lpdt2

http://lpdt2.tumblr.com/

LPDT2 will be projected into Real Life in Seoul, Korea during the INDAF new media art festival held at Tomorrow City, Songdo, Incheon, throughout September 2010. The project will also be open to visitors in Second Life during this month, starting from September 1st.

Roy Ascott’s project has been co-authored in Second Life by Selavy Oh (programming and architecture), MosMax Hax, aka. Max Moswitzer (architecture and terrain) and Alpha Auer + Alpho Fullstop, aka. Elif Ayiter (avatars and soundscape). Further associates are Frigg Ragu, aka. Heidi Dahlsveen (avatar animations) and i-DAT from the University of Plymouth, UK (Real Life SMS input).

Special thanks go to the University of Applied Fine Arts, Vienna, who have made the project come to life through the provision of their Second Life island for the duration of the show.



LPDT2 is more than a reincarnation of Roy Ascott’s 1983 work La Plissure du Texte (The Pleating of the Text), it is a reworking, a version 2, of said works ideas within the space of Second Life.
http://www.asquare.org/networkresearch/2010/lpdt2


Roy Ascott
«La plissure du texte»

http://telematic.walkerart.org/timeline/timeline_ascott.html

http://www.medienkunstnetz.de/works/la-plissure-du-texte/


1983—that was in 1980, I actually set it up—1983, Frank Popper invited me to do a project for a huge exhibition in Paris, called Electra, which was looking at the whole history of electricity right across the spectrum of the arts. And I got rather good funding. I set up this planetary fairytale. We had fourteen nodes across the world, Australia, Hawaii, Pittsburgh, various places, ... Vienna, Amsterdam, and so forth. And to each node I ascribed an archetypical fairytale character. [...]
Over a period of three weeks started a narrative, that could be either in English or in French, it wasn't a matter of translation, had to be just English or French because it was IN Paris, and so forth. To start it off—I played the part of a magician in Paris, so I would naturally say, «Once upon a time…» and then others from their point of view-the Wicked Witch or whatsoever—would pick up the narrative, and develop it online. So that what was happening was you would go on line, and you would see the story so far, and then input.
Roy Ascott