Exploring “The Garden” – a virtual dream in two chapters.

There’s something about bubbles. Their fragile curves. The way they catch light. Their invitation to float, drift, and disappear.

The Garden began as a dream of building soft spaces — not just to see, but to feel and move through. Born in the metaverse platform Mona and built using Blender and Unity, it evolved into a two-part virtual experience: part art gallery, part game, part stage, and entirely immersive.

🌌 Chapter 1: BUBBLES – Portal Hugs & Superjumps

This chapter was a spatial sketch of joy. Visitors were invited to jump from bubble to bubble, discovering vertical layers of the world: suspended pathways, sky altars, secret vistas above the clouds. Every bubble triggered a super-jump — a gentle mechanic that invited exploration, reflection, and perspective-shifting.

BUBBLES won a Mona Challenge for "Portal Hugs & Immersive Experiences" and still feels to me like an open poem. It was my first attempt to build a space where the architecture responded to lightness.

🌌 Chapter 2: AWARENESS – Kabbalah Mandalas & Sound Rituals

This second chapter turned inward. Co-created with another artist, AWARENESS became a sonic ritual and interactive puzzle. Visitors had to avoid roaming “bubble entities” and find safety within nine static mandala-bubbles. These mandalas — inspired by the Kabbalistic Tree of Life — unlocked the central portal, where a sound installation awaited.

Inside: a fractured voice, mine, reading a text on “constriction” originally recorded during a VFX tutorial — now reborn as a poetic echo of transformation.

Both chapters are technically unfinished, suspended like the bubbles they feature, after Mona’s shift away from metaverse development. But for me, they’re very much alive. In fact, they became the roots of Sonic Planet, my ongoing virtual universe where sound, identity, and nature merge in a dyson-sphere-shaped symphony.

If The Garden was the inhale, Sonic Planet is the exhale.

Thanks for drifting through these bubble worlds with me.

— Argent Gold

🌿 Explore the worlds of BUBBLES and AWARENESS in detail.

Introducción al concepto de la crítica a través de su comparación con el periodismo, la historia y la filosofía.

“La crítica puede no ser agradable, pero es necesaria. Cumple la misma función que el dolor en el cuerpo humano. Llama la atención sobre el estado malsano de las cosas.”, Winston Churchill, Primer Ministro del Reino Unido durante la Segunda Guerra Mundial, orador, historiador, artista y escritor y Premio Nobel de Literatura.

Sobre el pensamiento crítico, la crítica y su objetivo en la sociedad

Es gracias al pensamiento crítico, esa capacidad del ser humano de discernir y analizar el contexto actual, que podemos identificar, por ejemplo, un posible conflicto político, como las señales de una crisis económica, o apreciar en su excelencia una obra artística. Y es esta capacidad de razonar del pensamiento crítico la que toma forma y se ve expresada en el ejercicio de la crítica.

La crítica, en su deseo de llegar a formar parte de la voluntad colectiva, abarca un sin fin de temas que van desde la política hasta la religión, pasando, por ejemplo, por otros como la ciencia o el arte, y en cada uno de estos temas se ocupa de analizar sus claves en el contexto contemporáneo.

Como dice J.M. Muntaner en Introducción a la problemática de la crítica, su objetivo preferente es ayudar a mejorar la sociedad mediante una “reflexión abierta e inacabada (…) del desarrollo de una duda inicial”.

El papel del crítico y la crítica constructiva

"El papel del crítico es importante para la salud de la poesía, el lenguaje, y realmente de la sociedad”, dice Thomas Stearns Eliot sobre la importancia de la visión del crítico y su implicación.

Es por esto que, y aunque señale un problema, la buena crítica es aquella que se ejerce como constructiva, dejando a un lado intereses personales u opiniones (algo que en nuestro papel de críticos hemos de aprender a implementar) y que se expresa a través del ensayo crítico. Esto no quiere decir que sea dogmática e inamovible y que esté libre de error ya que, como dice el crítico Pierre Cabanne, "Puesto que es libre, el crítico tiene el derecho de estar equivocado”.

Sin embargo, la crítica se ha confundido muchas veces con la opinión periodística por su mala interpretación mediática, aunque guarda más similitud con el análisis histórico y la filosofía.

