In fear every day, every evening
We regret to inform you that the 2020 MILAN MACHINIMA FESTIVAL has been postponed due to the ongoing COVID 19 emergency in Northern Italy. If you still want to witness the full SaveMe Oh showcase start at tuesday 10 March 2020 at 9.00 until 19.00 this online programm and put it on REPEAT!!!!
A man, somewhere in the world decides one day to create an avatar in the virtual world of Second Life. He decide his virtual doll is wearing glasses and long red hair and will dance the same dance on every spot it appears. He decide to name his doll Bavid Dailey. The man (or woman or transgender) behind this doll likes music and he starts to visit with his doll virtual events advertised as music gigs. On that gig another man (or woman or transgender) with an invented doll is pretending to be musician. Mostly recognisable as a doll standing on a virtual stage pretending to play an instrument that looks like a keyboard, a DJ set or with a guitar around their virtual neck. The RL man (or woman or transgender), somewhere in the world performs the music at home or in a studio, and streams this to his/hers/its virtual hand puppet and creates some kind of scene. This scene is a not to define as other avatars from all over the world can contribute to the scene at will, some appear like a rabbit with goggles, Bavid is swirling his red long hair in endless loops in front of the viewer or SaveMe Oh, Cherry Manga or Venus Adored appear and wear some attachments or fart some particles, all according to their own judgement in what to contribute. Other RL people prefer to spend hundreds of dollars to dress their virtual dolls up with fancy mesh heads, exclusive virtual hair or the best bouncing virtual tits they can find. Some might find time to listen to the music, others are busy to take pictures for their Facebook accounts in were they continue to pretend they are real persons. By tagging each other as much as possible this becomes a real feeling of existence.
A woman, somewhere in Denmark decides one day to create an avatar in the virtual world of Second Life. She decide her virtual doll must have Asian looks, glasses and the doll has to role play as an artist, she decide to name her doll Betty Ai Tureaud. The wannabe artist doll try to become known as the creator of the cube in pastel yellow, pink or green, the sphere in pastel yellow, pink or green or the pyramid in pastel yellow, pink or green and calls that immersive as the spectator is expected to drive his/her/its virtual doll through the pastel landscape.
The RL woman (or man or transgender), somewhere in Denmark, demands a virtual role playing code for her audience. They shall sit on her dolls poseballs, they shall look at her virtual dolls art and they shall adapt to the dolls pastel scenery. When someone doesn’t follow these orders the RL woman try to demonise not cooperating virtual characters or their RL drivers, thinking she can correct the unwanted behaviour by public exposure like the good old witchhunt.
When the RL woman (or man or transgender), somewhere in Denmark, realises there is hardly a virtual audience for her dolls variations on the pastel yellow, pink or green cubes, spheres and pyramids she decide for a career switch for her doll. From now on the doll is a DJ, named Betty Boo, but the virtual role playing code stays unchanged, shut up and admire the RL woman (or man or transgender), somewhere in Denmark, choice of favourite music which she has in her Spotify playlist.
A man, (or woman or transgender) somewhere in the Netherlands has a performance. The people of the audience buy a ticket, enter the theatre, have a coffee and then search for their chair. Lights go out, the performance begins, the immersive story unfolds in front of them, they applaud, have a drink after the performance and go home.
A man, (or woman or transgender) somewhere in the Netherlands decides one day to create a serie of avatars in the virtual world of Second Life. He creates a girl with Asian looks, he creates her old father, his girlfriend and invents a story for them, She is going to be a virtual work of art, using all tools available to achieve that goal, not hold back by RL common codes or virtual role playing codes. And a star is born! (depending on internet speed, backup space and common acceptation)
DJ Betty Boo wanted some adrenaline, really???
SaveMe Oh: Why are we in a silly box? who had the need to use virtual bricks?
Cherry Manga: I have visuals for the bricks
SaveMe Oh: I should drop a brick on your head, this demands a large cover up!
Cherry Manga: Don’t tease my claustrofobia
SaveMe Oh: No cloister anymore, what a relief.
Betty Tureaud: Derender that asshole
SaveMe Oh: Betty, what a language
Cherry Manga: I’m making softer visuals… 😉
Betty Tureaud: I cant see anything
SaveMe Oh: You have to push the stop and play button, why you need to see something?
Betty Tureaud: Ok I go, goodbye
SaveMe Oh: Leave the music on Betty
Betty Tureaud: Fuck you SaveMe Oh
SaveMe Oh: When?
