Domenico Quaranta on Gazira's "Hammering the Void"

Photograph courtesy of [DAM]Berlin - All rights reserved

Today marks the opening of Gazira Babeli's newest mixed realities show, which will run through July 31st at the [DAM]Berlin gallery in Berlin and concurrently in Second Life®. A new film will be screened.

May 29, 2009:
* 10pm - 12am at Locusolus - [DAM]SecondLife, teleport directly from here
* 7-9 PM in the gallery [DAM]Berlin

by Domenico Quaranta

“The world we actually have does not meet my standards.” - Philip K. Dick


In 1920, at the opening of a Dada exhibition in Köln, Max Ernst made an axe available for the audience. As far as I know, this gesture was never reenacted. That's a shame. An artwork should always come with an axe in attach. This would remind us that art must be loved, or hated. That it deserves more than an idiot gaze. Duchamp took years to make us accept his urinal, yet he's still unable to persuade us to use it in the more logical way: pissing into it. I bet he would be happy with this kind of interaction: turning an artwork into an urinal.

Gazira Babeli never reenacts – she acts. She's worshipped as a marabout, but she hates spells and she does her best to break them. Tell her “aura” and she'll throw an hail of meteoroids onto you. Tell her “virtual” and she'll shoot you into the air at 900 km/h. When, in 2006, she made Come To Heaven, she released the code of the performance through her website: she discovered the painful delights of being beaten up by a computer graphics card, and she wanted to share this feeling with everybody.

Yet, even on a computer screen, people keep on loving the moonlight instead of killing it, and being charmed by everything is introduced to them as “art”. Thus Gazira created the fourteen sisters. They are called Anger Erin, Envy Sixpence, Gluttony Aboma, Greed Petrovic, Lust Placebo, Pride Placebo, Sloth Swansong, Courage Sparta, Faith Radikal, Hope Varnish, Justice Kimono, Love Brandi, Prudence Miami, Temperance Navarita. They are Gazira Babeli, fourteen times. Carrying a wooden sledge-hammer, they move all together, and hit violently. When you, beloved art lover, meet them, feel free to think at the following references, at your pleasure: La Liberté guidant le peuple, The Night Watch, Il quarto stato, an army of models performing Vanessa Beecroft. At your first blow on the head, art will be replaced, in your mind, by Castor oil and gas chambers.

This platoon in Wellington boots and suspender belt comes without any notice, and intervenes in social events – mostly exhibition openings – making a hell of a mess. Is this the usual, boring self-referential crap we are used to finding in art? What Gazira likes is to intervene in the rituality of the real, and break up its continuity. The world she actually has does not meet her standards, and she hammers it. She works in this direction from the very beginning: just think to her earthquakes, her showers of pop bananas, her Campbell's Soup cans, her pizzas fouling up the gallery with tomato soup. Isn't she an arse-hole? If you need, Gazira's hammers are there for you. Use them, against her too. That's what she wants.

Postscript
When they are not swooping down on some crowd trying to smash an artist's head, Gazira's Furies are imprisoned in a claustrophobic office with a view on Windows' standard desktop, jumping around all the time. The office is encaged in a computer. The computer is encaged in a gallery. Gaz' en valise, finally. It looks like a storm in a glass snowball, until you don't open it. And it comes with an hammer, of course.

She[s] got a hammer: Hammering the Void

Photographs courtesy of [DAM]Berlin - All rights reserved

Posted by Bettina Tizzy

In Hammering the Void, there isn't just one Gazira Babeli, there are 14 and they all fight against an inner void. 14 clones of an artificial person, they are each named after Virtues and Sins: Greed Petrovic, Sloth Swansong, Temperance Navarita, Courage Sparta, Envy Sixpence, and more. Equipped with a hammer in their hands, they descend from the pedestal in the gallery, they swarm to openings of exhibitions and public events. They strike other unsuspecting avatars with blows from their hammer as if to say: "Wake up! Defend yourself! Act!" They force others to react. You love them or you hate them, but you cannot remain indifferent against this aggression, which can be understood as an attempt to awaken the intellect or simply as a malice.

Friday, May 29th marks the opening of Gazira Babeli's newest mixed realities show, which will run through July 31st at the [DAM]Berlin gallery in Berlin and concurrently in Second Life®. A new film will be screened.