Crítica y periodismo

Aunque opinión periodística y crítica puedan parecer similares, no lo son en absoluto y mantienen una relación distante. La crítica (del griego kritikós, que significa "capaz de discernir") se basa en el análisis de un tema, comprometiéndose con sus argumentos, haciéndose cargo de sus efectos en la sociedad y en el marco histórico.

Sin embargo, la opinión periodística responde al pensamiento de un medio de comunicación y no tiene porqué estar ligada al análisis crítico del tema, por esto puede suponer un “nuevo modelo de juicio público” propiciado por los Mas Media, como apunta Pilar Bonet en su artículo En el Cercle de l’Art i contra la Llei del Silenci, algo que puede ser muy peligroso.

Esto no quiere decir que el periodismo no acoja a la crítica: existe la crítica periodística, puesto que esta se encuentra en todos los campos. Así pues, el periodismo puede funcionar como canal vehicular de la expresión crítica, siempre y cuando se ajuste a los estándares de esta.

Crítica y filosofía

“La crítica de arte, como la estética, responde a las urgencias del presente. Los problemas son más importantes que las respuestas o las soluciones", dice el profesor de filosofía E.F. Carrit sobre los nexos que las hermanan. Y es que la crítica, en sintonía con la filosofía, o estética si hablamos del mundo del arte, comparte con ésta la metodología analítica y la inquietud por el concepto, por la idea inherente: el camino, con sus desafíos y problemas, es más relevante para ambas que la obtención de la meta o la solución.

Immanuel Kant, uno de los padres de la filosofía moderna, relaciona en sus trabajos a ambas disciplinas mediante la "filosofía crítica”, concepto que acuña para hablar de las investigaciones de la rama de la filosofía encargadas de encontrar y fijar los límites entre metafísica y razón.

Crítica e historia

En referencia a su relación con la historia, Cornel West dijo en 1989 en Critial Reflections que “la crítica de arte es historia del arte", aunque su relación actual se encuentra en proceso divergente de especiación o especialización, puesto que lo ideal sería que la historia se centrase en la historia y la crítica abordase sólo las cuestiones de crítica.

Sin olvidar que la historia estudia nuestro pasado mientras que la crítica estudia nuestro presente, podemos decir que esta, en conjunto con la historia y la filosofía, es un "agente activo y comprometido con la conformación de una cultura viva" tal y como dice Pilar Bonet.

Como dijo Churchil, puede que la crítica no siempre guste, o que a veces se equivoque, como apuntaba Pierre Cabanne, pero es esencial para el ejercicio de la libertad e induce, promueve e invita a la reflexión del individuo sobre aquello que está pasando en el mundo, desarrollando un papel vital en la evolución de la cultura, y aunque puede compartir nexos con el periodismo, la historia y la filosofía, se desmarca de estos como herramienta analítica comprometida con la sociedad contemporánea: “¿Y qué es en el fondo la conciencia crítica, sino una predilección imparable por las alternativas?”, Edward Said, crítico y ensayista.

Algunas referencias consultadas para este artículo

• Pilar Bonet, En el Cercle de l’Art i contra la Llei del Silenci, Llocs de la crítica (la crítica i la cultura espectacular), Transversal, n. 16, Lleida, Ajuntament de Lleida, 2001.
• Cornel West, Critial Reflections, Artforum, nov. 1989, pág. 121.
• J.M. Muntaner, Introducción a la problemática de la crítica, Crítica y Arquitectura, 1999, pág. 7-10.

Notas: 
Escribí este pequeño ensayo sobre la crítica para una charla internacional que di en mundos virtuales sobre el papel de la crítica y la sociedad digital, hace eones, por allá el 2012, cuando aún era estudiante en la Universidad de Barcelona de la inspiradora Dra. Pilar Bonet, y que más tarde adapté para su publicación en un magazine digital que, desafortunadamente, cerró, con lo que dejó de estar accesible al público. Hoy me topé con él, y os lo dejo por aquí porque sigue siendo actual! 

The metaverse—an ever-evolving mosaic of virtual realms—carries the weight of humanity’s deepest yearnings for connection, creativity, and transcendence. It evokes dreams of limitless exploration, where the boundaries between the digital and the physical dissolve. Yet, as much as it promises, it remains enigmatic, elusive, a vision yet to fully crystallize. Let us journey into this intricate tapestry, uncovering what the metaverse is (and isn’t), its roots in culture and technology, and the shimmering possibilities that lie ahead.