Cherry Manga: Save be good
SaveMe Oh: Wear a mask. I am always good
Cherry Manga: nope you’re starting too hard
SaveMe Oh: You forced us in a brick box
Betty Tureaud: she go or I go
Cherry Manga: Just derender Save….if you don’t want to see her
Jadeyu Fhang: Mute saveme
Cherry Manga: Or me if you don’t want to see my cute stuff^^
Aneli Abeyante: You can block also lol
SaveMe Oh: We can ask Ultralight as a stand in? Betty, play some music
Betty Tureaud: No
SaveMe Oh: Otherwise we, virtual artists, cant improvise as we react on you
Betty Tureaud: i cant see anything
Cherry Manga: I prepared Betty colors stuff…. 😀
Betty Tureaud: I am not playing with your stuff SaveMe Oh, that was not the deal.
Cherry Manga: Come on Betty, derender Save
SaveMe Oh: Deal????? What deal????? Didnt know we had a deal Betty? Do I need to make deals with you??? Since when? So you can push stop and play buttons? I thought you had derender me for years? OMG. you view in secret what I do? I am flattered.
Jadeyu Fhang: What happened ???
SaveMe Oh: Do you have a nice virus song or you prefer another image? I am very flexible. Normally faster than any DJ as I am prepared. What you want? Bambi? Abstract? Kitsch?
Betty has left the building
SaveMe Oh: Jade, maybe you have to take over, the crowd is waiting
Gitu Aura: Where is Betty?
Jadeyu Fhang: Betty left
SaveMe Oh: I said Boo and she run!
14 of my machinimas are part of the SaveMe Oh Retrospective at the Milan Machinima Festival.
From Tuesday until Thursday we will present an indepth look at four artists whose daring, groundbreaking, unclassifiable work has redefined the aesthetics of machinima: Contemporary Exhibition Hall.
FOCUS: SAVEME OH
Tuesday March 10 2020/Martedì 10 marzo 2020
Contemporary Exhibition Hall (IULM OPEN SPACE)
09:00 – 19:00
Not going to Milan? Then check them out here: https://vimeo.com/savemeoh
Yesterday I forced Ebbe Altberg to release the following statement or I would hit him hard!!!
Gladly we have decided as Linden Lab we couldn’t continue to steal the money from our users to sponsor the megalomane project Sansar and we will flush it. SaveMe Oh forced us to focus entirely on Second Life. She threatens also to kill Tilia.
Several “heavy hitters”, led by SaveMe Oh will have their baseball bats ready to remember Linden Lab that their only reason of existence is to help develop Second Life. (The real work is already done by it’s users and residents)
HEA MEA To You
HEA MEA To You
HEA MEA, dear SaveMe
HEA MEA To You
SaveMe Oh was rezzed on 23 February 2007 and is turning 13. During these years the performer, movie-maker, and drama-queen rose to stardom with her radical, constantly evolving style that is all the time creative, inventive, and far ahead of her peers. As a true visionary SaveMe Oh is at the forefront of cultural development throughout every virtual year of her existence.
SaveMe Oh has arguably risen to become the most influential artist in modern virtual history, and is perhaps the best ever known artist. Her artistic legacy endures so much that she remains possibly the most mentioned artist on the market, with publication as “SaveMe Oh The Muse of Many Famous Painters” that regularly is in the top 10 of the best sellers list, and ongoing invitations for international film festivals.
To celebrate the 13th rezday of this unique art icon of modern virtual times two of her biggest fans HEA (Tansee) and MEA (Roxy Gellar) have prepared SaveMe Oh a party on the 23th of February, simultaneously on the HEA and MEA sims due to the expected large audiences who want to congratulate her with her achievements.
Party will start at 1 PM SLT.
Roxy Gellar and Tansee already teamed up to ask SaveMe Oh some questions about her work
Roxy Gellar: SaveMe, I hate you because I spent hours in my particle laboratory trying to imitate your work. But all I end up with was ugliness. How did you come to this inimitable style?
SaveMe Oh: Others have seen what is and asked why. I have seen what could be and asked why not.
Tansee: How you managed to be such a great artist?
SaveMe Oh: Good artists copy, great artists steal.
Roxy Gellar: You seem to have an eye for art that is very rare, can you tell us, simple earthlings, how we could reach the same level of sensibility?
SaveMe Oh: Do you ever know what the birds are singing? You don’t. But you listen to them anyway. So, sometimes with art, it is important just to look.
Tansee: You seem never busy with marketing your incredible art, shouldn’t your fans be able to buy some of your art?
SaveMe Oh: The people who make art their business are mostly imposters.
Roxy Gellar: You refuse to explain what your work is about. Simple people like me have sometimes hard times to understand an artwork and end up completely confused.
SaveMe Oh: The world today doesn’t make sense, so why should I make work that does?
Tansee: Don’t you want to take your superb imagination outside the virtual world into the real world?
SaveMe Oh: Everything you can imagine is real.
Also eager to study the work of SaveMe Oh? Become a master!!!
