Figure 3 - uploaded by Catarina Carneiro De Sousa
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This article is a reflection on the Kromosomer project, a storytelling performance held in both
physical and virtual worlds, which was implemented and disseminated through digital, virtual and social
media. The aim of the whole project was to search for an expression that could combine physical
experience with virtual world. The project was also lo...
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Citations
... Connection to an international public could also be an important drawing point. Previous studies (Sousa, 2014) (Dahlsveen & Sousa, 2013) have shown that publics can be aroused to participate and integrate such projects, through open sharing of artifacts and materials, and calls for artwork. It would be an interesting experience to try with students. ...
This chapter discusses the art learning experience in Metaverse, the virtual art lab, conducted entirely online. The authors aim to understand the potentialities of mediated art teaching. It analyses two art projects carried out by higher education students, The Virtual Garden of Time and [D]Utopia, where virtual environments and avatars were designed in a 3D simulator. The process of learning and designing artworks is considered, and a student survey was analyzed, in order to determine advantages and limitations of using creative collaborative environments in art teaching. The authors found that the Metaverse can be an excellent opportunity for students to develop creative, technical, conceptual, and collaborative skills.
... There have been a range of articles published discussing virtual worlds and creative practice developed in Second Life from Sant (2008), Backe (2007), Bittarello (2008), McCaw (2007, Lichty (2008Lichty ( , 2009, Morie (2010), Ayiter (2010), Sousa (2012Sousa ( , 2017, Dahlsveen & Sousa (2013), Doyle (2014), and Sousa & Eustaquio (2015) each contributing research in the fields of performance, gaming, and the arts. More specifically, a number of articles focus on the contextualisation of artistic practice (Doyle 2008, Lichty 2011 and two edited volumes focus on the analysis of arts practice in virtual worlds (Mura 2010, Doyle 2015. ...
... This collaboration between storyteller Heidi Dahlsveen and artist Catarina de Sousa was a storytelling performance held both in real and virtual worlds. Drawing from traditional Norwegian legends characters who represent 'the other'were recreated in the metaverse, where these 'unfinished artifacts[were] open to mutation'(Dahlsveen and Sousa, 2013).The final project under discussion in this section is that of virtual artist Bryn Oh, Imogen and the Pigeons (2013), an immersive interactive environment built on the Immersiva Sim. ...
A decade ago, the Immersed in Learning project was developed to evaluate the use of 3D virtual worlds as a teaching and learning tool in Digital Media at the University of Wolverhampton, UK. A question that the research set out to explore was what were the benefits of integrating 3D immersive learning with face-to-face learning for students who were already comfortable inhabiting the digital realm. The purchase and development of Kriti Island in Second Life saw the online virtual space rapidly assume a sense of real presence and became a focus for collaboration, nationally, and internationally. Although Kriti Island came to the end of its cycle in 2014, the ongoing research focuses on virtual and mixed-reality environments as platforms for creative practice. The chapter will analyse the development of creative practices in virtual environments and the implications for creativity and new forms of collaboration through pedagogy and arts practice. In itself, Second Life may stand the test of time as a continued interface to examine issues of the real and the virtual and may contribute to further theoretical and philosophical discussions of new technologies and artistic practice.
... another project where we were involved-the Kromosomer project (Dahlsveen and Sousa 2013). This was the case of Elia Magnolia (Melania Pereira Ribeiro), a new resident and first time avatar builder, who shared the avatars Shiverdoll (see Figure 52D, Appendix D), and Alma Blood, and Suppressed Red Riding Hood (see Figure 81D (see Figure 50D, Appendix D) combined a skin by alpha.tribe ...
... They represent 'the other' which we define ourselves away from. Despite several of them having great similarities to ourselves, we cannot accept 'them' as a part of us (Dahlsveen and Sousa 2013). ...
... The meeting with 'the other' is represented in legends as a physical encounter, because the characters look different or even because of actual physical confrontation. The sublimation associated with the legends somehow implies an embodiment of the uncanny (Dahlsveen and Sousa 2013). ...
