1.  In Other Worlds October19, 2011

2. Group #1 – Rebecca, Lorette, Adalene

4. Group #2 – Allison, MaryAnn, Milena

7. Group #3 –Anthony, Rani & Esther Ann

9. Group #4: Flynn, Eduardo & Vanessa “Andy Warhol: Behind the Camera” exhibition held at the University of Delaware Art Gallery in Second Life. “Portrait of Linda Cosset”

10. Group #4: Flynn, Eduardo & Vanessa “Haute Culture: General Idea” exhibition at the Art Gallery of Ontario. “The Colour Bar Lounge”

11. Group #5 - Hira, Raj & Noreen

14. Group #6 – Amandeep, Romaine & Nick  http://www.youtube.com/watch?v=loXtgQlFXnM http://www.youtube.com/watch?v=loXtgQlFXnM

15. Group #6 – Amandeep, Romaine & Nick

16. Group #7- Jamie, Mamuna & Andrea

17. Group #8 – Indy & Eugene

19. Group # 9 – Alex, Nora & Jasmin

21. 6 Theses of Art in Virtual Worlds There are six aesthetic-technological dimensions that collectively distinguish the art of virtual worlds from earlier forms of art.  immersion,  interaction,  artificial agency,  ambiguity of identity,  environmental fluidity  networked collaboration.

22. Lev Manovich: Software Takes Command  In the process of the translation from physical and electronic media technologies to software, all individual techniques and tools that were previously unique to different media “met” within the same software environment.

23. Lev Manovich: Software Takes Command  Software production environment allows designers to remix not only the content of different media, but also their fundamental techniques, working methods, and ways of representation and expression.

24. Lev Manovich: Software Takes Command  To describe how previously separate media work together in a common software-based environment, he coins a new term “deep remixability.”

25. Lev Manovich: Software Takes Command  Once they were simulated in a computer, previously non-compatible techniques of different media begin to be combined in endless new ways, leading to new media hybrids, or, to use a biological metaphor, new “media species.” e.g. Second Life uses 3D space as the default platform with other media such as video attached to or directly inserted into this space.

26. Grau  Primary purpose of image media is to enhance the power of the powerful  Secondary purposes include the marketability of products and personal image cultivation  Emerging media (2003) like Internet, Photoshop, streaming video, multimodal platforms, eg, Open Croquet, SL etc have the potential to destabilize this power relationship

27. Grau  When a new image media of illusion is introduced it’s a ‘spectacle’ that make sit hard for observers to maintain a critical distance.  As users get used to the media, and become competent using it, can regain some critical awareness.  Through this process formerly heterogeneous media – print, animation, photography, video, etc are becoming more alike (Manovich’s claim about software)

28. Grau  Under the conditions of interactive, real-time computing operations, the quantities of artist, work, and observer begin to converge.  Interactivity challenges the distinction between artist/user and the status of artwork and the function of exhibits.