Furthermore, it adds new values to network production based on real and virtual experience. In this social lab, real cultural actions are reproduced and/or revised in a mimetic way as the interactive principle between participants of different ages and profiles. The aim is to show the educational potential of the virtual environment from the transference of real experience conveyed by the figure of the ‘avatar-performer’, thus establishing a relational framework between the ‘body-object’ and cooperative processes in an intangible space. allow ‘real’ learning and spaces to share and develop artistic experiences. The use of Second Life has allowed multiple pathways, the interaction of simulations and the creation of a social space where knowledge flows and is shared, plus the possibility of generating collaborative work. This work encompasses some reflections developed in the Culdesac Island project: a virtual lab put together through intergenerational creative workshops. "Write with slogans: Make rhizomes, not roots, never plant!" "We call a 'plateau' any multiplicity connected to other multiplicities by superficial underground stems in such a way as to form or extend a rhizome". They take the term plateau from Gregory Bateson, it refers to a sustained intensity. "The map does not reproduce an unconscious closed in upon itself it constructs the unconscious". Tracing involves laying onto reality the pattern of structure, itself a construct. Principle 4: "Principle of asignifying rupture" "There is a rupture in the rhizome whenever segmentary lines explode into a line of flight, but the line of flight is part of the rhizome." Principles 5 and 6: Principle of cartography and decalcomania: Where traditional thought is 'tracing', a rhizome is a map. Principle 3: "Principle of multiplicity" "There are no points or positions in a rhizome, such as those found in a structure, tree, or root. 1 and 2: connection and heterogeneity.: "any point of a rhizome can be connected to anything other, and must be". Users do not hide in the haphazardness and excess of curvature, but revel in it, desiring to be desired in spaces that make room for the worship of stillness and pose.ĭeleuze and Guattari discuss the rhizome as being "absolutely different from roots and radicles" 6. This paper is accompanied by a compilation of critical collages made from scrap magazines and printed images that elicits the heart of its argument: Just as the name ‘IMVU’ is only an arbitrary combination of letters, cut and paste from the birth of the virtual world, the collages emulate the breakage and consequential damage of organization and expectation against the body as they dance with deliberation. A critical rendition of Operation, this thesis evokes the possible veins of thought that the eccentric IMVU bodies and their movement, or lack thereof, occupy to jumpstart a discourse on IMVU corporeality specifically. This paper transforms the layout of the essay to bare the uniform of the human body thereby traversing its organs, systems, synchronizations, breaks, and flows. Unsatiated, we beg the question: What can it stand for? The virtual bodies of metaverses posit the opportunity for virtual subjectivity, but more importantly, the breadth and mutability of such subjectivity. This paper takes on a visceral exploration of virtuality and corporeality in the third-person social-networking arena known as IMVU, which, in fact, is neither an acronym nor an initialism.
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