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visitors navigate the exhibition with a headlamp. Oh gives the visitors instructions for how to use their gear and where to begin their journey. As the participants move through the installation they collect information and artifacts that uncover a dialogue between two characters, Kumiko and Iktomi, learning that one was in a coma from a car accident, and though a virtual technology is being encouraged to cross over by the other. There is also an element of danger lurking in the dark environment, a rabbit named Mr. Zippers who can “kill” the participant.
75:, due to the way their environmental installations enable visitors to immerse themselves by meandering through vast, open-ended narratives with cinematic-like production. Immersiva is also the name of Oh’s site-specific region in Second Life, where residents of the platform can view their current work. They utilize a technique called
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learn how to do things that might be difficult for them because of the effects of their trauma. Examples include planning a camping trip by going to a few different stores in the virtual environment to buy equipment. Then performing relaxing activities like fishing. Additionally, the environment made
66:
Oh's work in Second Life is characterized by its narrative-driven, atmospheric, and typically haunting surreal environments. These installations usually combine elements of sculpture, painting, poetry, film, and sound to create immersive experiences. The themes explored in Oh's work address topics of
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Oh’s work often explores themes of identity, memory, and the relationship between technology and humanity. Their style of artmaking, which they call
Immersiva, blends elements of surrealism, fantasy, and storytelling to create captivating and thought-provoking experiences for audiences. In addition
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is a participatory-based immersive installation in Second Life that has subsequently been turned into a machinima. The environment is dark and moody, to compliment the melancholy narrative. There is some ambient light emanating from the artwork, but it is juxtaposed by a pitch black background, so
200:
is a poetic machinima, created in Second Life, of an encounter between two versions of a manufactured woman, while exploring technology and obsolescence through a humanist lens. The characters are humanoid in their design. Oh explains that their proportions, a 1 to 9 body ratio, are intentionally
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inspired insects to immersive, wide scale environments that envelop residents of the platform through an interplay of narrative elements, aesthetic objects and interactive gameplay. They explain that: "All my work starting from 2009 is one long story with each new artwork being a chapter in that
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is the first part of a trilogy of virtual worlds and machinimas created in Second Life, Sansar, and Unreal Engine. It tells the tale of a not too distant future where society has fully transitioned into existing in the virtual realm, living as the personas they desire to be, and leaving their
227:. The work has been supported by a grant from the Canada Council for the Arts. Viewers become a part of the piece by walking through a lush rural landscape, discovering pages from an eccentric man’s diary in order to determine the course of the narrative.
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warped in order to signify their manufactured state. They state that “The average person has a 1/5 to 1/7 ratio depending on the location in the world they come from but, much like a photoshopped model on a magazine cover, these realities can be warped."
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physical bodies behind. A group of children who are excluded from this utopian scenario have to fend for themselves and make sense of their situation and the human condition by piecing together information discovered in artifacts from the past, such as
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was developed on Second Life after Oh was contacted by the non-profit organization
Virtual Ability, which helps individuals with a wide range of disabilities learn to thrive in online virtual worlds. The concept is to help the soldiers suffering from
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at Jack the
Pelican Present in Brooklyn, New York, the Santa Fe New Media Festival, 17th Biennial de Cerveira in Portugal, the World Expo in Shanghai (Madrid Pavilion), and the Art & Algorithms digital festival in Titusville, Florida.
54:
Outside of Second Life, Oh’s human counterpart is a
Toronto, Canada based oil painter, whose large-scale, colorful paintings with chaotic brushstrokes are intended to affect the viewer’s perception, cognition and emotional response.
34:
to virtual installations that are viewed by an average of 30,000 to 40,000 visitors, Oh has also exhibited work in physical art galleries and museums, expanding the impact and relevance of virtual art in the contemporary art world.
