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MareKKaźMiercZaK
attitudeofthepeoplewhoparticipateinart
indiverseways.Onecanassumethatthe
samepeoplewholikevisitingvirtualgal-
leriesinSecondLifewoulduseringtones
borrowedfromVivaldiorMozartsimply
because“thismusicissomovingandgen-
erallywell-knownthatIlikeit.”Decon-
textualisationimpliescollectivememory
aboutartasatypicalaestheticsensibility
(“typical”denotinganeutralratherthan
anegativeconnotation).Tismeansthat
colloquialtasteisshapedbytheculturalin-
Il.2.MonaLisawith
dustry,strengthenedbytherepetitionofmechanisms,subjects,motifs,
Degas)sAbsyntinSecond
gestures,sounds,signs,andsymbols.Wecantreatdecontextualisation
Life
astheaestheticequivalentofthesocialpracticeofparticipationinart.
Featuresofdaily
aestheticexperience
AvatarsinSecondLifecanfly,ordiscussorlookatpaintings.
AspartofSecondLife,TOCArtGalleryisshapedbythesamerules
asothervirtualrealmsinSecondLife.Anavatarstandinginfrontof
Monet)spaintingcanreadthetitle,lookatanotherpainting,levitate
tootherfloorsofthegallery,orlookatmultiplepaintingsatthesame
time.Everyfloorinthisvirtualgallerylookslikeastorewherethesize
oftheartcollectionismoreimportantthantheformofitspresentation.
Tisrelationstrengthenstheinteractionbetweentheuser(through
hisavatar)andtheimageofaparticularpainting.Asthesubjectsof
communicationintheexhibition,Avatarscan“touch”thepaintings.
Alloftheseimagesaremadeaccessibleinavirtualspace,although
theauthorsofthegallerypresentthepaintingsinapeculiarorder.
Terearethematicfloors,soforexample,impressionistsareexhibited
onthesamefloorasclassicalpaintings.[13]Tepaintingscouldalso
beaccessedusingthenamesoftheauthorsorthetitlesoftheworks.
Everyfloorofthisvirtualgalleryisfullofwell-knownpaintings,soit
representsthegeneralorcollectiveimagination/ideaaboutart,and
thepublic)stypicalaestheticexperience.Terearealsoothervirtual
galleriesinSecondLife.
TedigitalizedversionsofMonet)sworksinSecondLifetakethe
placeoftheoriginals,functioningasamediumofartintheabsence
oftherealpaintings.Tedigitalizedpaintingsalsobecomethetypical
mediumwithwhichtheusercomesincontactincontemporaryculture.
Teyhavecometorepresenttheacceptedmethodinthemodeofper-
ceptionandreceptionofart.[14]Avatarsinthevirtualpicturegallery
inSecondLifecan“look”atimpressionists)works,whichareexhibited
rightnexttothedigitalizedRenaissancepaintings;Monet)spaintings
arenexttoDaVinci)sworks.Tereisnocommonidea,nocommon
topicwhichcouldmakethisvirtualexhibitcohesiveorcoherent.It
[13]<http://world.secondlife.com/place/ec5f411b-
9535-e896-1713-ced233a8080e>.
[14]H.Belting,op.cit.,pp.6-7.
