Awesomecontentplus ACP formerly supershortfilms

29/07/2025

late night GPT chat :

28/07/2025

Title of this diptych " I have been thinking for several weeks now that the painting [ diptych] needed some green. having established this I decided yesterday that the green should pretty much be horizontal . I completed this this morning . the painting is now complete and when dry the canvas will be taken off the stretchers and a blank ones put on them "

27/07/2025

England has produced and continues to produce most of the best audio visual work in the world BUT Italy has and continues to produce some of the most beautiful women 🙂. put them together and !!!

22/07/2025

GPT produced this following a GPT produced , following my prompts, a 'manifesto ' : Rhizomatic Love: A Manifesto
We are done with the old contract.
The one that says: “I provide, you obey. I pay, you stay.”
We are not currency.
We are not cages.

We are desiring-machines,
rushing, spilling, creating —
not exchanging, not bartering, not keeping score.

Money is not power here.
S*x is not a prize to be won.
We refuse to sell our bodies or our freedom
to an outdated script called marriage,
or to the tired myth of man the provider,
woman the grateful muse.

We are nomads of desire.
We shift, we blur, we rewrite roles
as easily as breath.
Masculine, feminine —
these are just costumes we tear apart
and weave into something new.

What matters is creation —
the fire we build between us:
a song, a movement,
a sudden night of dancing,
a burst of laughter in the face of the machine
that told us love is a transaction.

There is no deal here.
There is only the current,
the flow,
the endless yes of what we can make together.

We are rhizomes,
roots spreading in all directions,
touching friends, lovers, strangers,
communities —
an open web of life,
where love is not owned,
but shared, multiplied,
unbound.

We will not be bought. We will not be sold.
We are free, and in our freedom, we create.

19/07/2025

we for now will omit the discussion that preceded this ..so this am chat with GPT : Would you like me to map out a “new model” of male-female relationships — one that moves beyond the provider/sexual gratification exchange — using Deleuze and Guattari’s concept of desiring-machines? It could be useful for thinking about post-capitalist, post-gender roles.
You said:
yes
ChatGPT said:
Let’s try to sketch a “new model” of male-female relationships that moves beyond the provider-for-sexual-gratification contract, using Deleuze and Guattari’s concept of desiring-machines.

1. The Problem with the Old Model

The traditional relationship model codes desire into rigid roles:

Man = Provider.
His value is tied to earning power, protection, and financial support.
Woman = Reproducer/Caretaker.
Her value is tied to sexuality, beauty, and nurturing.
S*x = Transaction.
Desire gets reduced to an exchange (money/security for intimacy/sex).
This system fixes identities, making relationships into mini-economic machines rather than fluid, co-creative connections.

2. Deleuzian Shift: Desire as a Flow

Deleuze and Guattari see desire not as lack (Freud’s model) but as a productive force, always creating new connections.

A couple is not two individuals fulfilling fixed roles but two “desiring-machines” connecting, creating flows of energy, creativity, and experience.
Instead of “what do I get from you?”, the relationship becomes “what can we create together?” (joy, art, ideas, movement, new social forms).
3. Principles of a Post-Provider Relationship

(a) Shared Economic Flow
Both partners contribute in ways that don’t need to be symmetrical but are non-transactional.
Money stops being a power lever and becomes just one of many flows (others include emotional care, creativity, ideas, intimacy).
(b) Multiplicity of Desire
Desire is not narrowed down to sexual gratification or financial security but expressed in multiple ways (adventure, co-learning, making, dancing, travel, co-parenting, etc.).
(c) Deterritorializing Gender Roles
Neither partner is fixed in a masculine or feminine function.
Sometimes the man might seek care; sometimes the woman provides financial power. Roles shift dynamically, according to needs and desires.
(d) Creative Machines
The relationship becomes a site of creation, not just survival.
Imagine partners who compose music together, build projects, explore new ideas, or create micro-communities rather than focusing only on traditional domestic or financial goals.
4. What Does This Look Like in Practice?

