Debris Field is composed of all the objects I have worked with for the past eight months in Odyssey; it's an archaeology of one site by another - an archaeology that constructs something new out of the ruins.
It's not ruins: It's compressed history. It's a history of compression, of textures, of objects, of mistakes, of failures, of errors, of misery, of language/sex/body, of avatar sheave-skin. It what happens when an insomniac gets hold of a virtual world.
Architecture for a new year:
- shapes matter less than the comfort that coheres within them.
- outside assume vagaries and opposition.
- architectures as transitional objects.
- living within the teddy-bear.
- in the Second Life installation: dynamic micro-architectures of
- deconstruction and enclosure.
- no entrances, no exits: one appears, disappears.
- what constitutes coming and going are virtual particles = people.
- virtual to the extent that one passes through doors and walls: one passes through flats, nodes, and textures. nothing is comfortable when the transitional turns on you.
- Second Life = transitional object = preparation for virtual life.
- real life = virtual life; body = inscription; wryting = body; - uncanny = inscription; world = word; word = idiotic.
- micro-architectures of the visible: setting up the camera image just so: harboring time of day, weather, height, distance from avatar or avatar viewpoint, location beneath the ground or water surface or clothing, location in collusion with sheave-skin, moment of capture = arrangement of objects in flight.
- micro-architectures within objects in flight: buildings escaped from occupants, homes escaped from families, dwellings escaped from inhabitants, bodies escaped from inscription.
- bodies escaped from inscription: debris of the body, abjection.
- abjection in micro-architecture: no place to sit, no place to lie: an avatar
never lies. no place to sleep: an avatar never sleeps; no place to declare: an avatar tells the truth.
- coordinates, program, language, protocol, code, alphanumerics,binary oppositions: the truth of anything unforsaken in the saying of it.- micro-architectures: between code and architecture.
For Arena installation in Second Life:
1. Dropping those objects which have been taken - piled, flight: every- thing flees, there's always clear space.
2. Physical objects: non-phantom, but dropped, held in position, but whatever for?
3. Something tawdry, indigestible.
4. Flight to such a degree that they soon tunnel out of site (for most settings), head out of world - the site has to be _tended,_ constantly refurbished. Tended = a tendency to _disappear._
5. To work on _inpenetrable_ sound.
6. To work on transparent non-phantom objects: another position.
7. Intensities as things meld into one another - in the form of a debris field.
8. Debris field = Gaza-slaughter. (title?)
9. Particulation of objects.
10. Object rings with internal physical objects can't get out.
11. None of the above.
12. Try and reach 4098m with pile. (Got to 2327.)
How to view here and in the Odyssey show
suggestions
1. Try turning the glow off. Go to preferences, graphics, and uncheck basic shading, if it's on. Basic shading seems to use up more resources than anything else with the rendering engine. You can also set things like rendering distance; the lower the distance, the faster the loading.
2. Turn the video media button off. This on the lower right-hand corner of the screen. If you turn it on, the texture-mapping consumes a huge amount of resources. On the other hand, the audio for the parcel (the audio button) runs fairly lean.
3. If you find the space too cluttered to enter, try flying in.
4. If you find flying in too cluttered, fly higher, and drop in. There is a dome in the center of the space which you can enter.
5. Most objects on the ground level (and some beneath the ground, on the seafloor) will flee from you - what looks crowded from a distance might well clear out.
6. If it clears out, look up - you'll see all sorts of things above you.
7. Fly vertically to see the rest of the exhibition. If you can't fly as high as you want, click control-alt-d, which opens up an advanced menu. Open the menu and get rid of camera constraints. You can then move the camera at a great distance from your avatar body - your viewpoint moves independently, and you can move at least to the top of the exhibition, which is maybe a mile or so up, SL measurement.
8. If you get stuck anywhere, teleport back in.
9. Try moving inside the objects; the interior textures are often different from the exterior ones (this is almost always the case with the spheres).
10. You can push objects vertically into the sky by moving beneath them and flying; they flee upwards.
11. You can see the exhibition 'differently' by using the advanced menu, going to render, and then looking for info - clicking on any one of the info options will give you different viewpoints.
12. You can often sit on moving objects, which will whirl you around; if you sit on an object that moves vertically as a result of your proximity, you can ride it up. When you stand up again, you can fall down back into the space. The riding height seems to be around 4098 SL units, but unless you have a flight bracelet or feather, you probably won't go that high.
(Gaz can go anywhere.)
13. Moving about on the ground level, keep the sound turned on (lower right), and you'll hear a variety of songs about SL and language. These mix with a number of looping sound modules embedded in the space.
15. If you've been moving around SL a lot, go to preferences, and empty your cache; this might speed things up. You'll have to restart SL again.
16. If you see a sign for teleporting, try it. Sometimes it will lead back to the ground level, sometimes to the seabed, sometimes to a skysphere. All of these locations have clickable objects which will take you else- where (or back to the same space but at a slightly different location). You might have to right-click on the object, then click on teleport - or you might just left click - it depends on the object.
17, Try different 'lenses' - click on control-8 to make the image wide- angle, control-9 to return to normal, control-0 for telephoto. Repeated clicks work as well - with control-8 you can create extreme distortions.
18, Try moving into 'small' spaces and look about. You can save snapshots of anything you see, on your hard drive.
19. That's about it. The general idea is to run lean, fly about, teleport back if you're stuck, play with the controls. The architecture is constantly changing and deconstructing itself – play.original exhibition
