CARP CREATORS Josina Burgess Nr 2

CARP CREATORS: Josina Burgess 2 1

josina burgess 2.

a special edition of the virtual art space

diaboluscybernetic art research project:

the CARP creators

2 CARP CREATORS: Josina Burgess 2 CARP CREATORS: Josina Burgess 2 3

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.


4. costume & avatar design5. virtual theatre6. the face of the sky7. living architecture8. emoticon


4 CARP CREATORS: Josina Burgess 2 CARP CREATORS: Josina Burgess 2 5diabolus artspace

virtual art space

diabolus cybernetic art research project:

the CARP creators.

josinaburgess 2.



Josina den Burger.

Josina studied at the Famous Artists Schools of America and graduated in illustration, advertisement,free painting and drawing. She studied under Ben Stahl, Al Parker, Jon Witcomb, Fred Ludekens, Peter Helck, got her papers in

1967 and then decided to become a ...singer..She studied under Beb Ogterop and as a professional singer and worked successfully in the Netherlands especially in the 70ties (was the first female protestsinger) Made several albums , was a member of the Knokke Songfestival Team and had her own Radio and Personality show on Dutch Television. Performed in all Dutch Theaters and was a guest

in many radio and television shows.

She traveled around the world and performed in many international television shows. Worked for 4 years for Spanish television and after that she became the leading lady of the well known close-harmony trio The New Shepherds, later in „Close Encounter“ and „September“ were she had her own 7 mans band. made several albums again and performed

on Dutch Radio and Television.During all these years of traveling she continued painting and drawing.The work has many facets. Feelings and impressions, sometimes subtile, but also powerful and above all the use of bright colors are specific for her art. Non-figurative, abstract as well as figurative paintings, explosions of color, gold and bronze, memories and feelings

are telling their story.

José uses mixed techniques she developped herself and acryl in a very personal style, abstracts, flowers and landscapes, recognizable or with free expression. The composition,technique, the colors and the shape are giving an extra dimension to her paintings. They have to be beautiful and vivid, when light shines on the Gold and Bronzes the paintings start to “live” not boring and always a

pleasure to look at.

In the end of 2006 she started working in Secondlife, looking for new possibilities in the Metaverse. Founded C.A.R.P (Cybernatic Art Research Projects) together with Lazlo Oerdoegh a Hungarian Professor and started working

together with international artists from all over the globe.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.www.josina.eu

[email protected]

She had exhibitions in:

University of Enschede

City Hall Ouderkerk aan de Amstel (2x) Community Hall Duivendrecht

House of Italy AmsterdamPrinsengracht Gallery Amsterdam

Virtual Gallery Internet City Hall Lelystad Art Fair Bergen

Art Route DuivendrechtModern Art Market - Thorbeckeplein Amsterdam

Hoorn en Cultuur - HoornKunstbeurs de Looier - Amsterdam

gallery Galeriale – Oosthuizen

Book: Visions of Global Justice: an Art Exhibit from the virtual World

Network Culture ProjectUniversity of Southern California

uqbar. media art culture e Rinascimento Virtuale



virtual art space

diabolus the carp creators:

josina burgess

4.costume &avatardesign



JOSINA’S WEARABLE ART AND MORE..

The Idea of using my RL paintings as textures on the dres-ses I design was a good idea.After me many designers in SL called their designs also wearable art but use textures of known painters like van Gogh or Matisse. Still I was the first and I like that ?

My dresses, suits, capes etc did not only show textures of my RL paintings, I also created many new textures in Photoshop and used them as well, all unique and one of a kind.The more I got familiar with using scripts, of course I looked how to use them in dresses and capes and fringes, texture change was great, also particles insude the dress or worn on the body created a great new look.

For the projects as THE WALL V-2, THE RINGS, and METROPOLIS I designed the costumes and textures. For METROPOLIS also all the avatars. Making avatars was a new challenge, the shapes but most of all the faces and expressions on them was fun to do. For METROPOLIS I made over 30 different avatars, all with their own specific looks.