May 29, 2009:
10pm - 12am at Locusolus - [DAM]SecondLife, teleport directly from here
7-9 PM in the gallery [DAM]Berlin

Man Machinaga (aka Patrick Lichty) is a technologically-based conceptual artist, writer, independent curator, animator for the activist group, The Yes Men, a founding member - along with Gazira - of the virtual performance art group Second Front, and executive editor of Intelligent Agent Magazine. He is a member of the faculty of the Interactive Art & Media Department of Columbia College, Chicago. He writes...


By Patrick Lichty

As I write this, Gazira and I are talking about my reflections on Hammering the Void, and in dealing with the moral tropes of Sin, Virtue, and most romantically, Truth, it seems that my text less resembles an essay and is more like a sermon. As this is no more surreal than reflecting on the moral implications of a horde of fourteen proxies wielding cartoon mallets, I'd like to frame this under just such a conceit of a sermon on virtual existence. Let us consider then, my Brothers and Sisters in Virtuality and Hypereality, the implications of unleashing Pandora's Box, of unfurling the Sins and Virtues forth into the Nets, armed with nothing less than Vulcan's Hammer itself; let us consider the effects thereof. I want to say that in setting this forth, the traditional Sins and Virtues give rise to four Principles of experience that remain in virtuality, and those are: Affect, Agency, Volition, and Complicity. It is through these that while after shedding the physical coil, humanity follows us into the Void. Let us meditate upon these in that we may understand the Void.



In the beginning of the Hammering the Void introductory video, Gazira and I (or my Man Michinaga proxy) sit before a screen in Second Life, marveling at an opening of 90's net artists, Vuk Cosic and Alexei Shulgin. We gesticulate excitedly like old heavy metal fans about the “Monsters of net.art." We agree that she must set the cloud of Gaziric Sins and Virtues upon the world, equipped with large mallets, perhaps as inquisition, perhaps as divine intervention. For the rest of the video, the Gazirae invade virtual social events akin to a host of viral Agents (as per the “Smiths” from Matrix Reloaded) creating avatar mosh pits and hammering the hapless onlookers. All of this would appear as simple farce; but I know Gazira, and we know one thing...

The Truth is out there, we are all complicit in its creation, and Gazira is hammering you over the head with it.

One point that is essential to consider when looking at the gaggle of Gazirae and their accouterments, is that she has provided the hammer in the gallery for you.


Nice to Meet You Mallets

They aren't inflatable hammers, either. They're probably oak or maple, engraved with the Deadly Sins and Noble Virtues, inviting you to pick them up and play. As a side note, I had considered being more explicit in regards to “play," but doing so would have been too heavy-handed, which is unnecessary when one is wielding an oak mallet.

As Gazira and I have continued to make works in virtual worlds for years, the question returns to the “why," which may return us to the Cartesian cogito. However, I would like to remap the Cartesian assertion into a consideration of the increasing retreat into virtual worlds in asking about some of the things that remain in our Pandora's Box of simulation when we remove materiality and embodiment. This leads us back to the fulcrum of our sermon; the median icon of our discussion.

The sign at the center of this discussion is the hammer, the archetypal sign of Vulcan/Hephaestus, the God of Technology and Artisans. In Hammering the Void, perhaps the null-stuff of virtuality is the metal of disembodied existence that the Gazira-Hephaestae forge into an ironic tool for dragging our own mortal encumbrance into cyberspace. Her traditional Sins and Virtues infest the online worlds, placing all they encounter upon the existential anvil or litmus test of action and reaction. There is little time for reflection, for what is under the hammer nothing less than our human nature. What do you do? From this vantage point, the result is the transmutation of the traditional Sin/Virtue binaries into monads of four human elements of virtual existence. These Monads, as we have transmuted beyond Sin or Virtue, are the principles of Affect, Agency, Volition, and Complicity. which are all complex significations embedded into Gazira's Hammer.

Affect: Identification with the act. One of the most striking images of the Gazirae is that of the fourteen Sins/Virtues rampaging before their puppeteer in a bold thrust, akin to an ideologue ordering their army into action. This encapsulates this writer''s fascination with the evident identification of increasing numbers with virtual worlds, and as of this writing, there were 65,000 people logged into the single online world of Second Life alone, showing the “reality” of virtual reality. This evidence is also embedded within the results of each intervention of the Gazirae, from the amusement of the appearance in the Uqbar region, varying to confusion and even anger in other instances. The paradoxical question of the visceral reaction to virtual events shows that affect is not just for identification for another body, but for an identification with their proxies/avatars as well. Although the avatar version of Burden's Shoot (Kildall or Mattes) is different from the first, both create a “gut reaction”. There is reality in the virtual.