94:(2010). These works depict a melancholy aesthetic narrative of loss and grief, wherein a mother tries to save her dying daughter by transferring her soul into a machine. Notable subsequent works include
63:
story.” Oh’s own persona is a concept. Their anonymous human creator developed them to see whether a pixel-based artist could become as successful and accepted as an artist in real life.
337:
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named
Flutter and Juniper, on a long journey from the city to the suburbs, discovering the physical ruins that civilization left behind when they entered their digital nirvana.
46:, receiving the George A Reid award for painting. They later studied computer animation and learned how to use computer graphics programs such as Softimage XSI and Zbrush.
58:
Oh began exploring the metaverse around 2007. Their work on Second Life and other virtual reality platforms has evolved from static sculptural installations, such as
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won the Best
Machinima Award at the Touchstone Independent Film Festival. Oh’s work in the metaverse has been discussed in academic journals and in the books
30:, Steam, and High Fidelity. Oh has been active in the virtual world community since 2007, and is considered one of the pioneers in the field of virtual art.
235:
Oh’s work has been shown in both virtual and physical settings. Notable venues and events where their work has been presented include the exhibition
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manifested as an expressive metaphor for the isolation and loneliness that resulted from social distancing and quarantine efforts during the
465:"Bryn Oh Has a New, Government-Sponsored Art Installation in Sansar - But Will Her Fans from Second Life Journey There to See It This Time?"
369:
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depicts the ruins of a society that uses technology to record people’s life experiences and memories onto computers in a digital format
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to make animated narrative films from computer graphics by utilizing the game engines from Second Life and Sansar and Unreal Engine.
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is a contemporary virtual world artist known for interactive installations and immersive experiences in virtual environments such as
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1012:"Because I am Not Here, Selected Second Life-Based Art Case Studies. Subjectivity, Autoempathy and Virtual World Aesthetics"
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Oh has been the recipient of several grants and awards, including four grants from the
Canadian government. In August 2023,
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639:"Now Open: New Bryn Oh Metaverse Art Experience, Inspired by Life Under Quarantine, Subsidized by Canadian Government"
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748:"Acclaimed Metaverse Artist Bryn Oh Creates Virtual Therapy Environment to Help Treat Military Personnel With PTSD"
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338:"The Brittle Epoch: Canadian Artist Bryn Oh Unveils a New Immersive, Interactive Art Installation in Second Life"
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969:"Artist Gets Canadian Government Grant to Create VR & Machinima Experiences in Second Life & Sansar"
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702:"'The Rabbicorn', Bryn Oh's Beautifully Groundbreaking Immersive Narrative, Finally Ends Next Month"
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921:"Second Life Art Featured in Ambitious Berlin Museum Installation from Leading European Artists"
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is a poetic story that takes place inside the digital recording of a woman named Imogen’s life.
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One of Oh’s earliest immersiva works created in the metaverse is a trilogy consisting of
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it possible for soldiers to connect with psychologists in a safe and virtual setting.
71:, and the blurred line between technology and reality. Oh calls this style of artwork
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684:"Watch 'Pretty', Bryn Oh's SL Machinima Ode to Humanism & Obsolescence"
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370:"Virtual Artists' Immersive Discoveries in a Virtual 3D Frontier"
511:"Spotlight on Bryn Oh A Legend in the Second Life Art Community"
955:
Understanding
Machinima: Essays on Filmmaking in Virtual Worlds
987:"Touchstone Independent Film Festival - Award Winner, Bryn Oh"
134:
is a single-scene performative poem presented as a machinima.
1032:"Consensual hallucination: Bryn Oh's2 Second Life-based work"
942:. Cerveira: Direção-Geral das Artes. pp. 55, 57, 63.
552:
487:"Final Five at Brooklyn's Jack the Pelican - Adam Zucker"
269:
721:"This is how technology is changing the way we see art"
402:"Bryn Oh: exploring the country of an artist's mind"
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897:"The return of Bryn Oh's Lobby Cam to Second Life"
243:in Berlin (in collaboration British film director
1029:Toledo RamĂrez, Francisco Gerardo (2014-06-01).
