Trilogia sacra, Part I, "Domus Die": No. 5. Epitaph

Make money on domud without the Internet

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    Un post condiviso da Fortnite fortnite in data: 21 Apr alle ore PDT There is a possibility that, at least for a while, they will continue to be virtual places. Since the beginning of the quarantine, we have witnessed numerous attempts to move the live experience online, but after a period of initial enthusiasm, we started to see its limits. The first problem is that supply exceeds demand.

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    The second is that the interaction between audience and performer is very often a one-way-interaction and, as much as we try to design elaborate virtual scenarios, it is hard to establish an active participation of the audience.

    Make money on domud without the Internet the example of the Travis Scott concert on Fortnite: although it was the most spectacular event in the history of online concerts, participating as a spectator was not particularly engaging.

    We are in a technological prehistory where the immersive component of virtual realities is still quite two-dimensional.

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    To make a long story short, we are far from having Ready Player One scenarios. We probably have less money and less playmates than him, but the technology we can use is now so advanced and versatile that we could also define virtual space as a second reality However, the emotional factor can be recovered at least partially by using much more elementary strategies.

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    Apart from elaborate line-ups, the streaming events that most manage to convey the warmth of real presence are those that address a well-defined community and encourage interaction between users with seemingly trivial tools such as a chat.

    There was a time when our second online lives took place in forums that served as a loss option place for people that shared the same passion.

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    Then, something changed. If there is a good time to reflect on how to reconvert our platforms to their original function, it is precisely right now.

    The concert that invites us to stay at home, presented uncritically, on a screen, lives in the illusion that things are exactly the same as before, in the denial of the collective disorientation that the new reality in which we are living involves. And this denial is just as problematic as believing that the only thing we can do is to be spectators of a mass distraction or, on the other side of the screen, the entertainers, two opposite ends of a non-dialogue that simply keep each other company in a space of fiction.

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    On the contrary, thinking about the construction of streaming events starting from the will to build, reconstruct or cement a sense of community implies an active participation and gives the virtual territory a much more concrete and almost human dimension.