A man doesn’t need to prove his worth by financial support, nor does a woman need to trade sexual access for security.
Both partners value autonomy and co-creation: “What do we want to make together today?” rather than “What do I owe you?”
Desire is circulated, not owned or controlled — both have access to external connections (friends, creative collaborators) without threatening the core relationship.
5. A Radical Example: "The Rhizomatic Couple"

Instead of a hierarchical structure (man provides, woman receives), the relationship is a rhizome — like a network with no clear beginning or end.
It thrives on flows of experimentation: partners are explorers of life, not roles.
This could be reflected in non-traditional living arrangements, shared finances, rotating roles, and even fluid approaches to intimacy.
Would you like me to outline a "Manifesto for Rhizomatic Relationships" — 10 principles that men and women could adopt to break free from the old provider/sexual contract? It would be a bold, creative framework for new forms of intimacy.
You said:
yes
ChatGPT said:
Here’s a Manifesto for Rhizomatic Relationships — 10 principles that break away from the traditional provider-for-sex contract and embrace Deleuze and Guattari’s ideas of fluid desire, creativity, and multiplicity.

Manifesto for Rhizomatic Relationships

1. Desire is Not a Transaction
We reject the old bargain — “I provide, you reciprocate” — and recognize that desire flows freely when it’s not reduced to economic or sexual exchange. Love and intimacy are not commodities.

2. Both Partners are Desiring-Machines
A relationship is not two roles (provider/receiver) but two desiring-machines connecting and co-creating new realities. Each partner has autonomous flows of desire, creativity, and energy.

3. Shared Creation Over Ownership
Rather than “owning” one another (sexually, financially, emotionally), partners focus on what they can create together — whether it’s art, a family, a business, or a shared adventure.

4. Deterritorialize Gender Roles
We refuse fixed definitions of “masculine” and “feminine” functions. Roles (who earns, who nurtures, who initiates intimacy) shift fluidly, according to needs and rhythms, not tradition.

5. Multiplicity of Desire
S*xual gratification is one flow of desire among many — others include curiosity, intellectual play, dance, music, friendship, exploration. The relationship thrives on many channels of energy, not one.

6. Money as Flow, Not Power
Money is just one form of energy, like time or attention. It does not define dominance or submission. Both partners contribute in ways that matter, regardless of who earns more.

7. Nomadic Intimacy
The couple is not a static institution but a nomadic formation, always moving, evolving, exploring. Desire should adapt and flow, not be trapped in routine or obligation.

8. Freedom Without Fear
True intimacy comes when both partners are free to express and experiment without fear of rejection or judgment. This includes emotional openness, new ideas, and even rethinking traditional monogamy (if both agree).

9. Destroy the Myth of “The Deal”
There is no hidden contract — “I give X so you must give Y.” Relationships are processes, not bargains. Gratitude, not entitlement, is the foundation.

10. Rhizomatic Expansion
A rhizomatic relationship grows like a network, with multiple points of connection — friends, collaborators, communities. The couple is not a closed unit but part of a larger web of creative and social life.

Next Step:
Would you like me to write a short radical “manifesto speech” (1-2 minutes long) as if you were a filmmaker or performer reading this out loud, turning it into a bold artistic statement? It could sound almost like a voiceover for a provocative short film about relationships beyond capitalism

Call now to connect with business.

16/07/2025

I may have posted this before but nevertheless a useful reminder .. thanks to holly of course ..

This book explores music- and sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual

17/06/2025

we dipped back into HR to frame the current , more or less, state of play with GPT which rendered the following chat : Holly Rogers in a paper 'sounding the gallery ...' states ' Previous audio-visual practices, such as
lantern shows, music theatre, opera, synaesthetic experimentation, early direct
flm, and so on, were intermedial primarily at the level of reception. Te electro-
magnetic basis of early video technology, on the other hand, gave rise to sound
and image that shared a linked material channel. Tis channel enabled audio and
visual elements to be recorded and transmitted simultaneously, allowing a level of
synergy rarely before possible' Discuss
ChatGPT said:
Excellent quote — and a very insightful observation from Holly Rogers.

Rogers is drawing a key distinction between earier forms of multimedia (like magic lantern shows, opera, or synaesthetic experiments) and the new form that video introduced.

