12/3/2023 0 Comments Your account second life![]() Though I did like that a critic, who wrote about the Zurich exhibition, said I was “born to be an avatar.” SM: It would seem if you’re not on TV all the time, then you have a proclivity for mystery. IA: Doesn’t SL, and don’t all these new ways of communicating, let you indulge your proclivity for secrecy and mystery? I think I’ll stick to cobbling, with all that’s inherently honorable in artisanal undertakings. “Artistic,” “prophesize.” None of this is like me in the least. SM: You really ought to lighten up your vocabulary. IA: What you’ve managed to cobble to date, when it was made, seems to have prophesized today’s technologies, almost as if it was conjuring them, don’t you think? SM: I don’t believe I’ve ever had “artistic preoccupations.” I’m a cobbler. IA: How does SL fit into the context of your artistic preoccupations? But then again, I don’t understand the economy of the real world to begin with. SM: The whole commerce aspect of it I find just as boring as I do in real life. IA: How do you perceive the way in which this virtual space and its users have invented a life, an economy, a virtual commerce of things and monies? There’d be fewer worries in terms of maintenance. SM: Not an enormous amount, because I still have LOTS of work in RL. Some Viennese friends took care of putting it all together. SM: No, I’ve never been the owner of anything. IA: This island, the objects that are here, the Museum. SM: An example: when Serge told me there’d be two of you, my REFLEX was, “We’ll need a third chair.” Which in reality would be stupid, but isn’t here. IA: Actually, what has your experience been in this virtual world? The sense of porousness between the real and the virtual. In any event, it’s exactly the world of that masterpiece that I came to find in SL. SM: Have you read Adolfo Bioy Casares’s The Invention of Morel? IA: How did you come to have an exhibition on SL? Iggy Atlas: Why is this conversation on SL rather than in RL ? The pace might make some replies seem a little short, but the process also shed light on the quasi-instantaneous crystallizations of an infinitely nimble and mischievous mind.” Translated by Dorna Khazeni. The latter add: “Through the intermediary of keyboards and screens, our conversation required unusual agility. At eighty-seven, the editors wrote in the introduction to the piece, Marker “agreed to the rare interview on the condition it be conducted on Second Life, a screen rendezvous, complete with pseudonyms and avatars, for a political and poetic discussion.” There, Marker calls himself Sergei Murasaki, and the interviewers-Julien Gester and Serge Kaganski-Iggy Atlas. And to understand (a little!) better what Marker’s motivations were in getting involved with Second Life, read this interview with him, which appeared in the April 22–28, 2008, issue of the French weekly Les inrockuptibles, here for the first time in English. You can get a taste of what’s in store with these clips from Ouvroir (parts one, two, and three) and the spectacular, spectral museum. The interaction will be screened live at the archive’s theater, and the event also includes projections of other Marker video and film pieces. At the end of the tour, he will also take questions from an audience avatar. Of course, Marker will appear only in the form of his Second Life avatar, who will meet and converse with moderating avatars Haden Guest, the director of the archives, and Naomi Yang, of Exact Change Press (publishers of Marker’s important CD-ROM Immemory). ![]() Now Marker, who rarely interacts with the public, will give a live guided tour of his Second Life archipelago, Ouvroir, and museum, in a special event at the Harvard Film Archive this Saturday, May 16. After all, one could call the playful French filmmaker and multimedia artist’s kitty-and alter ego-Guillaume-en-Egypt a trailblazing avatar (when asked for pictures of himself, he offers images of the cat instead). It doesn’t really come as a surprise that Chris Marker is a devoted inhabitant of the virtual world Second Life.
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