Also for METROPOLIS Velazquez wanted to make so called “Muybridge” figures. They had to be animated and placed on transparent prims to give a illusion of a crowd.I posed in many different poses and Velazquez photogra-phed them and used them with the programm he wrote for the project. It was spectacular and really made the image of many people on stage come true.















virtual art space

diabolus the carp creators:

josina burgess

5.virtualtheatre


Break those WALLSlyrics by Josina Burgess

They build Walls between countriesThey declare each other BadThey say: There is the enemyBut the Walls are in their head…

There are Generals and there are PresidentsAnd they all speak out to the crowdTo convince just everybodyThat there´s a war that is allowed…

Look in your heart to seeif there is a wall to breakand let your mind be freejust be real not another fake

All these men, great and mightyTell us “others” they are badBut what real is and what is certainAre the Walls right in their heads… It is time to awakenIt is time that it is saidgive us back what you have takenBreak those Walls right in your head…

Break those Walls............Break those Walls............


Pink Floyd The SL WallMother, should I trust the government?

diabolus art space

Creativ director: Debbie Trilling Producer: Velazquez Bonetto

Choreography and dancing: Caravaggio Bonetto, Debbie Trilling Elfod Nemeth, Klute Coppola

Arena design and build: Velazquez Bonetto Wall design and build: Elfod Nemeth

Puppets: Duggy Bing Special effects: Debbie Trilling and Velazquez Bonetto Costume design: Caravaggio Bonetto, Josina Burgess

Scripting: Debbie Trilling Elfod Nemeth Velazquez Bonetto

Song: Josina Burgess, Juniverse Stockholm

On July 21 1990, nine months after the dismantlement of the Berlin Wall, Roger Waters and an all-star cast perfor-med „The Wall“ at Potzdamer Platz in Berlin. The perfor-mance was watched by a live audience of 250,000 and half-billion people on TV.

And now, the Cybernetic Art Research Project (CARP) bring „The Wall“ to SL...


The Cybernetic Art Research Project proudly present....

** The Wall ** ** ALL PROCEEDS TO RELAY FOR LIFE **

On July 21 1990, nine months after the dismantlement of the Ber-lin Wall, Roger Waters and an all-star cast performed „The Wall“ at the Potzdamer Platz in Berlin. The performance was watched by a live audience of 250,000 and an estimated half-billion people on television…

And now, an international team of artists working with the Cyber-netic Art Research Project (CARP) bring „The Wall“ to Second Life ™...

A collaboration spanning over 10 weeks to bring Pink Floyd‘s ‚The Wall‘ into Second Life, with spectacular results... The five inital SL performances were a complete sell out and the original concert venue was filled within minutes.The Production Team of this incredible SL show are now reloca-ting to Havens Paradise to the 4 SIM Mankind Tracer Amphithe-atre.

The Production Team of this incredible SL show are now reloca-ting for further performances to the 4-SIM Mankind Tracer Amphi-theatre @ Havens Paradise which has capacity for 150 people.

What the audience have to say: „A MASSIVE, MAGICAL HIT.An unforgettable, enchanting triumph, ‚THE WALL‘ dazzles the senses and touches the heart.“

„Packed with shocks, sorcery, special effects and incredible costumes, ‚THE WALL‘ IS A SL SENSATION.“

„A GREAT BIG LUSCIOUS SL MUSICAL EXTRAVAGANZA.‚THE WALL‘ has taken SL by surprise and will be a hit musical, powerful and subversive. It‘s a fabulous production.“

„An incredible technical feat to have achieved all this within SL“„Up with the best live performances ever to be staged in SL“„Sets a new benchmark for live performances in SL“






The making of the RINGS

Lyrics/songs: Josina Burgess, Medora Chevaier, Junivers StockholmCreative director/producer: Velazquez BonettoSpecial effects: Debbie TrillingCostumes: Josina BurgessScenario design and graphics: Velazquez Bonetto, Cara-vaggio BonettoActors: MillaMilla Noel, Josina Burgess, Medora Chevaier, Junivers Stockholm,



Velazquez and me discussed (like we do all the time) the Philosophy of H.J Krysmanski and his Power Structure Research.

We got the idea to do something with that subject , maybe build a performence around that. Velazquez wanted to develop a new theatre and new technology and started building his Hypercube, while I was thinking about storyli-nes and how to visualize all that.

Velazquez and me talked about our idea with Junivers, maybe he could think with us and make some music to it...the great thing was that Juniverse also had thoughts about similar things and contacted Medora Chevalier, in rl working for a organisation caring about the homeless, she also had ideas and we started to discuss all in every monday meetings.

From there the 4 of us started to work, and really hard. Velazquez (as usual) was the motor and started building in such a fast way that in a few days the idea for the theatre already changed in a real SL theatre with everyting in and on it, The RING was the name we used for the show to be andm Juniverse and me started to work on songs.