Let's break down what’s meant here:

1️⃣ Previous practices — “intermedial at the level of reception”:
Rogers says that in these cases, the combination of media (say, image and sound) was an add-on or a juxtaposition — the two were separate signals presented together in a performance or a setting.
Picture a silent film with a pianist accompanying it, or an opera with sets, acting, and orchestration — the media are related, but they're not physically intertwined.
This kind of combination relies on the perception and imagination of the spectator or listener to bring them together, or upon the expertise of a composer or projectionist to align their delivery.

2️⃣ The material basis of video’s synergy:
This is Rogers’ key observation: with video, a new form of media synergy emerges from their shared material medium — the electromagnetic signal.
Picture a video camera — it converts both light (image) and sound into signals that are encoded together on tape or electronic media.
This process inherently merges the two streams of information, tying their fates together.
This forms a kind of synergy — a structural unity — instead of a juxtaposition.
Picture a music video or a video art piece where audio and video are not separate signals but a single stream of data.
This lets artists synchronize and manipulate both together in ways previously unavailable.

The significance:
This synergy opened up new creative possibilities for media artists.
Instead of adding a soundtrack after the fact or manually syncing media, the signal itself maintains their temporal relation.
This forms a kind of integrated audio-visual medium — a medium in which sound and image are co-dependent and co-created — reflecting the growing technological and artistic convergence.

Summary:
Before video: media were attached externally or juxtaposed.
With video: media are generated together and are inherently unified at a structural level.
This forms a synergy “rarely before possible”, allowing for greater creativity, expression, and complexity in audio-visual art.
If you'd like, I can go into depth with examples from video art, installation practices, or specific artists who exploit this synergy. Just let me know!

You said:
Rogers concludes ' Te Epilogue then brings us back to the present day, tracing the various lines
of infuence that early video has had, not only on recent video work and gallery
evolution, but also on the development of gaming, audio-visual apps, and con-
temporary modes of music consumption. ' Explore contemporary modes of music [ audio-visual] consumption
ChatGPT said:
Excellent observation — Rogers is noting how the innovations stemming from early video’s audio-visual synergy continue to ripple forward into our current media landscape.
Let's break down some key contemporary modes of audio-visual music consumption that reflect this influence:

🔹 Music Videos and Visual Albums
Today, many artists release visual albums or extensive video content alongside their recordings (Beyoncé’s Lemonade, Frank Ocean’s Endless, or Travis Scott’s multimedia productions). This directly evolves from the synergy Rogers highlights — where image and sound are designed together, not separate.

🔹 Streaming Platforms with Audio-Visual Integration
Spotify’s Canvas, Instagram Reels, TikTok, and YouTube enable artists to augment their songs with short video loops or creative clips. This merges their audio and visual expression and helps foster greater engagement and context for their work.

🔹 Gaming and Interactive Audio-Visual Experiences
Rogers points toward game design as a key form influenced by these innovations.
Today’s games (like Fortnite, Roblox, or Cyberpunk 2077) blend sophisticated soundscapes with cinematic visual worlds — a form of synergy made possible by their shared digital medium.
This is not just background; the two are often integrated, influencing each other to produce a unified experience.
Some games even feature virtual concerts (for instance, Travis Scott’s or Ariana Grande’s shows within Fortnite) — turning a game into a hybrid medium for musical performance.

🔹 Apps and Interactive Audio-Visual Tools
Apps like GarageBand with video overlays, Luma Fusion, or VJ software enable artists and producers to create and perform integrated audio-visual sets in real time.
This further democratises the form, putting sophisticated tools in the hands of independent creators — a direct manifestation of the synergy Rogers traces back to the advent of video.

🔹 Live Audio-Visual Performances and VJ Culture
Some DJs and electronic artists perform alongside a VJ (Video Jockey), adding a reactive, real-time video stream to their sets. This forms a form of collaborative expression where both media respond to each other and the energy of the crowd.
This practice shows a continued trajectory from early video’s ability to blend signals toward a fully integrated form of multimedia performance.

