Virtual art

Perception of the world from outside, from a "superordinately" point of view seems to be impossible. Detecting of the world means building, creating, and invention - not just in arts, but in science and in normal life as well. From this constructivistic aspect it is impossible to recognize the apparently

objection world "realistic" because we always work with human created reality constructions.

The interaction of this dilemma with human life has been a subject both in art and art critics. The rising century of information deliver artists exciting tools for their work. The most developed tools are metaverses, internet multiusers platforms..

The most successful is "Second Life". Invited in 2003 "SL" gives users freedom to develope their interests.

More than 50 000 users at the same time create an exciting image of our world, their conceptions, wishes and needs. Most of them try to create a"better" world, a better society. The business in Second Life grows with the founding of new land.

Also the artistic use of the metaverse increases rapitely. More and more artists and groups found galleries, museums and workshops. They start to sell their work not only in Real Life but use Second Life as a medium. Well known artists like Gottfried Helnwein, austrian superstar of hyperrealism, or us-photographer Elena Dorfman, who uses the more extended possibilities of the metaverse for experimentation.

Every day new artistic locations become public. The scene is highly improved in communication; weblogs attach a well organised net, every day more lists of exhibitions appear. In addition scientists work on communication models.

Ars Electronica, greatest annunal event of electronic arts, had in 2007 an emphasis in presenting Second Life as another evident reality. Artists copied parts of the city of Linz and

Italian based Eva and Franco Mattes are concentrating their work more and more into the virtual reality of Second Life; famous their exciting adaption "7000 oaks", a virtual copy of Joseph Beuys' breathtaking documenta installation from 1982.

Others use the missing of "earthbound" physics for creating exciting and surprising objects.

Dabeart found after month of experimentation with the tools of Second Life a way to link artwork from the "shared", existing reality with the artwork from virtual reality. mAgdA showed us the use of photos, drawings and paintings as a texure on virtual objects and added defined movements. The results - more than a sum of it but something with an odd new artistic quality would be snapshoted from the screen and printed out. "The picture becomes the sculpture and the sculpture becomes a picture again" was mAgdA's slogan.

Dabe-Art creates movies about these installations, not only for presenting but for use as the basic of a new artistic approximation of artificial and "shared" reality. Short "snippets" from Camcorders would be mixed with recordings of mAgdAs Second Life installations to create links and transitions, tear down borders and formulate a new language of pictures. Important part of it is the overlay of Dabe-poetry and, later, abient music.

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