I wrote sonme lyricks, Juniverse composed and we were sending files from Sweden to Holand and vice versa. I sang in and Juni sang, the voices together sounded really good so we did some more. Juniverse composed the most won-derful music and also medora started writing lyricks. The RING was becoming sl reality and we decided to devide it in chapters with every time another subject about injustice. poverty, environment, greed, power, etc.

Every day the RING was in our minds, Velazquez develo-ped a total new technology in steering and scripting, build a controler that is able to steer many things at the same time, moving prims and let them „live“ and record them. Velazquez build big puppets and I stood beside him wat-ching, learning and copying what he did so I could build a puppet too. Then he did let them move...it was fantastic!

Meanwhile other artists, scriptwriters, builders and dan-

cers like Debbie Trilling, Flower Exonar, Sca Shilova, Milla Milla Noel, Blanche Argus, Efrantirise Morane, stepped in to help us make this new show work and become special. The whole building and scripting of the theatre was totally Velazquez work, he was performing miracles.

We discussed about having some interaction with the audience and I got the idea that it would be so cool when the seats with the audience in it would fly up and into the stage and be like „in“ the whole experience. Velazquez made it happen and (of course) it worked. 360 degrees panorama‘s were used, emitters, a total city was build on the stage, trees grew and disapeared, objects moving all around, Vjazz on the stage, and we the „actors“ worked on the storyline.

I made several new costumes and we went searching for good animations and avatars like butterflies to make the show even more interesting. The more the RING grew the more enthousiastic we became. Miulew Takahe stepped in and made a cam system for us that is able to shoot clo-seups or different views and on the spot the audience sees what its showing.

In the state we are right now, rehearsals started and as far I can see this Metaverse Protest Show will be a huge step towards what is possible to create in SL and more then that we will be able to bring a message too.

Josina Burgess



„A human being is part of a whole, called by us the „Universe,“ a partlimited in time and space. He experiences himself, his thoughtsand feelings, as something separated from the rest--a kind of optical

delusion of his consciousness. This delusion is a kind of prisonfor us, restricting us to our personal desires and to affection for a few

persons nearest us. Our task must be to free ourselves from this prisonby widening our circles of compassion to embrace all living creatures and

the whole of nature in its beauty.“

Albert Einstein

The global Wood

The Global Wood. Lyrics by Josina Burgess

There is a wood…a Global wood, where money hangs on treesIt generates a Global wealth for just a few to see

Only a few.. a Happy few.. they closed an evil pactThis small amount of Human Snakes.. that made this self-select

Billions go to Afghanistan and millions to Atjeh The victims of old Pakistan, for the happy few a playA Game to get the money there, for nobody to find

Just in Their pockets it will end ad suffering leaves behind

It’s a global wood Global woodIn - balance is the name

The dance around the money treeFor the happy few their game

And Libra’s arms are not alike, the balance is not rightThe suffering of half the world causes hate and war and fight

But the happy few , the Happy few, don’t care. Don’t feel. Don’t seeThey dance their dance of ignorance .. around the money tree

It’s a global wood Global woodIn – balance is the name

The dance around the money treeFor the happy few their game







Music: Junivers Stockholm, Lyrics: Josina Burgess, additional lyrics: Junivers Stockholm

They build Walls between countriesThey declare each other BadThey say: There is the enemy

But the Walls are in their head…

There are Generals and there are PresidentsAnd they all speak out to the crowd

To convince just everybodyThat there´s a war that is allowed…

Look in your heart to seeif there is a wall to breakand let your mind be free

just be real not another fake

All these men, great and mightyTell us “others” they are bad

But what real is and what is certainAre the Walls right in their heads…

It is time to awakenIt is time that it is said

give us back what you have takenBreak those Walls right in your head…

Break those Walls............Break those Walls............

Break those WALLS















Lyrics Josina BurgessMusic: Junivers Stockholm,

Am I awake or sleeping..My brain gets over used

Its like a nightmare deepenMy mind is all convused,I walk around in circlesMy voice out of control

My spirit reaches for miraclesTo drag me out this hole

My heart goes out for everyone that feels the same, the same like me

That wants this mess be cleared and goneTaking out the misery

My heart goes out for everyone..

