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From Virtual Reality to Real Life:
Bronzeville Moves From Screen To Canvas and Paper


Philip Mallory Jones
Studio

. . . and from Graphic Novel to Video Game

Jacque Quijote is the avatar of artist Philip Mallory Jones in the Second Life® virtual world. We selected the work of Jacque Quijote In the Sweet Bye & Bye as a "Pick of the Week" in May, 2007, and featured this work in our 2007 print monograph, The Second Life Art World

Five years later we ran a feature here about his change of platform for his work Bronzeville Etudes & Riffs from Second Life to Unity 3(D), with an interview about why he made the changes.

The artist has now issued a series of fine art prints titled Bronzeville Moods, derived from the virtual creation, and is preparing a video game, Dateline: Bronzeville, for release by Alchemy Media Publishing in 2017. It debuts in an exhibition opening in Chicago September 30, 2016, organized by Video Game Art (VGA) Gallery and the Rebuild Foundation. Mr. Jones will present an artist talk at the opening reception. The exhibition runs through December 18. Details about the exhibition are here.

Below: a scene in the speakeasy.

 

Mr. Jones writes:

The Bronzeville Series, a collection of fine art prints on canvas and archival art paper, is an outgrowth of my development of the computer game, Dateline: Bronzeville. Set in the South Side Chicago neighborhood of Bronzeville, circa 1940, Dateline: Bronzeville is a first-person mystery, with the Player assuming the role of a seasoned photojournalist for an African American newspaper. The game is being developed in Unity 3D, for consoles, web, and VR. The world of Dateline: Bronzeville originates in the 3D modeling environment Cararra 3D, and The Bronzeville Series prints are renders of scene views. The genesis of this work was the photo-collage/text book Lissen Here!, which I made with my mother, Dorothy Mallory Jones, in 2004. Those story and image ideas were next transposed and transformed into the immersive installation environment Bronzeville Etudes & Riffs, in Second Life (2010). As SL became too constrictive and expensive, and my intentions and vision expanded, the project migrated to the more capable and accessible modes afforded by Cararra and Unity.

Since the prints were created digitally, the artist is producing them to order as limited editions on canvas and paper in several sizes. The paper prints are printed on Museo Silver Rag Archival Lustre Photo Paper 300 gsm using a Canon IPF 8400 and 8300 uwith Canon Lucia EX inks. The canvas prints are on Breathing Color's TM Chromata LYVE canvas, using a Canon IPF 9000.


Philip Mallory Jones 
Dance for Absent Partners

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Paper on the Business of Art in SL
presented at SLCC August 25, 2007
Over 25,000 downloads of this paper since then.

If you have missed any of our articles and reviews since December, 2006, many are archived in the Features section
Below are some Editor's Choices.

More Features

Archiving Virtual Creations

Dennis Moser is a rare book librarian and archivist at the Rasmuson Library, University of Alaska, Fairbanks. He also is a musician who has performed live concerts in the Second Life virtual world for many years as avatar Aldomanutio Abruzzo. His experience with virtual reality and its transient nature informs his academic writing. Two recent papers of his that you now can download from academia.edu explore the issues and history related to documenting and archiving new media works. More of his papers on archival preservation of virtual material are available for download here.

Understanding the Impact of the “New Aesthetics” and “New Media” Works on Future Curatorial Resource Responsibilities for Research Collections [originally published in Art Documentation: Journal of the Art Libraries Society of North America, September, 2013]

‘Memories are Just Dead Men Makin’ Trouble:’ Digital Objects, Digital Memory, Digital History [Chapter excerpted from A Digital Janus: Looking Forward, Looking Back, edited by Dennis Moser and Susan Dun. Inter-Disciplinary Press, 2014. ISBN: 978-1-84888-305-5]

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The Law of Futuristic Persons

The Terasem Movement, Inc. a not-for-profit organization that publishes two Terasem Journals. The focus is on the rights of people who will be revived from biostasis—cryogenic preservation of legally (but not irreversibly) dead or near-dead people waiting for a cure, and cyberstasis—people whose consciousness is preserved digitally. 

Does immersion in virtual reality involve similar legal issues? As the technology of personality archiving gets closer, VR citizens may opt to transition from DNA to silicon existence.  The legal/ethical issues they are dealing with might make you think of Arthur C. Clarke or Isaac Asimov, but relevance is relative, in light of current concerns about AI and FMRI

For example, one of the papers in The Journal of Personal Cyberconsciousness is "Pros and Cons of Corporate Personhood for Transbemans" by Dr. Martine Rothblatt: "Dr. Rothblatt imposes the legal notions of corporate personhood upon transbemans or futuristic persons, specifically those who transition from flesh-ware to software, and may lack the traditional DNA based biological substrate."

There are over 20 issues of the above journal and their Journal of Geoethical Nanotechnology, with articles by prominent scientists, lawyers, psychologists, etc. in the Terasem online archive.

ArtWorld Market ALMANAC
 
Virtual Art Gallery Decline Continues

On June 12, 2015 there were 294 galleries listed on Sasun Steinbeck's Art Galleries of Second Life website. This is down from 358 in January 2014, and brings the number of galleries back to the February, 2007 level.

The growth rate of art galleries in the Second Life® world maintained a pattern of long term growth beginning in 2006 that was nearly linear, with a few leveling off periods but no significant decline through 2010, when there were nearly 700 active galleries. The statistics are kept by Sasun Steinbeck, creator of the Art Gallery Owners Group.
 

chart through 5/2010 courtesy of Sasun Steinbeck; redlines added by ArtWorld Market
 
As the chart above makes graphically clear, the number of confirmed galleries stayed near 400 from the end of 2007 until May, 2008. Growth resumed and crossed the 500 mark in September. After November 1 the trend briefly reversed, but quickly recovered. The summer of 2009 saw a slight decline in the number of galleries, which hovered at about 650. After that the number remained fairly constant.
    Confirmed galleries must display the Art Galleries of Second Life Kiosk, which dispenses the gallery list and HUD that enables gallery goers to visit every gallery in the Group. This is an awesome tool if you have not used it, and is the best way to discover what hundreds of artists are currently doing. It is possible that the gallery growth rate continued during the flatline period, but was not apparent because new gallery owners had not become aware of the Group or had not configured their kiosk properly.

click here for the Art Gallery Map

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HOW TO PRESERVE LARGE BUILDS

Following the disappearance of Zero Point [read the article], we have been looking into how residents of the Second Life virtual world can protect their assets. click here to read
how to preserve your virtual investment

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