The New Genres Grid version of LPDT shows significant changes to the Second Life build.
Some of these have to do with technical restrictions, but some are also the result of technological advantages: While the SL version of LPDT2 relied very heavily on virtual physics, the OpenSim does not allow for much in this regard and consequently we had to consider alternative visual approaches. On the plus side however are the NPCs (non-player-characters) of OpenSim, which are quite wonderfully versatile in what one can do with them. Thus - less physics, more robotic avatars, amongst much else that is now different.
One addition has been bringing far more color into the architecture; and yet another one is using "real-life-like" objects. Some of these have materialized as tables and chairs that reflect upon Roy Ascott's long held "table-top" metaphor as a platform of interaction. Further real-life-like elements are also a number of quite realistic looking doors that use some of the original texts of La Plissure du Texte 1983 in lieu of glass door panels. These doors are also navigational devices, since walking through them will take you to another level of the architecture. And finally, our new robotic avatars also look different - they are now camouflage avatars!
What follows from all this is that we have decided to rename LPDT2 as LPDT3, which shows the connections to the earlier work, its sequential attributes; whilst at the same time pointing at the fact this is also a new art ecology that stands apart from its predecessor in many ways.
Some of these have to do with technical restrictions, but some are also the result of technological advantages: While the SL version of LPDT2 relied very heavily on virtual physics, the OpenSim does not allow for much in this regard and consequently we had to consider alternative visual approaches. On the plus side however are the NPCs (non-player-characters) of OpenSim, which are quite wonderfully versatile in what one can do with them. Thus - less physics, more robotic avatars, amongst much else that is now different.
One addition has been bringing far more color into the architecture; and yet another one is using "real-life-like" objects. Some of these have materialized as tables and chairs that reflect upon Roy Ascott's long held "table-top" metaphor as a platform of interaction. Further real-life-like elements are also a number of quite realistic looking doors that use some of the original texts of La Plissure du Texte 1983 in lieu of glass door panels. These doors are also navigational devices, since walking through them will take you to another level of the architecture. And finally, our new robotic avatars also look different - they are now camouflage avatars!
What follows from all this is that we have decided to rename LPDT2 as LPDT3, which shows the connections to the earlier work, its sequential attributes; whilst at the same time pointing at the fact this is also a new art ecology that stands apart from its predecessor in many ways.
