).

RECEPTION: Conceptually, the basic idea is RECEPTION: Conceptually, the basic idea is expressed properly with documentation alone. expressed properly with documentation alone. However, one needs to have experience with However, one needs to have experience with using the “web-on-a-prim” feature in SL 2.0 to using the “web-on-a-prim” feature in SL 2.0 to understand how to interact with the piece. understand how to interact with the piece.

Without playing around with the Identity Absent’s Without playing around with the Identity Absent’s appearance editing interface, there is no way to appearance editing interface, there is no way to know for sure the correlation between the off-know for sure the correlation between the off-world information source and the resulting world information source and the resulting avatar.avatar.

Selavy Oh Selavy Oh “Identity Absent”, Brooklyn is Watching (2010).“Identity Absent”, Brooklyn is Watching (2010).

ASSUMPIONS: That one is fluent with the features of the 2.0 viewer ASSUMPIONS: That one is fluent with the features of the 2.0 viewer in SL. Another assumption is that the audience would understand in SL. Another assumption is that the audience would understand the correlation between the google searching and the shift in avatar the correlation between the google searching and the shift in avatar design. Most of its references implicitly relates to Umberto Eco’s design. Most of its references implicitly relates to Umberto Eco’s “open work” (1962) and Barthes concept of the “death of the author” “open work” (1962) and Barthes concept of the “death of the author” (1967) which has been explored in many net-art projects from the (1967) which has been explored in many net-art projects from the 1990s. Another assumption is that the audience would associate an 1990s. Another assumption is that the audience would associate an avatar’s identity with humanoid forms. avatar’s identity with humanoid forms.

I would write about the variability of an avatar/bot’s given identity I would write about the variability of an avatar/bot’s given identity and how this relates to one’s overall impression of self. Is a user in and how this relates to one’s overall impression of self. Is a user in Second Life really the sum of open processes relating to template Second Life really the sum of open processes relating to template appearances and accessories? This would also relate to Lev appearances and accessories? This would also relate to Lev Manovich’s “The Aesthetics of Virtual Worlds” (1995) where he Manovich’s “The Aesthetics of Virtual Worlds” (1995) where he emphasizes that avatars are usually constructed through selecting emphasizes that avatars are usually constructed through selecting and assembling template components.and assembling template components.