Agency: The act of intervention. If the avatar did not have some sense of real agency, some ability to intervene in affairs, this essay would not exist, as Gazira would have had no effect. Perhaps this is a realization of Baudrillard's primacy of the hyperreal – the object/image that has greater effect than its subject. But this is in agreement with the principle of Agency, as Gazira, and her doppelganger Gazirae, the replicants controlled by a simulacrum, create reaction to her actions. Although this may sound like the erection of a wilderness of mirrors, there are vectors of effect as well as affect when the hammer swings. The effects of the impact (to paraphrase Sanborn) of the virtual mallet are evident in that they set off chains of causality in the physical, even if they are as simple as the fact that she occupies a space in which the hammer is realized in a gallery, asking you to pick it up and swing it yourself. And more specifically, the way she does.

Volition: The will to action. The fact that Gazira sets her plan in motion is a testament to the principle that one has the ability to act through the virtual. The Aktion zur Macht breaks the stasis of virtuality, setting forth the path of agency to the creation of affect. Through the creation of the Sins and Virtues, Gazira has set them upon others, setting up causal chains, however slight, but this prime mover, probably the simplest, is a fundamental factor of intervening.

Complicity: The inseparability from the act, or the impossibility of total abstraction. The double sign of the hammer in the virtual and the physical and their similar functions illustrates our complicity with actions in either world. Through the hammer, argument of separation of subject and object through mere virtuality implodes, as the difference is far more complex. It is no longer the question of the effects of hitting someone with the hammer in the gallery or in the virtual, as both actions hold us complicit with the real issue of violence itself actual or implied, leaving the hammer itself transparent. Violence through cartoon or oak mallet differ little in terms of their being consistent with the same practice, and that is the gesture of the swing, and the effect of the impact. Gazira and her vices/virtues ask you to pick up the hammer and hit your friend over the head with it, but then say, “Funny, that doesn't happen here... Ahahahah....” through this doubling and the resultant difference of effects, Gazira holds us responsible for the violence of signs, the affect of the impact, the effect of the hammer's extancy, the volition of the swing, and the complicity to the hammer and its function.

Before ending my sermon, I would like to talk about the narcissism of the Global Village; of cyberspace. As McLuhan said,

"The global village is a world in which you don't necessarily have harmony. You have extreme concern with everybody else's business and much involvement in everybody else's life. It's a sort of Ann Landers column writ large... huge involvement in everybody else's affairs. So the Global Village is as big as a planet and as small as the village post office."

In many ways, this intense concern is emblematic of the collective dream of pop technoculture less from from Star Trek and more to World of Warcraft. The shift of focus away from the outward vision of Buckminster Fuller 's “Spaceship Earth” to the inwardly looking complicit panopticism of McLuhan's “Global Village” seems to be the object of the swing. Perhaps this inward look is the gaze into the abyss that Gazira is hammering at. Rather than “leaping into the void” a la Klein, is Gazira hammering away at the null-sets of illusion in the void of cyberspace to get at the truths that remain in virtual existence? Is there anything there?

Or is she merely asking you to hit your friend in the face with an oak mallet because that is the most fundamental form of human communication remaining?

In the end, what remains is a communion of reflection; something that is considered an endangered species in the age of constant partial attention deficit. As the Gazirae descend upon us, there is a moment in which we are forced to meditate upon the four elements of human existence in the virtual, and then the offering is put forth.

The Hammer of Gazira. Given for you. May it dispel your illusions.

Now, SWING.

Amen.
Patrick Lichty

Artists consider Adult Content ratings in Second Life, and I reach my own conclusions

Posted by Bettina Tizzy

Let me first say that I understand Linden Lab's motivations for rating (see "Upcoming Changes for Adult Content and sections of the Second Life® grid. In fact, about three months ago, I decided to rate my own sim PG in support of my desire to make it newbie friendly. Newbies already have a lot to deal with when they arrive, and rezzing next to a couple that's copulating in the woods (I still don't get why people do this in very public spaces, but eh) is, in my view, too much of a test, not that I enjoy coming upon these situations myself.

