El día 13 de julio de 2007 presenté la ponencia “Second Glocal Life: “outsiders” and “insiders” in a virtual art World” (“Second Glocal Life: “outsiders” e “insiders en un mundo de arte virtual”). Esta ponencia tuvo lugar en el marco de la Conferencia Internacional “Glocal and outsiders” (part of the Prague Biennale 3): Conference on the interplay between art, culture and technology and issues of globalization and international cooperation (Conferencia sobre las relaciones entre arte, cultura y tecnología y los asuntos de la globalización y la cooperación Internacional) que tuvo lugar en Praga en esa fecha. Esta conferencia fue organizada por el Center for Global Studies (Academy of Sciences and Charles University) (Centro para los Estudios Globales), International Centre for Art and New Technologies (CIANT) (Centro Internacional de Arte y Nuevas Tecnologías), y Prague Biennale 3, todos ellos en Praga.
Os dejo el abstract en inglés. Sorry :-)
My paper tries to challenge concepts of “outsiders” and “insiders” plus “globalization” and “local identities” in an expanded virtual art world. Second Life has become the star-successor of previous unsuccessful virtual worlds (like “active worlds”) in a very short time. It has absorbed those preceding experiences, turning into almost the “only” parallel on-line world that can be imagined or thought. Business and art communities from countries all over the world dream on creating their alter-egos at Second Life. But formal and conceptual cultural homogenization is the common outcome of virtualization process. You do not exist if you are not in Second Life but if you are there, you are not what/who you are in the physical world but a tasteless virtual homogeneous form, similar to other insipid thousands in a non-located “space”. Organizations, institutions and communities with a very strong identity in real world compete to be there before the others, but once they create their “other” at Second Life, this “other” becomes a “glocal” non-entity without own identity. Being an outsider to the virtual world could be the only way to keep identity safe. How are art practices (not only by artists but also by institutions) facing those “identity” issues in Second Life? Are they challenging these questions or are suffering a normalization process? My paper will try to deal with these matters, analyzing current situation of virtual art practices.