We live a life of emptinessWe do not search the thruthWe want a lot, but doing less

And think that is enoughThe competition leads nowhere

Our fights will have no endInjustice is all over thereThe rich will never bend

This World

But when we will wake up some day and straight our backs our backs uprightWhat when our voices scream the “Nee”

To those who want no light and turn them brightCould we together change that tide..

Could we unite and change the worldAnd set it into light

Could we together change that worldAnd let the sun shine brightIts all about us waking up

And stand up for our rightsTogether we could reach the top

And put the world in lights

Could we unite and send the word throughout the world and make it rightCould we together change that world

And make wars disappear and hold us tightCould we go out and spread the word

I wonder if we would and could..









BREAK THE WALLS Story

We live our lives from day to day, in our jobs, in our houses, taking care of our business and are so busy, busy, busy. Always in a hurry, always running after something..in the evenings we sit for our tv, watch the news and see what is going on in the world…we listen to the words spoken by people we think are the ones who Know it all..and believe what they say. We let them form our minds and thoughts and take it for granted most of the time.. We read papers and magazines and read the stories of people we think who Know it all, and believe what they say and take it for granted most of the time.. We shake our heads when we hear about wars and evil and death and destruction, pollu-tion and smog and climat change. We hear messages of energysources drying up, food that will be more expensive, and we shake our heads and go on with our lives from day to day, in our jobs and our houses and are so busy, busy, busy..But……do we ask ourselves questions? Do we still Think ourselves? Do we Care about each other? Do we Help when Help is needed? What do We do? WHAT DO WE DO?We have Walls in our heads, we think to protect us from evil outside, as a shield is comforts us and makes it more easy to survive…We think.. but we dont think at all…we just hide behind them because when we really would start to think, and to care, and to help things would change…and we dont like changing..we want to stick in our habbits of living our lives from day to day, in our jobs, in our houses and being busy,busy,busy. And in the evenings we sit for our tv and watch the news..and take whats said and showed for granted…most of the time…….

Josi


Not possible in the real lifeFriday, October 17, 2008http://npirl.blogspot.com/2008/10/rings-homo-sapiens-version-20-protest.html

Alpha Auer

The RINGS is a work created in Second Life® by a multinational team within the Cybernetic Art Research Project (C.A.R.P). Josina Burgess, one of the minds behind the production tells that this has been developed through months of collaboration by a creative team drawn from Germany, the Netherlands, Sweden, Austria, Italy, France and the UK. Taking its principles from hyperfunctionalism as well as H.J.Krysmanski‘s Power Structure Research.

This team has put together an impeccable musical production which utilizes cutting edge technologies such as collaborative worldwide song composition/ recording/ mixing techniques, automatic audiovisual timeline controlling systems, flying seat systems as well as a 4d live-cut camera system and puppet animation record/play system.

Says Josina Burgess:

„Every scene has a real concrete RL Inspiration, not a formal one but more the content of it. The title RINGS comes from the Power Structure Research. We used as a content base the description of H.J Krysmanski. In the themes we added a 5th ring. In this ring are the victims of the system. The form we used always has to do with the themes from then. But it was never the goal or the intention to use styles from what ever direction. Better to use fitting formats that helped to understand the content of the message. We call that Hyperfunctionalism...

... All together this 4 ring system shows and describes the worldwide experimentation to re-organize the ruling class; that without a strong state and under the conditions of regulation of economic, collective forms have to survive. The absolutely designated personnel of this „Ring castle“. In fact a few thousand in the outside ring, operates more

and more in a environment of absolute corruption: „The relation of corruption in the Antiques and in Modern times towards world-relations were named as falsifications. Corruptions (as a statement) cant play any role in the governance forms of today, because they themselves are the substance and the totality of the Empire. Corruption is the true performing of commands, without any relation or adequate subscription to the Demimonde (Hardt u. Negri 2002, 398).“

The Rings is an impeccable production, which would do any Real Life theatrical venture proud; taking the fundamental concepts of Real Life scenography and stage production into a virtual dimension particularly through the usage of the controlled camera system. Indeed for me there were immediate Real Life associations, one being the Laterna Magika from Prague. Thus I could not help but wonder how it‘s creators Alfréd Radok and Josef Svoboda would have used the technology in relation to the multilingual social milieu of the metaverse.