From the book: Machinima: The Art and Practice of Virtual Filmmaking
by Phylis Johnson, Donald Pettit
If one seeks an artistic vision that has the power to “stun” the viewer one need search no further than the machinima of SaveMe Oh. In many ways, her work truly exemplifies avant-garde machinima’s unconventional nature. “All my movies are in a way an extension of my performing and composing behavior; of the way my avatar has developed…. The only valuable art in Second Life,” asserts Oh, “is performance art, and this is reflected in my movies.” She describes Second Life as “the canvas” on which she creates. Her machinima “becomes the artwork.”
Like her Dada and surrealist antecedents, Oh invites the viewer to become part of the composition, often forcing the audience to participate by reacting to her art installations which she captures as live theater in her machinima.
Whether filming her audience chasing after flying dollars to remind them of the evils of consumerism, grinding them into hamburger to protest factory farming, or staging her own funerals in anticipation of rejection by critics of her work, Oh creates striking machinima that both challenges one’s thinking and redefines the limits of the genre. Moreover, her art is rarely separate from her politics and provides thought-provoking underlying messages.
SaveMe Oh’s persona, projected by her avatar, has become the vehicle for her art and provides continuity to her work. Among the most controversial of her works are those that explore hypocrisy and the traditional notion of sin and redemption. While machinima as a vehicle for social criticism is staunchly defended by some, others find the approach abrasive. SaveMe Oh’s work elicits both responses in equal measure, reflecting her audience’s reaction to her artistic vision.
From the paper: Machinima, Arte e Documento: Machinimas como forma de documentação de projetos artísticos e processo de criação partilhada em ambientes virtuais colaborativos
By Catarina Carneiro De Sousa
The artist SaveMe Oh’s approach is similar in strategy, being, however, centered on her artistic persona, whose avatar, more than an authorship, personifies the work itself. SaveMe presents herself as a provocative agent in the art world, frequently invading artistic events with her performances, which can cover a whole Sim. Her machinimas, more than documents, are artistic pieces of their own merit.
In reality, this type of performance becomes very difficult to document, even in machinima, due to its participatory and improvised dimension. For this reason, the machinima of independent filmmaker Edward Folger, known in the metaverse as Ed Vespucciano, is particularly noteworthy, who documented a joint performance by the duo Kikas and Marmaduke with SaveMe OH, in Africa Live, in Second Life, with the film “I can’t believe this!” LIVE, 2011. This machinima, despite having a clearly documentary design, demonstrates how the boundary between the document and the artwork is blurred. Another of his works, Le Sacre du Printemps, from 2013, demonstrates this even more clearly. From the documentation of performances by Save Me Oh and the duo Kikas and Marmaduke and using Stravinsky’s music as a structuring element of the narrative, Ed Vespucciano builds a new story.
From the paper: PERMANÊNCIAS EM MACHINIMA: práticas atualizadas
By Fernanda Albuquerque de Almeida
The virtual world of Second Life, for example, is widely used by users who want to have their first experience as audiovisual producers.
In it, there are groups that organize themselves in initiatives whose objective is to develop and propagate artistic proposals. One of the most active figures in this context is SaveMe Oh, who works in the field of performing arts in real life, performs in the virtual world and reworks them for capture in machinima. She states: Second Life offers enormous possibilities that are not used to their full potential. Everyone is perky glued together to the floor to create environments, but no one sees that the avatar itself is a perfect base for all types of attachments that can result in ecstatic looks. I am able to create all kinds of environments in my surroundings in just a few minutes. And this is much more interesting than rebuilding New York or a fantasy landscape in Second Life. I’m not interested in the recreation of real life, but in opportunities that a virtual world provides.
Thus, the artist seeks to develop proposals based on the possibilities of creation and interaction in real time with this platform, addressing issues pertinent to the experiences in this world. Her machinima In Search of Art (Netherlands, 2012, Second Life), for example, presents his avatar searching for art for five minutes in scenarios that constitute, at the same time, a backdrop and extensions of her own body. She explains that such attachments are like clothes that can be worn by any avatar. The idea is to be able to encourage the creative involvement of users in return for passive visitation in environments.
From the paper: Machinima: O cinema do metaverso
By Profa. MS Isaura da Cunha Seppi
The scenarios can be produced or chosen locations on islands and other existing environments or it can be fully attached to the avatar as in the work case “Wear to move?” by artist Saveme Oh.
When awareness is abused for a free sim and role-playing.
Chrissy Rhiano: Hi : ) You’re on the stage
SaveMe Oh: I was born on stage
Chrissy Rhiano: That’s fantastic but could you please hop down while we do our show? : )
Mellifera Szondi: Would you please go to the audience?
SaveMe Oh: I am never audience!
Chrissy Rhiano: What the fuck is wrong with you?
SaveMe Oh: I am mentally ill, do you support that too?
Chrissy Rhiano: Oh fuck off. You’re just being an asshole