The aim of this study is to understand how a shared creative process of construction of virtual corporeality in collaborative virtual environments becomes an aesthetic experience. The research is divided into two main but correlated themes: virtual corporeality and shared creativity. It is my purpose to find the relationship between the constitution of a virtual corporeality and the new processes of creative sharing and creation in collaborative virtual environments. I also aim to relate these two aspects to the new forms of aesthetic experience emerging from these virtual contexts.
Meta_Body is the main practical artwork that sustains this investigation, an ongoing project since 2011. This is a participatory art project. Initiated in Second Life and in a tangible art exhibition (All My Independent Women 6th edition, at Vienna), it now continues in the collaborative virtual environment’s creative flux. Meta_Body focuses on two aspects: first, the avatar as expressive body, open to experimentation and potency; second, avatar building as a shared creative process and as aesthetical experience. Through the practice of avatar creation, distribution, embodiment and transformation, I aim to understand the processes of virtual corporeality constitution. I interrogate the role of the body in the virtual environment, its importance in engaging with the world and in self-expression, exploring its metaphorical aspects. The method used to implement this project is a shared creative process, in which multiple subjects come to be authors along different phases of the project. Through the embodiment and transformation of avatars, the artwork’s aesthetical experience becomes itself a creative process. This research is therefore grounded on an art-based and project-based methodology, whose results can be seen not only in this written thesis, but also in the artworks themselves, and their derivatives.
I accomplished my intended goals and came to a new understanding of virtual corporeality and its connection to shared creativity and aesthetical experience. I believe this work to be an important starting point for new investigations that will arise with the new turn to virtual reality.
... Many participants used this approach but also included parts from open avatars from another project where we were involved-the Kromosomer project (Dahlsveen & Sousa, 2013). This was the case of Elia Magnolia (Melania Pereira Ribeiro), a new resident and first time avatar builder, who shared the avatars Alma Blood and Shiverdoll, and Suppressed Red Riding Hood by Mimesis Monday (Heidi Dahlsveen) xvi . ...
This chapter discusses the Meta_Body participatory art project. Initiated in a collaborative virtual environment and in a “real life” art exhibition, it now continues in the metaverse creative flux.
Meta_Body focuses on two aspects: first, the avatar as body/language, open to experimentation and potency; second, avatar building as a shared creative process and as aesthetical experience.
Through the practice of avatar creation, distribution, embodiment and transformation, the artists aim to understand the processes of virtual corporeality constitution: to question the role of the body in virtual environment, its importance in engaging with the world and in self-expression, and explore its metaphorical aspects.
The method used to implement this project is a shared creative process, in which multiple subjects come to be authors along different phases of the project. Through the embodiment and transformation of avatars, the artwork’s aesthetical experience becomes a creative process.
http://www.igi-global.com/chapter/metabody/132423
The authors' team of developers and educators has been working since 2006 to deploy virtual worlds for training within secondary and special schools, vocational education, higher education, private industry and the community sector. During that time the team has dealt with a complex web of interrelated factors in an environment of continual technological and institutional change. These factors include technological change, organizational politics, pedagogical fashions, changes in policy and funding environments, and the human aspects of working with teachers and students. The authors conclude that utilizing virtual worlds for education can be rewarding but is not always easy, requiring qualities of nimbleness and self-reinvention.
This chapter discusses the Meta_Body participatory art project. Initiated in a collaborative virtual environment and in a “real life” art exhibition, it now continues in the metaverse creative flux. Meta_Body focuses on two aspects: first, the avatar as body/language, open to experimentation and potency; second, avatar building as a shared creative process and as aesthetical experience. Through the practice of avatar creation, distribution, embodiment and transformation, the artists aim to understand the processes of virtual corporeality constitution: to question the role of the body in virtual environment, its importance in engaging with the world and in self-expression, and explore its metaphorical aspects. The method used to implement this project is a shared creative process, in which multiple subjects come to be authors along different phases of the project. Through the embodiment and transformation of avatars, the artwork's aesthetical experience becomes a creative process.