The underlying premise of Laterna Magika was the seeking of a universal non-verbal theatrical language, which Radok and Svoboda considered to be of essence in view of the emergence of a global culture - and this as early as in the 1950‘s. Thus the entire lavishness of the stage constructions as well as the extensive usage of media elements were used to this end, i.e., they carried an inherent mission which went far beyond the pursuit of a merely spectacular visual display. Radok and Svoboda were in pursuit of developing a visual language of narrative, capable of expressing far more than the obvious: One of a level of sophistication and complexity that would render the spoken word obsolete in its ability to convey layers of meaning and narrative. So, I cannot help but wonder whether the theater producers of the metaverse might not give this consideration also: Today, in the metaverse we are indeed faced with a multi-lingual culture. The delightful neko designers whose devoted customer I am and whom I often try to engage in conversation are usually Japanese and not in good command of English. Another good example to this conundrum would be the colony of French Chris Marker aficionados that seems to have


grown in my neighbor sim Ouvroir, which houses the Chris Marker exhibit of the Gestaltungsmuseum, Zurich. Again, I find that, more often than not, communication in English with these new neighbors proves to be a problematic proposition.

The visuals of the Ring are indeed beyond any reproach. The stage sets, the special effects, the usage of shape, texture and color satisfied even a stickler for perfection like myself. The animations that bring together the choreography are impressive and then most importantly the quality of the music is of such a level that I felt compelled to ask Josina Burgess additional questions with regard to its creation.

Having voiced my admiration for the production of the Rings - and again, I am truly impressed with the high level of professionalism and perfection here, I nonetheless have questions: The all important one is the reliance upon the spoken word to the extent that the performance does. And yet another one is the usage of an enclosed auditorium: Since we are in an environment where as far as creativity is concerned the sky seems to be the limit, why not take this into the very skies of Second Life? Or under the water? Or indeed both? Wouldn‘t this also not go towards some truly unexpected, if not downright magical usages of the controlled camera system which contributes so hugely to the viewing experience of the Rings?

This is a truly talented team of people that have put together a performance that is definitely a must see in Second Life. And in the end, I would love to see them move further into the development of a purely visually narrative language as well as into the realization of content material that is more in the nature of a free fall rather than one which materializes as the conveyance of a somewhat direct message. In short one that leaves more room for the associative, the ephemeral, the complex, the alluded. I have no doubt whatsoever that their combined creativity is more than amply equipped to accomplish even far more substantial feats than the mere realization of my hopes in this regard.

Here is a video by Gary Hazlitt and his Just Virtual Film of C.A.R.P.‘s first musical production: The Wall, V-2

The all original score is the work of Junivers Stockholm (S) and Josina Burgess (NL), while the lyrics on which this is based too originate from Josina Burgess, together with Medora Chevalier (UK) and again Junivers Stockholm. Indeed looking at the credits list much of the creative momentum behind this work can be ascribed to Josina Burgess who has also been instrumental in the design of the sets and costumes and Junivers Stockholm who has also been effective in scripting and special effects, the script writing and direction to KoTW and camera directing. Velasquez Bonetto is the creative director/producer as well as the builder and scripter of the Rings. The songs are sung by Josina and Junivers working together from a distance by sending files over to each other from Holland to Sweden and vice versa. Other names involved in the creative effort are Debbie Trilling and Elfod Nemeth (both from the UK) for special effects, Caravaggio Bonetto (A) for scenario, building and graphics, Medora Chevalier (UK) for the concept of the King of the World song which she co-authored with Junivers Stcokholm, beyond which Medora was also the narrator, script and supervising editor to KoTW. Panorama photography has been undertaken by Jan van der Woning (NL), the animations by Sca Shilova (NL). The actors and dancers of the Ring are: Blanche Argus (S), Josina Burgess (NL), Medora Chevalier (UK), Klute Coppola (F), Efrantirise Morane (I), MillaMilla Noel (I), Junivers Stockholm (S), Sca Shilova (NL) and the sax was played by Jazzoru Otoole (S).