However, I do prefer environments that provide for the greatest level of individual freedoms within a framework of accountability, and I always worry when any entity takes it upon itself to tighten controls over what is right and wrong. I do believe that Linden Lab will rue the day it ever decided to walk this lawsuit-happy path. Notwithstanding special viewers and other automated processes, they are going to devote copious amounts of precious time and resources in arbitration.

Tateru Nino over at Massively is still working on her coverage of this story. "I can't find three people in SL that can all agree on what's allowable in a PG sim," she told me. She shared a few more very fascinating insights in a Not Possible IRL group IM immediately following the announcement, so I'm especially looking forward to her post, which may come as soon as tomorrow.

I was immediately curious to hear what people in Second Life's art community opined on this topic so I did a quick roundup.

New media superstar Gazira Babeli was busy making some interesting changes to how the Odyssey sim will appear on the map when we spoke (we'll have to wait for the next system refresh to see it). Gaz and I agree that this is going to consume a great deal of Linden Lab's time and resources. "That means decadence. Resources lost in details always result in decadence," she said.

Artist and lead creator of many of the grid's most popular sims, including the Greenies, Pavig Lok: Part of me says "about time" and part of me says "best option available" and part of me says "dammit the unicorns and fae have gone from our world, curse you loss of innocence!"

Artist and founder of Second Life's art-critique mecca Brooklyn is Watching, Jay Newt, responded to my email this way:

"It's a really interesting question. It seems to me a little like the movie rating system, and I like the movie system, because it is voluntary. There is the category "unrated" and you know that that means: "who the hell knows what it is going to be." I wish they would make these categories for SL content voluntary in that way so you could advertise your content as fitting into one of those categories or you could elect not to participate in that particular categorization scheme and then people would know that they are just taking their chances coming to your sim.

I also think that SL artists will likely get upset over this because of what they think will happen as a result and the truth is that none us of us knows what will happen as a result. It could be that most places will list themselves as "adult" just to have the freedom to do what they want, even if they aren't about sex or violence, and there will be no stigma attached to that label...

We're all jumping ship from SL as soon as there's a large enough community on some un-regulated open source distributed server system anyway, right? :)"

Hyperformalist and producer/director of ZeroG SkyDancers DanCoyote Antonelli offered an intriguing perspective: "If any company leans on the US legal system in their Terms of Service and are protected by US laws, they should also follow through and support the right to free speech provided for in the US Constitution. Want to be protected by US law? Then provide US rights as outlined in the Bill of Rights.

Leading fashion designer and artist, Eshi Otawara: "If the concern is children, this still will not stop them from entering Second Life and pursuing their curiosities. It's the responsibility of the parent to supervise their child. As far as adult content being 'offensive' to adults, I am sorry to say- there is far more of both natural and less natural human activity that offends a lot of us on a more profound level then adult content ever can. But in those cases it is socially acceptable so those who don't agree must conform or keep quiet in the least.

"For me, this is just another step that Linden Lab, unfortunately, must make - to protect the company from the people whose state of mind is so unfortunately fragile they cannot handle functions of their own bodies and who are indoctrinated into false pretensions that assuming what is commonly and unfortunately for human kind referred to as 'purity' vs. embracing the human nature provided to them at birth by whatever/whom ever one chooses to put faith towards makes them somehow more in control of anything. For the rest of us, there are always contentedness, laughter and hope Darwin takes care of it in the long run."

Finally, artist and co-founder of Arthole, the often-controversial arts center that will surely be affected by these new rules because it sits on the mainland, Nebulosus Severine, wrote back a very thoughtful response.

"As you know, I have some very strong opinions on the upcoming changes in SL that would restrict a lot of so-called Adult content. The way LL is handling it is still so unclear to me, and I keep going back and forth from optimism to pessimism.

I don't have to worry about all aspects of this new policy. I am already payment verified, so my presence in SL won't be limited; that is at least some relief to me.

However, I have already taken preliminary steps in considering what will have to be done with Arthole. Arahan and I will be talking soon to figure out what to do. I know he and I both agree that we must have absolute creative freedom to address any subject matter with our art. As we frequently choose controversial topics, I think the safest bet would be to move Arthole to an Adult piece of land.

However, this will limit the access of several friends who, although adults, are not age-verified (for their own personal reasons), and wouldn't be able to come visit Arthole, if it does end up on Adult land. That is really frustrating and heartbreaking.

Not to mention that I have had the same piece of land in Kress for nearly 4 years. I suppose a move isn't that big of a deal, but it's still an inconvenience to say the least.

