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Abstract
Mixed reality defines the sharing of a space-time between the real and the virtual world. The definition of this concept is further extended when virtual worlds such as Second Life® (SL) are included. Through cultural events such as concerts and operas, we will see that the main goal of these kinds of projects is not simply to offer a video and audio broadcast of these events in the digital dimension. The current challenge is to create interactions between the individuals who are in different shared spaces. By studying the unfolding of these events in its various phases—before, during, and after—we examine the culture of the event. We question how the culture of the event can be transposed in a mixed reality display, and how this kind of event can affect people on both sides of the “membrane” made by the technical configuration. Beyond the alignments and adjustments that we can see between the different individuals involved in these events, we examine more broadly the changes and mutations of the culture of the event in this specific configuration.
Notes
1. Website of the project in mixed reality: http://trans2008.blogspot.com.
2. In French: “Monde Virtuel de Création de Contenus” (MVCC).
3. In 2007, the giant screen was on the left, in 2008 it was on the right.
4. “ProjetTransmusicalesRéalitésMixtes”: http://bit.ly/rm00aR
5. Website of the OpéraBis: http://operabis.net/le-projet-operabis
6. Presentation of the association: http://www.bibliotheque-francophone.org/2005/04/qui-sommes-nous.html
7. As the SL Shakespeare Company (SLSC) for example: http://mshakespeare.com. Unfortunately, this remarkable initiative will go down on 29 October or thereabouts: http://twelfthnight.mshakespeare.com/blog
8. 6 September 2010: Rita, or The Beaten Husband, Gaetano Donizetti; 6 January 2011: The Marriage of Figaro, Wolfgang Amadeus Mozart; 6 April 2011: Eugene Onegin, Pyotr Tchaikovsky; 3 June 2011: The Abduction from the Seraglio, Wolfgang Amadeus Mozart.
9. Francogrid is a French open metaverse: http://francogrid.org
10. Assemblive website: http://www.assemblive.com
11. Inworldz website: http://inworldz.com
12. About these researches, you can see publications of the Virtual Human Interaction Lab of the Stranford University: http://vhil.stanford.edu/pubs/
13. OpéraBis report (in French): Suivi des publics et analyse des usages. “Projet service numériqueculturelinnovant 2010”: http://bit.ly/rK8nZT
14. OperaBis official gallery: http://www.flickr.com/photos/49301351@N06
16. List made in 2008 after the end of the project.
17. See page 31–36 in the official report mentioned above.
18. Newbie: “A newcomer to Second Life or Teen Second Life; a Resident who has joined for a relatively short period of time and/or is not familiar or comfortable with Second Life's culture, interface etc.” Definition from the Second Life® Wiki: http://wiki.secondlife.com/wiki/Newbie
19. Many discussions were about technical issues such as the hardware or the version of the viewer, and so on.
20. IM means instant message. It's a private message that avatars can be exchanged between them. The other avatars can see it.
21. During the Trans Musicales, many people who were in the hall did not understand that the broadcast was from Second Life®. They thought it was a record video.
22. The project Disorder Screen Control was a teleperformance that gathered individuals in Second Life and the people who were at the Discontrol Party in Paris. This initiative took place during the festival Futur en Seine in Paris. Using text messaging, Second Life® avatars could control two agents with spy cameras who had infiltrated the party. These agents became the physical avatars of the virtual avatars. During the event, the architecture and the animations on the walls and on the floors in the virtual world changed according to the pulse of the physical world. In this case, the digital world has “listened” to the physical world but this could be inverted and each world could listen and affect the other. Presentation of Discorder Screen Control: http://ener.ensad.fr/disorder-screen-control
23. In French in the text: “Les débordementssontl'antithèse du cadrage, et le signed'uneformed’échec du contenant, maisilsmanifestent en même temps son existence”.