🔹 Social Media’s Short-form Audio-Visual Culture
Instagram Stories, TikTok, Snapchat — these are platforms designed for short-form, audio-visual expression, often by non-professionals, with extensive effects, filters, and soundtrack selections. This democratization signals the pervasiveness of synergy in daily media consumption — it's not just for specialized artists or large studios; it's for everyone.

Summary:
Rogers’ observation resonates profoundly in today’s media landscape.
We see a shift toward fully integrated, multimedia expression across numerous platforms — from games and apps to social media, from live performance to recorded content.
This forms a rich ecosystem where sound and image are not separate elements but intertwined from their very inception — a direct legacy of the synergy made possible by early video technology.

If you'd like, I can go into depth with case studies (Beyoncé, Travis Scott, TikTok trends, VR concerts, etc.). Just let me know!

You said:
we , aka myself and GPT , discussed the future of the experience of the audio-visiual , a few weeks ago and the future seems to be a kid of immersive co-experienced 'production ..aka a collaboration between 'creators' and 'consumers ' ..explore this further
ChatGPT said:
Excellent — you’re touching upon a crucial trajectory for the future of audio-visual media: the blurring of the boundary between creator and consumer and the rise of collaborative, co-created, immersive experience.

Let's break down what that might look like in greater depth:

🔹 Collaborative Co-Experience

This future you’re describing moves away from the classical model where a creator produces content and a passive consumer simply watches or hears it.
Instead, we’re entering a space where the consumer is a participant or co-creator — adding their own creativity, their own perspectives, their own data — into the experience.

🔹 Technology Enabling Co-Creation

This is made possible by technologicial innovations and platforms:

Virtual reality (VR) and augmented reality (AR) enable individuals to collaborate within shared worlds.
Generative media (with the aid of algorithmic tools, or even large language models and creative AIs) lets users produce or modify content in real time alongside the “original” makers.
Web3 and blockchain technologies enable co-ownership, attribution, and a way for contributors to be recognized and rewarded for their creative participation.
🔹 Examples and Use Cases

Picture:

Interactive concerts where the audience controls the lighting, the set-list, or even adds their own musical motifs alongside the main performer.
Movies or games with branching storylines influenced by the choices of the collective — where spectators vote or collaborate to determine the trajectory.
Collaborative art spaces (like VR art galleries) where multiple users can sculpt, draw, or piece together multimedia formations in real time.
Generative cinema, where a group feeds its own data (photos, stories, recordings) into a algorithm, yielding a unique “movie” each time.
🔹 Theoretical Significance

This points toward a shift in authorship and creativity:

Decentralization — creativity is not concentrated in the hands of a few, but dispersed across many participants.
Relational creativity — the significance emerges from relationships and interactions instead of a solitary genius.
Process over product — the main experience lies in the process of co-creation and interaction, not in a finished artifact.
This resonates strongly with Deleuze and Guattari’s view of creativity as collective, rhizomatic, and process-oriented, where formations emerge from many nodes and connections.
It also resonates with posthuman perspectives that view human creativity as entangled with nonhuman and technical components.

🔹 Political and Cultural Impact

This collaborative form signals:

The dissolution of rigid distinctions between producers and consumers.
The ** democratization of creativity and media** — a redistribution of power to a community of makers.
The opportunity to foster new forms of collective imagination, especially in a world increasingly divided by algorithmically enforced filter bubbles.
The potential for more empathetic and shared worlds, where creativity brings people together instead of isolating them in separate media spaces.
🔹 Final Note

This trajectory you’re describing — toward collaborative, immersive, co-created media — is not pure fantasy.
We already see its traces in games, social media, VR worlds, and interactive art.
This signals a profound transformation in the way we produce, consume, and experience media — from solitary spectatorship toward collective creativity.

✨ If you'd like, I can go into greater depth with case studies (for example, Travis Scott’s Fortnite concerts, Marshmello’s VR events, Roblox games, collaborative films, or social media campaigns with extensive community participation).
Would you like me to do that? Just let me know!

