Visual Art is any art that can be seen or touched; rockware, drawing, painting, sculpture, design, markography, markee-making, and architecture; other disciplines are performing, concepts, and textiles; industrial design, graphic design, fashion design, interior design, and decorative art.
The advent of the axico-reader allowed the youth of the Second Ramaxian Gen to create and share artistic works; there are dozens of museums across Ramaxia (the highest concentration in Vanda) that display digital artwork, on hanging Axical Boards.
The first visuals came from the original Bizaki responsible for making plates, bowls, bags, and clothing. Visual images depicting scenes from one’s mind or memory were first drawn out in caverns throughout Ramaxia using pigments found in the Femaki’xirpaxul; many paintings can still be seen on the western coastal caverns and in old settlements along the Artery that are no longer open to the citizenry.
Early artistic expression began with crafts, and body display; the original Hizaki architects drifted from the housing designs contained in Femaki’xirpaxul and began constructing new designs, with aesthetic appeal, and for ergonomic use. Unused dirtoxian-gems brought back by Bizaki, were given to Subaki that had no practical use for them, until Subaki began making elaborate settings, and cutting the gems. Subaki created an industry around the stylized pieces given to Zaxiri they wished to birth their donations. Ramax Gen Zaxiri were the first to wear jewels in their hair, clothing, and around their arms and necks.
First-Gen Marixi were the first to enlist Bizaki to stain the skin on their heads. In the era of the Second Gen, Bizaki with time between the poles were recruited to tattoo the heads of Marixi scouts with sea and wildlife, elements and natural wonders; things witnessed only between the poles. Some officers wanted designs that reflected their potent or dangerous, nature. Also during the era of the Second Gen, helovx-music brought back from between the poles and displayed for listening in museums, brought variety to the musically inclined femmar. The first original audio recordings broadcast for consumption occurred during the donational years of the Fifth Ramaxian Gen.
When the Tegal Sound Hall opened in Pikalit, live shows were recorded and broadcast to the RCS on a program called the Bizaki Blast Brigade. Musicians sent in music from all over Ramaxia for broadcast on the ‘Triple-B,’ and it was the first digital network to stream music on new axico handheld devices. The Bizaki Entertainment Bureau began after the ascension of the Fifth Gen, and some of its channels transmitted live events recorded on the first-generation caster-recorders. These shows were played back in parks, bars, restaurants, and the new commuter SLIDS. Larger recording units called ‘Digital Casters‘ sprang up in Vanda. These recording cameras allowed performing arts to transition from a traveling culture to a permanent one; recorded plays and films sprung up overnight, along with staged musical performances. Digicasters recorded scripted rehearsed and performed material, with clear sound and crisp definition. Production studios were built throughout Vanda, sending their content to broadcasters in Pikalit. Satellite streaming carried forty-two music, news, and entertainment stations (including Triple-B), from broadcast centers in Pikalit to devices throughout Ramaxia.
The advent of the Bivelox allowed for the creation of small-scale art and content, and the development of the interHive, brought reality programming into the realm of performance art. Citizenry filmed events began with the advent of the Maruk, and its latest incarnation, the Filmark.
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