3 August 2008: For immediate release The RingsVirtual reality‘s protest rock opera grows from new forms of international artistic collaboration 400 years ago artists came together in Italy to create the first performance of new work that brought together music, drama, dance and the visual arts – a form that became known as opera. In the 21st century virtual reality is home to new forms of artistic collaboration in which national and art form bounda-ries disappear. New forms, as yet unnamed, emerge. And new forms of social connection reach across the globe, addressing the pressing challenges of human survival and the way we become divided from each other. The Rings is a work created in Second Life by a multi-national team within the Cybernetic Art Research Project (C.A.R.P). It has been developed through months of col-laboration. The creative team is drawn from Germany, the Netherlands, Sweden, Austria and the UK. The performers are based also in Italy and France. It takes the form of a rock opera with composed lyrics and music, building and scripting, costumes, shape changing, flight, dance and drama underpinned by new use of in world cinematic techniques. The Rings celebrates the miracle of the Metaverse, the dematerialized virtual time-space. It asks - is this where hu-manity can at last unite: to overcome the forces that push us towards global destruction and blames victims for the pain they feel. It reminds us that we can be guided towards optimistic action by great humanists and philosophers. It ends on a note of optimism. We are invited to unite and change the world. After performances on Thursdays there will be Rings discussion circles, involving campaign organi-sations active in Second Life. Velazquez Bonetto, CARP co-founder and virtual reality ar-

tist said: „It is our responsibility as artists to call the public attention to questions where further thinking and searching for solutions is needed. The message of this artwork co-mes on several channels and addresses both the emotio-nal and the rational side of the viewer. The Rings may have many different interpretations. There is nothing more boring than explanations at how it should be understood and nothing more exciting and thrilling than a simple and clear artistic language that can talk in a second of visual delight about human questions of huge magnitude.“ Junivers Stockholm, composer and director, said: „For a long time I have believed in the potential of the Metaver-se to connect people in new and powerful ways: to take humanity to a future of cooperation instead of competition. Music has the power to draw people in to work on the ans-wers to the major questions of our time.“ Josina Burgess, CARP co-founder, lyricist and vocalist said: „We should never underestimate the power of song to wake people up and to mobilise people to change the world. From the beginning of time it has brought people together in unity and strength.“ Medora Chevalier, lyricist and performer, is a campaigner against homelessness. She added: „Many of the evils of our world can be tackled if we open up our sense of con-nection to other people and to nature in its beauty. Then we can stop the exploitation of people and living things that so threatens our world and future generations“ The Rings will be performed at the Artspace Diabolus NMC Lab, Second Life The premiere is Saturday 6 September at 1pm SLT (10pm CETs, 9pm GMT) with a 2nd showing at 2.30pm (11.30pm CETs, 10.30 GMT). Audiences are advised to arrive at least 20 minutes early as the open rehearsals that have been held have attracted full sims. Thereafter it will be performed on Sundays and Thursdays at 2pm SLT. For more information contact:


by notecard in SL Medora Chevalier or by email [email protected] or from 7-21 August by notecard in SL Josina Burgess or by email [email protected]://diabolus.ning.com/http://www.gallery-diabolus.com/CARP/carp-05.pdf Audience reaction to the open rehearsals:„I have never been so amazed in SL as I was when I saw your project today. For the first time I realised the great challenges of SL for the real world, thanks to people like you.“„GREAT awwwwwwwwwsoooome show!!“„Why can‘t every Monday evening be like this?“„If I could create 1/10 of your scripts ... I‘d very happy!!!!“„Its very very awesome !!!!„I‘m very impressed“„I crashed twice but ran back“„I‘m really touched“ Four technical innovations of the RINGS production1. Collaborative worldwide song composition/ recording/ mixing technics. 2. A new automatic audiovisual timeline-controlling system. 3. A flying seat system4. A 4d live-cut camera system5. A new puppet animation record/play system


Why RINGS?

The RINGS concept based on the descriptions model of the ruling class today from H.J.Krysmanski. (Power Structure Research) In general you can deduce a certain description model out of the Power Structure Research of the ruling class or elite. Beyond there are 4 groups linked by a function covenant where you find 4 sub systems of systems like: functional relation - ownership – administrati-on – distribution and employer relations.The CARP creative team add a 5th ring: the looser and the victims of this system, and describe for the free world-citi-zens the changing strategys.

The original Text:

H.J.KrysmanskiPower Structure Research: Descriptions model of the ruling class today

A Version was published in ‚Wissenschaft und Frieden‘ 4/2004: http://www.uni-muenster.de/PeaCon/global-texte/globalws0203.htm

Four Authority’sIn general you can deduce a certain description model out of the Power Structure Researchof the ruling class or elite. Beyond there are 4 groups lin-ked by a function covenant where you find 4 sub systems of systems like: functional relation - ownership – administ-ration – distribution and employer relations.

In the heart of this functions covenant is the group of the personal richness. For example the Super Rich: they rep-resent the Power of Money. In every occasion and through micro – networks, or “Philanthropy”, or the power machine of Foundations an Institutions this group has a huge influ-ence in businesses and worldwide community’s in live.