You said:
Travis Scott’s Fortnite concerts, Marshmello’s VR events, were 2020/2019 have they or others explored other technologies since then
ChatGPT said:
Excellent observation — you’re completely correct that Travis Scott’s Fortnite concerts (2020) and Marshmello’s (2019) were trailblazers, but the landscape’s been evolving quite a bit since then.
Here are a few more recent and forward-thinking examples of collaborative, immersive, co-created media events and the technologies they're employing:

🔹 Ariana Grande’s Fortnite “Rift Tour” (2021)

While following a similar format to Travis Scott’s 2020 event, Rift Tour went further in its cinematic and dream-like experience — adding game-specific quests, collectible cosmetics, and greater interactive elements.
This shows the ongoing evolution toward games as a platform for shared, co-created media.

🔹 Roblox’s Collaborative Concerts (2021–present)

Roblox has become a powerful platform for collaborative, game-like concerts and media events featuring Lil Nas X, Royal Blood, Twenty One Pilots, KSI, and more.
Roblox lets players influence their own view and interaction with the event, adding a degree of co-creation.
Some concerts enable fans to vote, collect badges, or customize their experience — reflecting the growing role of the community in shaping the event itself.

🔹 The Metaverse, VRChat, and Horizon Worlds (2021–present)

Meta’s Horizon Worlds and VRChat enable people to collaborate, perform, and celebrate together in fully customizable spaces.
Artists, clubs, and collectives frequently construct virtual worlds and perform within them, allowing for much greater interaction and creativity than pure spectatorship.
This is a key expression of collaborative co-creation — the community itself constructs the setting in which media is performed.

🔹 Motion Capture, Volumetric Capture, and AR

Some companies and artists are employing volumetric video and AR technologies to enable more realistic and flexible collaborative media.
For instance:

Jean-Michel Jarre’s VR concerts, rendered with real-world 3D scans and realistic lighting, enable spectators to move through the space alongside the performance.
The Madonna + Beeple collaboration (2022) used motion-capture, AR, and digital sculpting to produce collectible media art with a heavy community participation component (with collectible drops, community voting, and shared spaces).
🔹 Generative Audio-Visual Spaces and Collaborative Tools

Some platforms are developing collaborative, generative spaces where multiple people can influence or co-create the media in real time.
For example:

MODA (Museum of Digital Art) and its group workshops enable collective creativity through shared VR sculpting sessions.
Generative art platforms like Art Blocks or Glitch enable multiple contributors to produce unique, algorithmically generated art alongside or with their community.
🔹 AI-assisted Co-Creation

AI is adding a further dimension — platforms enable users to collaborate with Generative-AI tools (like Midjourney, Runway, or Stable Diffusion) to produce media together.
This might manifest in:

AI-assisted character design for games or VR worlds,
Generative soundscapes that respond to collective inputs, or
Collaboratively produced stories and films made by multiple contributors alongside an algorithm.
🔹 Political and Cultural Impact

This collaborative media signals a move toward:

Decentralization of creativity and media ownership,
Higher engagement and loyalty from communities,
The blending of entertainment, creativity, social interaction, and digital artistry in a way previously unimaginable.
This forms a new cultural commons — a space where media is not something made by a few and consumed by many, but generated collectively by many.
✨ If you'd like, I can go into depth with case studies, technical details, platform comparisons, or even a forward-casting view (speculating what might come in the next 5–10 years). Just let me know!

You said:
all of the above
ChatGPT said:
Excellent — let’s go into depth with case studies, technical details, platform comparisons, and forward-casting.