From Metaverse Hype to the Age of AI

The initial surge of metaverse excitement reached its peak when companies like Facebook (now Meta) promised to build interconnected virtual worlds. The rebranding of a major corporation to “Meta” symbolized the seriousness of the hype. Game engines like Unity and Unreal Engine were heralded as the foundation for building immersive 3D environments. Tech giants poured resources into VR (Virtual Reality), AR (Augmented Reality), and wearable devices to bring these concepts to life.

Then AI arrived. Not just as a tool, but as a transformative force reshaping the landscape of possibilities. Generative AI enabled the creation of richly detailed environments and lifelike avatars at unprecedented speeds, breaking down traditional barriers in virtual design. Neural networks, trained on immense datasets, began to craft experiences tailored to individual preferences, offering a new level of personalization in virtual interactions. Recent advancements like NVIDIA's Omniverse demonstrate AI's potential to seamlessly simulate real-world physics, while conversational agents such as ChatGPT provide intelligent, responsive dialogue within immersive spaces. Together, these innovations position AI as the architect of a dynamic, ever-evolving metaverse, pushing the boundaries of what we perceive as reality. Generative AI, neural networks, and conversational agents shifted the focus. Instead of imagining solely VR spaces, we began thinking about how AI could create, interact with, and reshape these virtual realities in real-time. Suddenly, the metaverse was no longer a single innovation but a convergence of technologies, with AI at its heart.

What Is (and Isn’t) the Metaverse?

1. What It Is:

   • A 3D environment where individuals can engage with digital assets and each other in real-time.
   • A space for socio-economic activity, enabling virtual goods, services, and economies.
   • A platform for interaction and immersion, driven by technology like VR, AR, and AI.
   • A connected ecosystem, integrating diverse platforms, tools, and communities.

2. What It Isn’t:

   • It’s not a singular app or game. While platforms like Second Life and Roblox resemble parts of the metaverse, they don’t encompass its entirety.
   • It’s not something you can “force” into existence by simply renaming your company or slapping on the term. The metaverse requires foundational technologies, not just branding.
   • Philosophically, it cannot be “all-encompassing”. The metaverse is constrained by human biology, geography, and technological limits.

Where Is Our Brain and Senses?

Despite its digital nature, the metaverse is deeply rooted in the physical world, like a shadow cast by a blazing sun—inseparable, yet distinct. The interplay between these realms mirrors the delicate balance of tides pulled by distant moons: tethered by gravity yet swayed by unseen forces. The metaverse draws its lifeblood from the senses and neural pathways that anchor us to reality, serving as an extension of our earthly existence while offering a canvas for cosmic dreams. Our brain and senses act as the interface—mediating virtual experiences. For humans, the metaverse is an extension of Earth. Until we colonize distant planets or develop direct neural interfaces (like the cyberlinks imagined in Ghost in the Shell), the metaverse is shaped by Earth’s realities.

Building the Metaverse: The Role of VR, AR, and AI

The combination of VR, AR, and AI is critical to realizing the metaverse. Here’s how they contribute:

• VR and AR: These technologies provide the sensory immersion necessary for feeling “present” in virtual environments. VR transports users to fully digital realms, while AR overlays virtual elements onto the physical world.
• AI: From generating realistic avatars to creating dynamic environments and conversational agents, AI makes the metaverse adaptable and intelligent.

Together, these technologies push the boundaries of interaction and connection, but they also highlight the gaps in what’s possible today versus what’s imagined. A notable breakthrough is Meta’s advancements in haptic feedback technology, which aim to bridge the sensory divide by allowing users to physically “feel” virtual interactions. Similarly, OpenAI’s integration of multimodal capabilities—enabling seamless text, image, and spatial generation—demonstrates how AI is closing the gap between human creativity and machine intelligence in building immersive worlds.

Are We in the Metaverse Yet?

The short answer: not entirely. What we currently experience are glimpses—fragmented platforms like Second Life, Decentraland, or Horizon Worlds. These are precursors, not the fully realized metaverse. We’re building towards it, but key challenges—interoperability, accessibility, and meaningful immersion—remain unresolved.

Future Questions: Communication Beyond Earth

As humanity advances, the metaverse could evolve into a profound bridge, uniting distant colonies and potentially alien cultures. Envision virtual spaces enabling seamless communication with Mars settlers, exchanging stories of survival and innovation, or even initiating first contact with extraterrestrial civilizations through shared virtual symphonies of sound and light. Such scenarios tantalize the imagination yet remain speculative, requiring leaps in technology, energy, and interstellar communication far beyond our present capabilities.

