This article will ask questions that connect the conceptions of Marc Augé's 'place/non-place' and Gaston Bachelard's 'poetic space' to the avatar of real-time, perpetual, online, three-dimensional virtual builder's worlds, also known as the metaverse. Are metaverses 'places' or 'non-places'? Do we actually live in the metaverse or do we just traverse these worlds very much in the sense that Marc Augé defines them as transitional loci that are assigned only to circumscribed and specific positions? The question following from this is (...) whether there are nevertheless three-dimensionally embodied virtual spaces that go beyond being transitional 'non-places' to locations in which an imaginative relationship to architecture in the sense in which Bachelard describes them in his seminal work The Poetics of Space (1958) or that correspond to Marc Augé's definition of 'place' exist. (shrink)

This paper takes a first-hand look at the creation of multiple identities through multiple avatars by a single user in Second Life®. This phenomenon, together with its non-virtual predecessors such as the literary nom de plume, challenges the validity of the notion of the undivided 'self', particularly in the context of creative practices. 'alpha.tribe' is an experimental group of avatars who have founded a virtual fashion business in Second Life®. The creative output of this enterprise provides the visual context through (...) which the primarily self-observational study of the author will be presented. Within this framework, references from presence studies, cyberpsychology and ludology will also be drawn upon. A designer and artist, as well as an art educator, the author wished to investigate whether the consistency of the creative self is in fact a given and whether it might not be challenged. Thus five avatars, of both sexes, human as well as non-human, have pooled their resources in the operation of a design enterprise, within which each virtual identity pursues his/her own line of creative inquiry, culminating in different lines of output. A discussion of this ongoing experiment, supplemented with a visual documentation of the work engendered, forms the bulwark of this text. (shrink)

This article discusses the transformation of a tiny three-dimensional artwork created in the metaverse that takes its inspiration from Jorge Luis Borges’s story of ‘the Aleph’ – a tale that revolves around a minute artefact that is ‘one of the points in space that contains all other points’. The visualization of a concept as complex as ‘the Aleph’ led the author of the project through a process that started from Cartesian precepts, from where it transformed itself into an investigation of (...) ‘code’ as a basal, life-giving presence that is abstract, enigmatic and hermetic in its essence. This correlation between ‘code’ and the magical nature of ‘the Aleph’ has led to further considerations regarding the significance of such a marvellous object within virtual worlds. Accordingly, this text will conclude with the description of an intriguing, novel usage for ‘the Aleph’ that materializes as a time machine for virtual-world avatars. (shrink)

In this article we wish to present the typographic experimentations of four designers, each of whom looks at typography and its implementations from different viewpoints; however with similar goals – namely to investigate how typographic systems can be implemented, their attributes as carriers of semantic meaning be redefined, and/or their functions be improved upon within the digital medium that presents challenges as well as opportunities that enable graphic designers to reach well beyond the traditional medium of typographic work; i.e., printed (...) paper. The article will examine these four projects under the umbrella concept of Deconstruction, also extending into a consideration of Legibility; setting them forth as examples of the impact that the digital medium has brought to bear upon typographic practice in recent decades. (shrink)

In this article, the artist/author wishes to examine corporeality in the virtual realm, through the usage of the (non)-physical body of the avatar. Two sister art installations created in the virtual world of Second Life, both of which are meant to be accessed with site-specific avatars, will provide the creative platform whereby this investigation is undertaken. While the installation Anatomia aims to propel the visitor towards reflections of an introverted nature, involving the fragility of the physical self, body parts seeks (...) to challenge the residents of virtual environments to connect with the virtual manifestations, i.e., avatars, of others in an emotionally expressive/intimate manner. (shrink)

Virtual learning environments (VLEs) present us with unprecedented opportunities in bringing together students and educators from widely disparate geographical locations, as well as diverse cultures and backgrounds to participate in a learning experience that should take into cognizance the affordances of these novel arenas in the design of both content and the environment(s) in which this content is to be implemented/enacted. While VLEs do seem to address the requirements of well-structured learning endeavours, the boundaries of which are clearly defined, they (...) are challenged where complex learning material in which boundaries are less easily defined, as is the case in art/creativity education, are concerned. Given that the learning content of the creative fields is open ended by its very nature and as such does not seem to readily lend itself to an implementation within the structure of present-day, two-dimensional virtual learning environments, can such an environment/methodology be developed in the open-ended three-dimensional structure of a metaverse, based upon the critical examination of a real-life, historic precedent? (shrink)

With this text I wish to revisit a long-standing preoccupation of mine which addresses the extent to which the digital medium may have brought about a paradigm shift in creative process; one which has been effectuated through a conversion of the creative medium itself – from atoms to bits. As a visual practitioner, what is particularly significant to my enquiry is that this change in medium is deemed to have brought about a change in language that affects the very nature (...) of autographic work which comes into being as visual output: following Goodman’s definitions of allographic and autographic output, McCullough asserts that visual artworks may now be considered to be allographic productions since they presently share the same attributes of notationally based allographic work, which has traditionally manifested only as music or as literary output. The result is a work environment which wide opens the doors to unprecedented levels of non-linear process and experimentation whilst engaged in the visually creative act. (shrink)

In this article, we discuss a project that was co-authored by a storyteller and a visual artist in the metaverse of Second Life in 2009. The aim of the project was to create a storytelling space that would be used by its visitors to create their own unique narratives, as well as their own original performances, all of which would take their trajectories by being immersed in a virtual architecture/landscape, through avatar costumes and a substantial library of dramatic poses and (...) animations that were put at their disposal by the authors at the location of the event. The project wove together several concepts: these are Roy Ascott’s tenets of ‘distributed authorship’ and ‘participatory poesis’, which were brought together with a term that was coined by Axel Bruns to describe novel collaborative electronic forms of creative output in which the roles of the ‘user’ and the ‘producer’ have become merged, manifesting as a novel type of online behaviour that the author defines as ‘Produsage’. These primary concepts were substantiated by research that combined the fields of performance art, storytelling, memory arts and the usage of mnemonic devices, including the Renaissance notion of the ‘memory theatre’ with Cyberpsychology, particularly in relation to avatar studies. (shrink)