🔹 Case Studies in Collaborative, Co-Created Audio-Visual Experience 🔹

Travis Scott’s Fortnite Concert (2020) — a turning point
Platform: Fortnite
Technology: real-time game engine, custom character models, sophisticated event scripting
Interaction: Players not just spectators — their game avatar moves, reacts, and gestures alongside the performance
Collaborative experience: Everyone shares the moment in a collective space, a blend of game, social platform, and live show
Cultural significance: It opened up a new format for the co-creation of media events — turning the game’s community into collaborators in the experience itself.
Ariana Grande’s Rift Tour (2021) — adding depth and interactivity
Platform: Fortnite
Technology: real-time rendering, elaborate environmental effects
Interaction: Players could team up, collaborate on quests related to the event, collect collectible cosmetics, adding a form of participatory creativity.
Collaborative experience: The event’s narrative incorporated the players’ own movement and choices, adding a game-like dimension.
Roblox Collaborative Concerts (2021–present)
Platform: Roblox — a game platform designed for users to create games and worlds
Technology: User-generated worlds, extensive scripting, custom collectible badges, cosmetics
Interaction: Players influence their experience — choosing cosmetics, participating in games, quest-like events — adding their own creativity to the experience.
Collaborative experience: The community itself contributes worlds, games, and social spaces for the event, turning it into a participatory media ecosystem.
Meta’s Horizon Worlds and VRChat (2021–present)
Platform: Meta’s VR platform (Horizon) and VRChat (open social VR platform)
Technology: VR, multiplayer worlds, custom scripting
Interaction: User-created spaces enable clubs, concerts, art shows, and collaborative workshops
Collaborative experience: The community itself constructs much of the content — worlds, games, art, stories — adding their imagination alongside the platform’s capabilities.
Cultural significance: This signals a move toward a fully decentralized media ecosystem powered by its users.
Jean-Michel Jarre’s VR Concerts and Madonna + Beeple’s Collaborative Digital Art (2022)
Platform: VRChat (Jarre) and digital art platforms (with Madonna + Beeple)
Technology: Volumetric video, AR, 3D sculpting, collectible drops (NFTs)
Interaction: Audiences could move within the space, view art from different perspectives, and collect collectible digital art — adding a participatory dimension.
Collaborative experience: The lines between creator and consumer blurred, with the community adding their own collectible stories, interpretations, and creations alongside the main event.
Generative Audio-Visual Spaces (MODA, Glitch, Art Blocks)
Platform: Digital art platforms employing generative code (MODA), Glitch, or Art Blocks
Technology: Algorithmic art, collaborative coding sessions, real-time rendering
Interaction: Multiple contributors collectively produce art and stories in real time
Collaborative experience: This form shows us a future where media evolves through collective creativity — a kind of decentralized authorship — instead of following a solitary artistic genius.
AI-assisted Co-Creation
Platform: Midjourney, Runway, Stable Diffusion, and other generative-AI tools
Technology: Text-to-image, text-to-video, real-time collaboration platforms
Interaction: Large groups can collaborate by adding prompts, choosing from generated variants, and sculpting the final piece together.
Collaborative experience: This merges human imagination with algorithmic creativity, turning the process into a collective enterprise — a form of media made by many alongside the machine.
🔹 Forward-casting (5–10 years) 🔹

Looking forward, we can anticipate several significant trends:

✅ Full-dimensional worlds powered by VR and AR:
Collaborative media will move toward fully immersive worlds where people can gather, perform, create, and consume together — a true Metaverse of media expression.

✅ Generative media woven into social routines:
Generative-AI will enable mass co-creation — for games, stories, concerts, art, films — making creativity a social activity alongside communication.

✅ Platform interoperability:
We’re likely to see greater interoperability — where assets, stories, and creations can move smoothly from one platform to another — fostering collaborative worlds without borders.

✅ Democratization and new business models:
This will enable creators to monetize their contributions directly (with collectible drops, badges, tokens) and enable collaborative ownership (with community-controlled intellectual properties and shared profits).

✅ Enhanced senses and physical interaction:
Tech like haptic suits, brain-machine interfaces, and realistic VR will enable people to physically feel their media experience alongside their friends, adding another dimension to collaborative creativity.

🔹 Summary 🔹

We’re currently experiencing a profound transformation in media — away from passive consumption toward collaborative, participatory creativity.
This evolves from a world where the media is made by a few for many, toward a new era where media is made by many alongside many.
This resonates strongly with Deleuze and Guattari’s view of creativity as a network-like process — a rhizomatic form — without a clear center or boundary.
The result might be a decentralized media landscape powered by collaborative imagination, algorithmic creativity, and shared spaces.

✨ If you'd like, I can generate a more granular comparison table, a timeline, or even a list of key companies, artists, or innovators in this space. Just let me know!