822:"Hand and the art of Bryn Oh – in her own words"
554:(1st ed.). IGI Global. pp. 127–128.
44:Ontario College of Art & Design University
1016:Electronic Thesis and Dissertation Repository
8:
582:"Art in Second Life: Lobby Cam by Bryn Oh"
42:Oh’s human alter ego studied fine art at
1010:Toledo RamĂrez, Francisco (2012-12-13).
772:"Bryn Oh's Brittle Epoch in Second Life"
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847:"The Singularity of Kumiko: the film"
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231:Exhibitions, awards, and publications
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797:"A Lady and 26 Tines in Second Life"
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162:, and follows two of the girls from
50:Style, themes, and notable artworks
665:. Cybernetic Art Research Project.
289:"Bryn Oh's Profile on Second Life"
14:
901:Inara Pey: Living in a Modemworld
851:Inara Pey: Living in a Modemworld
826:Inara Pey: Living in a Modemworld
801:Inara Pey: Living in a Modemworld
776:Inara Pey: Living in a Modemworld
609:"Second Life Spotlight - Bryn Oh"
437:"Bryn Oh's Singularity of Kumiko"
406:Inara Pey: Living in a Modemworld
368:Gaskins, Nettrice (2009-11-30).
719:Bhuyan, Avantika (2019-01-01).
870:Maurer, Diomita (2022-05-01).
580:Maurer, Diomita (2022-05-01).
1:
1082:21st-century Canadian artists
938:Canedo, Augusto, ed. (2013).
336:Schultz, Ryan (2021-11-02).
661:Bonetto, Velazquez (2011).
485:Zucker, Adam (2009-08-31).
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663:Metaverse Artists: Bryn Oh
265:Metaverse Artists: Bryn Oh
940:17th Biennial de Cerveira
895:Pey, Inara (2022-05-04).
845:Pey, Inara (2016-07-27).
820:Pey, Inara (2020-04-27).
795:Pey, Inara (2018-01-24).
770:Pey, Inara (2021-11-01).
400:Pey, Inara (2014-09-27).
267:by Velazquez Bonetto and
158:is the second chapter of
1092:Canadian digital artists
872:"'Lobby Cam' by Bryn Oh"
271:edited by Denise Doyle.
206:PTSD Virtual Environment
112:PTSD Virtual Environment
550:Doyle, Denise (2015).
317:store.steampowered.com
247:and multimedia artist
181:Imogen and the Pigeons
171:Imogen and the Pigeons
104:Imogen and the Pigeons
67:identity, memory, the
1049:10.1386/mvcr.4.1.35_1
876:Diomita Maurer’s Blog
613:Second Life Community
586:Diomita Maurer’s Blog
188:Singularity of Kumiko
108:Singularity of Kumiko
84:The Daughter of Gears
1037:Metaverse Creativity
515:Second Life Enquirer
491:Berkshire Fine Arts
1097:Video game artists
953:Ng, Jenna (2013).
313:"Bryn Oh on Steam"
441:ZoHa Islands Blog
293:my.secondlife.com
225:Covid-19 pandemic
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24:Second Life
1071:Categories
996:2023-12-04
906:2023-12-04
881:2023-12-04
856:2023-12-04
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806:2023-12-04
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298:2023-12-04
275:References
1057:2040-3550
261:Lobby Cam
237:Obedience
220:Lobby Cam
124:Lobby Cam
88:Rabbicorn
77:machinima
73:Immersiva
60:steampunk
38:Education
126:(2022).
118:(2020),
114:(2014),
110:(2014),
106:(2013),
102:(2019),
98:(2017),
86:(2008),
239:at the
92:Standby
20:Bryn Oh
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197:Pretty
148:novels
116:Pretty
28:Sansar
1053:ISSN
556:ISBN
212:PTSD
164:Hand
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