This new form of Philanthropy stands above the normal capital market in their way of functioning. They cant be or-

dered in somehow capital fractions and is mostly busy with trans capitalistic forms of capital destruction to withhold power competition.With the disappearing of the Sovereign forms of the mo-dern time still this group, as the only ones, can use a up-per sovereign state form to reduce “the Regime of private removal , universally. (Hardt u. Negri 2002, 313)

The next group represents the power of the companies. There are the Chief ExecutiveOfficers of Industry, Finance and Militairy, that form a kind of securing wall around the core of the super rich and form together with them the pact of „Corporate Community/Upper Class“ (Domhoff). This company-elite has a priority in increasing and administration of the capital of the super rich and has many multi millionaires between them. The can be seen as the Capitalistic class in the traditional form. In between this administration elite there are of course capital fractions and economic grounded interest contra-distinctions, specially between the big trans national com-panies that go beyond national borders and function as connections in global systems and the restricted modern economy of earlier years. (Hardt u. Negri 2002, 165)

The third group, already more derive, represents the Distribution Power. Here it is commonly the political class, a real serving class, able to preserve the distribution righ-touseness of the company-elite and their appearance. In the core of this political class the Oligarchy’s or the “Politi-cal Management` (Mills) are acting. Election wars mostly to get people on certain positions. Further the distribution politics has reached a step in the global, conditions where the universal values of justice cant play any role anymore and the “art of governance” exist.. “ Do not integrate con-flicts, only when they submit to a coherent social dispositiv, or when the differences can be controlled(Hardt u. Negri 2002, 348)

The complex ring on the outside builds finally the layer of Technocrats and Services. Here the power of Science and communication are used. In this army of Assemblers, Ex-perts, Helpers from all dimensions of the society. (Science,


Media, Culture, Technique and so on) is the real know-ledge of the real functioning of the capital world systems and their sub systems with critical and maybe subversive tendency mixed, so contradictions can be changed into actions.

All together this 4 ring system shows and describes the worldwide experimenting to re-organize of the ruling class, that without a strong state and under the conditions of regulation of economic, collective forms, have to survive. The absolutely designated personnel of this “Ring cast-le”. In fact a few thousand in the outside ring, operates more and more in a environment of absolute corruption: “The relation of corruption in the Antiques and in Modern times towards world-relations were named as falsificati-ons. Corruptions (as a statement) cant play any role in the governance forms of today, because they themselves are the substance and the totality of the Empire. Corruption is the true performing of commands, without any relation or adequate subscription to the Demimonde (Hardt u. Negri 2002, 398)



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


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


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“).




















creative director & visuals:Josina Burgess

architecture & scripting:Velazquez Bonetto


art space diabolus

Josina Burgess

...the face of the SKY

ALL THAT SCRIPTING….

Without velazquez I never ever would had imagined what I could create more on SL.. every time I had an idea he wrote the scripts for me, sometimes I had so called “happy accidents” like the time that I used different scripts together in a sculpture and found that all of the sudden the partic-les started to stream.. Velazquez saw the possibilities and wrote a new script combining all together.That streaming also gave me the possibility to create a exhibition called FACE of the SKY where Velazquez build a fantastic surrounding on 7 platforms with all the different moving sculptures, particles, streaming, rotating, flowing and changing…

We got a new tool that gaved us entrance of making new particles and movements and we both started to work with that, again we went on a journey of exploring and creating particles in different ways, great fun and great outcome!

Without scripts its no fun to crate something in SL anymo-re, art least for me and for the work I create there. I learned a lot, still dont really write them totally myself, but I know how they work and I can make changes in scripts so they do what I want them to do. Thanks to Velazquez!































art space diabolus

Josina Burgess

the living architecture



Living architecture cybernetic performance2008. 10. 09.

Visual artist Josina BurgessAudio artist: Kourosh Eusebio













art space diabolus

emoticon 2the realtime collaborativeaudiovisual improvisation

Josina BurgessVelazquez Bonetto



























art space diabolus

cypress in LAthe concert of cypress rosewood in the Living Architecture

Visual artists:Josina BurgessVelazquez BonettoCaravaggio Bonetto









176 CARP CREATORS: Josina Burgess 2diabolus artspace

Documents

CARP CREATORS Josina Burgess Nr 2