You said:
all of the above
ChatGPT said:
Excellent — let’s go for the granular comparison table, a timeline, and a list of key companies, artists, innovators, and platforms.

🔹 Granular Comparison Table of Collaborative Audio-Visual Experiences 🔹

Event/Platform Technology Interaction Model Collaborative Experience Notable Innovation
Travis Scott’s Fortnite Concert (2020) Fortnite (game engine), real-time rendering Players attend alongside their friends’ avatars Large shared experience — collective view Paved the way for game-native concerts
Ariana Grande’s Rift Tour (2021) Fortnite Players team up to complete quests, collect cosmetics, move together Collaborative quest-like experience alongside a cinematic show Introduced game-like interaction alongside a musical event
Roblox Collaborative Concerts (2021–present) Roblox platform (game-creation + social platform) Players create worlds, games, badges; social interaction is fully collaborative Collaborative media is both made by users and experienced by users The community controls much of the content
Meta’s Horizon Worlds and VRChat (2021–present) VR, 3D worlds, scripting Players collaborate to construct worlds or hang out together Collaborative spaces enable bottom-up creativity User-created worlds form a vast media ecosystem
Jean-Michel Jarre’s VR Concerts (2022) VR (with high-fidelity 3D and surround sound) Audience moves within the space alongside the performance Collaborative, shared experience adding depth to the medium Volumetric imaging lets people appreciate the event from multiple perspectives
Generative Spaces (MODA, Glitch, Art Blocks) Algorithmic art, code, decentralized platforms Collaborative coding sessions, communal art generation Collaborative creativity, many contributors adding to a collective piece Highlights algorithmic co-creation
AI-assisted Co-Creation (Midjourney, Runway, Stable Diffusion) Text-to-image, text-to-video, generative models Large groups collaborate by adding prompts, choosing from variants, or training models together Collaborative algorithm-assisted creativity Opens up media production to non-experts
🔹 Brief Timeline 🔹

2019 — Marshmello’s Fortnite Concert — first large game-native media event
2020 — Travis Scott’s Fortnite Concert — mass experience with game-like interaction
2021 — Ariana Grande’s Rift Tour — adding quest-like elements and greater collaboration
2021–present — Roblox’ collaborative concerts and games — platform for many-user creativity
2021–present — Meta’s Horizon Worlds and VRChat — collaborative world-building
2022 — Jean-Michel Jarre’s VR Concert — volumetric, cinematic experience
2022–present — Generative spaces and algorithm-assisted collaborative art (MODA, Glitch, Art Blocks, Midjourney)
🔹 Key Companies, Artists, and Innovators 🔹

✅ Companies/Platforms:

Epic Games (Fortnite)
Roblox Corporation (Roblox)
Meta (Horizon Worlds)
Valve (Steam VR, VRChat)
Unity and UE (game engines)
Generative platforms: Midjourney, Runway, Stable Diffusion, Art Blocks, Glitch
✅ Artists/Creative innovators:

Marshmello — first large game-native concert
Travis Scott — cinematic, game-like performance
Ariana Grande — adding quest-like and collectible components
Jean-Michel Jarre — blending high-fidelity VR, volumetrics, and cinematic artistry
Beeple & Madonna — collaborative collectible art
Generative art collectives (MODA, Glitch) — reshaping creativity through code
AI-assisted creative communities — Midjourney, Stable Diffusion, Runway collaborators, many independent digital artists
✅ Summary:
This trajectory signals a profound transformation in media, from passive consumption toward active, collaborative, participatory creativity.
Artists collaborate directly with their audiences — or even enable their audiences to become co-creators — employing game engines, VR worlds, generative algorithm, and social platforms.
This forms a rich ecosystem where media evolves collectively, reflecting Deleuze and Guattari’s view of creativity as networked, process-oriented, and decentralized.

✨ If you'd like, I can produce:

A comparison infographic or timeline you can reuse in your own presentations,
A list of case studies with in-depth data (like number of participants, technical stack, and revenue), or
A short essay framing this in philosophical terms (Deleuze, Guattari, or related perspectives).
✨ Just let me know!