When it comes right down to it, I believe that LL is censoring SL. I've read their arguments to the contrary, and I don't trust their supposed reasoning. And with their proposed definitions of what "Adult" is, it seems as though they'd have an easier time making a new PG continent and keeping THAT all together. The Mature rating is effectively useless, too. Why not divide the grid geographically into "Adult" and "All Ages" and keep it simple?

Seriously... "illicit drug use" will be considered "adult"? I have never been to a live concert in SL that did NOT have an avatar (or three, or ten) smoking on a prim joint or tripping on scripted 'shrooms.

Anyway, I could go on and on. My bottom line is that I distrust and despise ANYTHING that would seek to restrict freedom of expression. I consider censorship to be one of the biggest violations of human rights. I know LL is a private company, but the more that censorship is imposed on people in any community, the more people start to just accept it as a fact of life, and THAT is dangerous," concluded Nebulosus.
~*~

"Why not divide the grid geographically into 'Adult' and 'All Ages' and keep it simple?" suggests Nebulosus. This sounds appealing, smart and effective doesn't it? And cost and resource thin, right? Oh, wait! Isn't that what is already in place? Which leads me to conclude...

Why change a system that just needs to be implemented properly?

Is this just busy work that will result in the same-ole same-ole put in place just to hush some fundamentalist and ultra conservative groups, at the great expense of art facilities like Arthole?

See also: What will happen to art?

Art 101 redux - Penumbra Carter

I have no idea who Penumbra Carter is, but this is the best summary of art in Second Life® I've seen to date in one video. Who are you, Penumbra and what did you mean by all of this? Please do tell us!

Gazira Babeli with a foot (and a show) in both lives: Gazworks

Call her a code-performer, a griefer, a virtual Goddess, an artist and Machinimator... the fact is, Gazira Babeli is all these things and much more.

Gazira's highly interactive "art" is the result of combining images and representational objects of things and concepts we know and are comfortable with, and code that takes liberties with our avatars and our heads. The sum of these elements never fails to challenge the participant's view of their virtual identity and their sense of self in any life. Gazira is also renown for her group participations with the both venerated and despised Second Front, an avatar performance art group in Second Life.

Her work has ingrained itself so profoundly into the cultural mind of Second Life, in fact, that people have taken to referring to things that look like, behave or seem to have been made by Gazira Babeli, as Gazworks.

Tomorrow, Gazira will have a show opening at the fabioparis art gallery in Brescia, Italy. The exhibit will feature her much-celebrated film work, photographic prints of some of her performances, and a 3D object/sculpture: a "hand-made" avatar.




Concurrently, Gazira will host an event on Saturday, March 15th in Second Life at her strangely ingenious and farcical Locusolus sim (teleport directly from here), at 9am SLT, which I plan to attend.



I've written about Gazira Babeli's work before, but this marks the first time I share a conversation I've had with her (at her consent). No text on this flat thing we call the web can adequately convey the sharp wit, the bravado, and the charm that is Gazira, but here is a taste.

Bettina Tizzy: At what point did you understand yourself to be the Gazira Babeli that we know today?

Gazira Babeli: At the first login. When I saw Buster Keaton walking in front of me. I have never used animations to humanize my way of walking... I still walk like Buster Keaton. Maybe-I-am-Buster Keaton!

Bettina Tizzy: As I understand it, you had not done any programming prior to your introduction to Second Life. Is this true?

Gazira Babeli: No, I knew a little C language, and Second Life scripting has a very similar, simplified grammar.

Bettina Tizzy: What kind of griefing did you do, early in your Second Life? Did you mingle with other griefers and are any of them still around?

Gazira Babeli: I didn't consider it griefing. I tried to "interact" with the enviroment and its residents and some of them considered my acts as "griefing." Basically, I was only applying the rule "Your World, Your Imagination," but apparently human imagination is quite an unstable product. I never met any griefers. Could you introduce me to some of them?


Late last year, Gazira participated in a Second Front "Miami Vice" event

Bettina Tizzy: What is the purpose of your artistic "interventions" with our avatars, and what is "Gazwork?"

Gazira Babeli: At the beginning of the Sixties, Philip K. Dick, with his "Perky Pat" dolls, was already thinking about avatars. Literature and theories arrived much earlier than facts, creating superstition and bias. I try to bring back experience to the basic "real fact," by wondering "which kind of body is this in front of me?," "which is his space and where does it end?," "who are the -others-?," "who imagines what?," "what is the difference between all this and spending eight hours working on Microsoft Office?"... and so on. These questions are Gazwork. Is it artistic? Possibly yes. By asking these questions I use instruments and rules of the artistic tradition/convention.

