You might know about the article published in the Spanish arts journal
Arte Y Parte in December 2010 that highlighted many Second Life artists. That article was written by
Julio Juste [SL: Holala Alter] and is a very scholarly look at the art and artists of the metaverse (particularly SL]. I
wrote about that article here.
Holala has published a small piece about his collection of virtual art, which is
quite extensive. It is in Spanish, so what follows is an automatic translation. (if some kind soul who has actual working Spanish would like to translate the article to provide a better and more-nuanced translation, we would both be happy! Please email me if you can do this!) The original article is here:
Notes on a collection of art SL
Julio Juste/Holala Alter
When I visited in autumn 2008 [resident] SpaceXcape, I met my future vocation in Second Life (SL): SL collecting art, which postponed until the end of the first draft of my dissertation, a study of the metaverse and verification in SL. The critical tools and theoretical formulations on the virtual self and the imagination of it, exposed in my academic research, have had an extended practice in personal enjoyment and critical appreciation of the artistic works of art developed in SL, and I defined as weightless.
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This collection arose from a personal desire. A wish is a fabrication and is preceded by a feeling. The initial criterion that gave rise to this collection was the collection of works in SL and SL, whose creators handle the physics of this medium, and exploit what is a feature of the metaverse: the construction of an imaginary writing.
I appreciated the bold imagination and synthesis code, which requires, to some extent, to relegate some instruments of the fine arts. Virtuosity is a consequence manifested in the work, rather than a test of manual skill of the artist, as an exhibition of his skill.
What counts in this art is the emotional event that will trigger a state change. The imagination that show these artists gathered at
The Collection Art Holala Alter SL is the result of a thought, an abstraction that does not abandon its virtual nature, because it manipulates matter. The reality has not materially. There is no interaction with matter, but with the mathematical thinking that will govern the pixels, with the intent to convey a certain meaning and feeling. A sustained metaphor semantics which creates a new physics.
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There was another question that, prosaic, was no less important: their economic viability. Even when the money in SL has a sense of miniature, the gradation of prices in this simulated world does not always keep consistency. So I set a maximum threshold under which the acquisition is always marked by the interest of the work, regardless of the name its author has assayed.
Do you guarantee the artistic interest of the work a high price? Taste in art is very subjective. After the attraction of a particular work arouses in me, is subjected to an internal debate: What? What resources the author has used to cause that attracts me? What is the key to his thinking?
Faced with an emotional situation that could qualify as outright, I value the relationship between writing and imagination when deciding on a purchase.
The concept differs from market seriously RL/SL in principle and until now there is no secondary market nor is there value; in art, the use value prevailing on the exchange value. The owner is not allowed to change the price, or transfer the work. The play is a guy who generates copies, close to the discharge of a song very rarely what is sold is an original. I do not know, in this case, if the author grants permission to transfer the work to another owner, and if allowed price change.
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What time of SL art portrays this body of work? The collection began in 2009 but has not yet been completed. It brings together artists born since 2006, coincides to a considerable extent, the generation of Holala Alter (2008), and leaves room for artists who have appeared recently exhibiting his works.
The relationship to these artists and their works, including the role of the self in this art, my avatar is part of it, or confused, or merges with the work, in this case, the self
appears as the work of art. It so happens that in the metaverse and the thing I equate to the extent that everything here is representation, the representation of a representation, and develops into a state subject dips. Immersion is the involvement of self with the environment, the consummation of the metaphor of electronic life.
The metaverse is necessarily diving. There are clues in this art that appeal to me greatly: its development in time in SL, the space is an act, is process, and exploits the topological symmetry to achieve meanings that expand the realm of the imagination.
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This collection includes works from the SB, but fit the criteria for the collection because the paradoxical relationship speculate SL / RL, and highlight the links between the two lives.
Art is the most artificial speech and the first man who invented and which is opposed to nature, although representing, abstracting, reducing its scale and subject. The other idea of identification between art and nature as art, it seems remarkable when assessing the works for possible acquisition.
In another sense, not always the works are for sale. And in some cases, my efforts to purchase certain works have been unsuccessful. So that the chances of executing my desires, sometimes away from my decisions based on them.
Artists in the collection:
Aneli Abeyante, Aloisio Congrejo, Anley Piers, Betty Tureaud, Binary Quadrity, Blue Tsuki, Cherry Manga, Chuckmatrix Clip, DACO Monday, Elie Maurice, Fiona Leitner, Fuschia Nightfire, Giovanna Cerise, Gleman Jun, Glyph Graves, Gracie Kendal, Heinky Shelman, Hypatia Pickens, Ichtyo broome, Loki glas, Luko Enoch, Maryva Mayo, Max Bobair, Miso Susanowa, Mitou Waco, Nessuno Myoo, Robin Moore, Sabrinaa Nightfire, Saiwun Yoshikawa, Buterbugsmetropolis Robo, Shellina Winkler, Shoshisn Shilova, Sistagrlro Wei, Treacle Darlandes, Tani Thor, Typote Beck and Yeti Bing.