Benefits and Risks of the Metaverse

1. Benefits:

   • Enhanced social interaction: Virtual spaces can foster global connections and break geographical barriers.
   • Economic opportunities: Entire economies can emerge around virtual goods, real estate, and services, as seen in platforms like Decentraland.
   • Educational innovation: Immersive learning environments can make education more engaging and accessible.
   • Therapeutic applications: VR-based therapies are already being used for PTSD, phobias, and pain management.
   • Creative freedom: Artists and developers can explore new mediums for expression, pushing the boundaries of what’s possible.
   • Case Study: Researchers at Stanford University’s Virtual Human Interaction Lab have demonstrated how immersive VR experiences can improve empathy and understanding in real-world contexts. One study found that participants who experienced simulations of physical disability through VR were more likely to support accessibility initiatives.

2. Risks:

   • Privacy concerns: With vast amounts of data being collected, the potential for misuse is immense. For example, Cambridge Analytica’s case with Facebook highlights how personal data can be weaponized.
   • Mental health impacts: Excessive immersion in virtual environments can lead to detachment from reality, as noted in studies on gaming addiction.
   • Digital divides: Unequal access to technology risks leaving marginalized communities further behind.
   • Exploitation and labor issues: Emerging “metaverse economies” may perpetuate exploitative practices, as seen with low-wage labor in existing gig economies.
   • Security vulnerabilities: As with any digital platform, the metaverse could become a target for hacking and malicious activities, evidenced by cyberattacks on VR platforms.

Cultural Inspirations: Movies, Shows, and Books

Pop culture has long shaped our vision of the metaverse. Films like The Matrix, Ghost in the Shell (with its cyberlinks), Ready Player One, and anime such as Sword Art Online, Summer Wars, and Accel World have painted vivid pictures of immersive virtual worlds. Meanwhile, books such as Neal Stephenson’s Snow Crash, Ernest Cline’s Ready Player One, and Philip K. Dick’s Do Androids Dream of Electric Sheep? delve into the philosophical and ethical dimensions of digital realities. These works, alongside lesser-known gems like Otherland by Tad Williams and the anime Dennō Coil, illustrate the allure and complexity of metaverse-like concepts, demonstrating its cultural resonance and the collective fascination with blending the virtual and real. Films and series like Ghost in the Shell (with its cyberlinks), Ready Player One, and anime such as Sword Art Online and Summer Wars offer tantalizing glimpses of immersive virtual worlds. Books like Neal Stephenson’s Snow Crash (which popularized the term “metaverse”) and Ernest Cline’s Ready Player One have expanded the concept into gripping narratives. These works explore both the promise and peril of a fully connected digital existence, highlighting the cultural fascination with such technologies.

Conclusion

The metaverse is both an emerging vision and an unfinished blueprint, where poetic imagination intertwines with scientific endeavor. Today’s scattered glimpses resemble early brushstrokes of a masterpiece yet to be painted. Realizing its full potential requires not only groundbreaking technology but also a profound shift in how humanity perceives connection, creativity, and coexistence. Ultimately, the metaverse is not an escape from reality but an intricate extension of it—a canvas where digital and physical worlds harmonize to enrich our shared existence, here on Earth and perhaps, one day, among the stars.

Some Bibliography and References

• Stephenson, N. (1992). Snow Crash. Bantam Books.
• Cline, E. (2011). Ready Player One. Crown Publishing Group.
• Biocca, F., & Levy, M. R. (1995). Communication in the Age of Virtual Reality. Routledge.
• Stanford University’s Virtual Human Interaction Lab. https://vhil.stanford.edu/
• Cambridge Analytica and Facebook Case Study: https://www.bbc.com/news/topics/cwlw3xz049lt/cambridge-analytica-scandal
• Decentraland Platform: https://decentraland.org/
• VR and Empathy Research: Stanford University. https://stanfordvr.com/pubs/2018/

Sharing some early WIP, concepts and tests on✨SPACE TRAVEL-R✨, a music video chapter I'm working on from my art-game project Sonic Planet.

*End result may differ from this early concept

 #sonicplanet #conceptart #3dart  #AnimeArt  #musicproduction  #b3d  #unity3d  #ue5 #Metaverse #AIvideo #creativeprocess #inspiration