Bettina Tizzy: In your view, what is the distinction between avatars and objects?

Gazira Babeli: I apologize to the animists, but I don't think objects have a soul.

Bettina Tizzy: So, avatars have a soul?

Gazira Babeli: Many souls! Geographical soul, cultural soul, generational soul... feel free to go on. Ask your avatar to use the imagination soul.

Bettina Tizzy: Do you laugh a lot sitting at your keyboard as you perform these interventions?

Gazira Babeli: Yes. I laugh when I perceive intellectual fun; I cry when I see mental pain.

An 88-page catalogue "Gazira Babeli," curated by the Italian art critic Domenico Quaranta, (FPEditions, Brescia, 2008) with texts by Patrick Lichty, Alan Sondheim and Mario Gerosa, will also be presented.

Domenico Quaranta on Art in Second Life

Curator and NPIRLer Domenico Quaranta is a man of proven scholarship and also a searchingly thoughtful art critic whose writings I much admire. His blog, Spawn of the Surreal, is a compendium of analyses and reviews on New Media and a geniune source for astute observations on the topic of art in virtual worlds.

Last night, DanCoyote Antonelli - don't miss his exhiliratingly beautiful Second Spring: ZeroG SkyDancers which closes at the end of March - made me aware of this cogent paper by Domenico, which was published in Hz, an online journal run by the Swedish non-profit art group Fylkingen.

You will find many familiar names in this essay, entitled REMEDIATIONS: Art in Second Life, including Stella Costello, Fau Ferdinand, Adam Ramona, AngryBeth Shorthbread, Sugar Seville and her Odyssey Project, Juria Yoshikawa, AldoManutio Abruzzo, and of course, DanCoyote Antonelli. Domenico also pays particular attention to Cao Fei (aka China Tracy in Second Life) and Gazira Babeli, without whose early support the Not Possible IRL group would probably be but a twinkle in my avatar's eye.

Speaking of Gaz, most assuredly my favorite persona in Second Life, I'm eager to learn more about her upcoming show at the fabioparis art gallery in Brescia, Italy


Cover art for the show's 88 page catalogue, "Gazira Babeli," which was curated by none other than Domenico Quaranta

Gaz tells me she will be in-world for the opening of the show on March 15th at 9am SLT. I'm so there.

Concept Art that's fun, or intellectual - you decide: Gazira Babeli's "Collateral Damage"

The day that code performer Gazira Babeli (rezzed March 31, 2006), joined the Not Possible IRL group, I became so excited that I informed my Real Life friends and family. It's just that no other content creator in Second Life has managed to encapsulate, illustrate and celebrate the core concept of our group better than Gaz. Plus, she's got one wicked sense of humor.

Gazira's "Collateral Damage" show at her Locusolus sim is simply the most sumptuously diabolical and hilarious venue in Second Life. If you haven't experienced it, then allow me to nudge you as politely but as firmly as is necessary: on your feet, go, go, go, get a move on right over there quick quick. You can thank me later :P Oh, and your experience will be greatly enhanced if you take a friend or two along. Really.

Until today, I had held back from revealing much about "Collateral Damage" other than to gently but enthusiastically urge you to go, largely because the element of surprise is a bonus... but alas, some people won't take a friendly hint. ;) Fact is, I am always astonished when I learn that someone hasn't been there.

Art critic and curator Domenico Quaranta has already done a brilliant job of analyzing the show, and numerous other fascinating write-ups exist, such as this one by Esther DeCuir, so I will limit myself to sharing a pop/superficial - though blissful - review, and here it is: Gazira amuses herself and you by taking liberties with your head and your avatar.

Earlier this week, I had the distinct pleasure of introducing three charming individuals to some elements of the show, on the pretext of snapping some pics for this very blog post...

There are two very tall towers near the sim's entry point marked with a plaque that reads: "Unbroken Eggs: Monument to Luciano Fabro, July 2007." Chance Abattoir and I watched as Jurin Juran walked between them.



Within seconds, the buildings collapsed atop Jurin.




This being a virtual environment, the buildings promptly reassembled themselves and Jurin rejoined us, along with SuezanneC Baskerville, who had just arrived.

SuezanneC got into the spirit of things right away, and began trampling the pizzas, which responded by melodically bouncing her off, all the while bleating riffs from that Neapolitan tune "O Sole Mio," and emitting generous clouds of particles.



Meanwhile, Jurin had been caught inside a can of Campbell's soup and was getting a peppy shake. Chance was mid-air, having disobeyed instructions that read "don't say new media," and being subsequently possessed by a mini-tornado that didn't let go until some precise words were uttered.



Then, SuezanneC and Jurin discovered some large slabs of concrete that simulate a rather vigorous earthquake when stepped on.



They proved to be brave souls and forged on. We all reconvened at a platform surrounded by poseballs, and hopped on. "Come together" - as it is called - would be putting what happened next, lightly. Each avatar is taken through a series of fun and silly animations separately, but all participating avatars are merged together.




There are several other remarkable pieces within the installation, but probably the most controversial is "Avatar on Canvas," where Gaz has set up three Francis Bacon paintings with chairs that - once used - deform the avatar. Most of us treat our avatars with the same degree of narcissism and reverence that we do our Real Life bodies, so participating in this exploit requires a bit of open-minded loosening up. Speaking for myself, I can't recommend this enough. No matter how many times I've done it, it invariably cracks me up all over again.





I heartily recommend jumping back on the "Come Together" platform for some after-merging, and suggest that your little group consider following that up with a shopping or dancing expedition. It's guaranteed to bring down the house, not to mention the distinct probability that you will never feel quite the same about your avatar again...



...and, I believe, that is exactly what Gazira set out to accomplish.

Ready? Teleport directly from here.

Many thanks to Jurin Juran, SuezanneC Baskerville and Chance Abattoir for being such good sports, as well as great fun and top-notch conversationalists all through this comical experience.

Gazira Babeli, Adam Ramona, and that place where they converge: The Odyssey Project

This is Part 1 of a bigger/stronger/faster version of a notice that was issued in-world to NPIRL members on September 7th

After a long and well-attended stretch at the Odyssey Project's ExhibitA Gallery, Gazira Babeli, the artist/code performer who was the inspiration (luv ya and all you do, Gaz!) for the Not Possible IRL group, has relocated her Collateral Damage show to Locusolus Island. Thank heavens for that; a Second Life without this show would come down a bunch of notches on the Oh.My.God. scale. BTW, I consider this to be - easily - one of the Top Five things to see in Second Life.

If you haven't seen Collateral Damage, or need to revisit it as I often do, scamper over there and allow her to confuse, disturb, and totally crack you up. Take friends! NOTE: You *must* interact with each exhibit to get the full effect.

Again, consider yourself warned... leave the chairs on the wall for last, unless you have a twisted sense of humor. :P
Slurl: Collateral Damage

Gazira has been away from SL for over a month, so we are reassured and happy to see this unconventional talent's name in bold on our friends list again. Consider her critically acclaimed and real world film festival favorite "Gaz of the Desert," a surreal 23 min Machinima created entirely in-world in March of this year. While it echoes Luis Bunuel's "Simon of the Desert," it brilliantly introduces the very new complexities and temptations of life in the metaverse. The flick stars Gazira herself, as well as another NPIRL'er, Chi5 Shenzhou, among others.

Meanwhile, the Odyssey Project, under the pioneering direction of one the hippest peeps I know in this or any life, Sugar Seville, continues to break ground... now showing Adam Ramona's (aka: Adam Nash IRL) visual and auditory triumph, Seventeen Unsung Songs , a mesmerizing installation of post-convergent interactive audiovisual 3D art, and also one of the four winners of the Austrian Architecture and Design contest affiliated with the UNESCO.

Slurl: The Odyssey Project presents Seventeen Unsung Songs

Gazira Babeli is joining!

I'm thrilled to share with you that the inspiration for this group, Gazira Babeli, the artist responsible for the amazing interactive art at the Odyssey Project right now (and also the subject of this group's first notice) - is joining our little group.

Notice originally issued to the NPIRL group on July 7, 2007 (hey, that's 7/7/07!)

Exhibit A - Gazira Babeli - the Odyssey Project

Gazira Babeli - See her coding-meets-the-arts work at the Odyssey Project and allow her to confuse, disturb, and totally crack you up. Take friends. Interact with everything, but be warned... save the chairs on the wall for last unless, of course, you have a twisted sense of humor.

Odyssey, Exhibit A Gallery


Notice sent to group on July 4, 2007