Encouraged by the results of Trace Aureity, the next experimental work in the project was able to be realised as a result of a request from Dr. Gary Zabel, who teaches at the Philosophy department of the University of Massachusetts, Boston, to create a work for his New Caerleon art gallery in Second Life, as part of his Virtual Art Initiative.  The resulting work was titled One, Another. Visually this work was a large flat platform constructed of tiles in various saturations of pink. These tiles chose their own saturation levels based on distance from the centre, or heart, of the platform. Users could either wander around in the work to interact with it and trigger behaviour, or simply wait for the artificially intelligent elements to start doing something. The work consisted of several instances of these elements, including nine nodes that spawn little artificial lifeforms at random intervals, or when approached by an avatar. The spawned artificial lifeforms wander around purposelessly in a purposeful manner, seeking to connect with one another, but always failing to do so since they have not been provided with a parameter framework that would allow them to, until they either hit Second Life's grey goo fence (a Second Life-wide algorithm that detects self-replicating entities and prevents them from self-replicating too many times in order to prevent system overload) or delete themselves randomly. The sounds, of which there were 103, were produced according to the same rational scale, or harmonic system, that I had developed for Seventeen Unsung Songs, based on ratios of whole numbers to seven (ie, 8:7, 9:7, 10:7 and so on).

Conceptually, One, Another extended an exploration of the notions raised by another of my works, Moaning Columns of Longing, which questioned the nature of love in a digital environment by exploring concepts of self-organisation, transference, lack, desire. In Plato's "Symposium", Diotima tells Socrates that Love is the child of Poverty and Resourcefulness. She tells him that Love takes after his mother and is "always poor; far from being sensitive and beautiful, as is commonly supposed, he's tough, with hardened skin" and he "always lives in a state of need." On the other hand, taking after his father, "he schemes to get hold of beautiful and good things. He's brave, impetuous and intense" (Plato, Symposium 39-40). Diotima then goes on to explain to Socrates how love is essentially a lack, a desire that must be, but cannot be, filled by the other. Slavoj Zizek calls this "an excess in its very heart", and then quotes Jacques Lacan as saying "what the one lacks is not what is hidden in the other", and therefore love is based on an illusion that the encounter of these two lacks can successfully create a new harmony. It is part of the Lacanian idea of the big Other, which exists only as a subject's presupposition to help guarantee the consistency and meaning of the subject's experience (Zizek 66-67). On the other hand, Julia Kristeva writes in Tales Of Love, that

imagination is a discourse of transference - of love. Through and beyond desire that longs for immediate consummation, love is edged with emptiness and supported by taboos. The fact that today we have no love discourse reveals our inability to respond to narcissism. Indeed, amatory relationship is based on narcissistic satisfaction on the one hand, on idealization on the other.... For transference, like love, is a true process of self-organisation. (Kristeva, Tales of Love 178)

In composing the parameters for One, Another, I attempted to apply these concepts of lack, transference and self-organisation to the formal construction of the work. As with Trace Aureity, traces of the user's movement within the work were amplified and multiplied audiovisually. Taking on a volition of their own in interacting with the work, this resulted in similar feedback loops of interactions triggering other interactions, until the point that insignificant actions on the user's part created a complex branching out of interactive and audio visual consequences that would sometimes resonate for hours afterwards as the artificial entities played out their own data-derived versions of transference, lack and self-organisation. This continued the experimentation with the interdependency of sound, vision and data within the interactive realm of multi-user virtual environments, along with a formal methodology of investigating harmonic structures audibly independent of the well-tempered scale, and visually exploiting the unique properties of the digital colour spectrum. As Elizbeth Grosz says, "Each of the arts is concerned with a transmutation of bodily organs as much as it is with the creation of new objects, new forms: each art resonates through the whole of the sensing body" (Grosz 82). In this, Grosz is following Deleuze, who says "In art... it is not a matter of reproducing or inventing forms, but of capturing forces. For this reason no art is figurative. The task of painting is defined as the attempt to render visible forces that are not themselves visible. Likewise, music attempts to render sonorous forces that are not themselves sonorous" (Deleuze, Bacon 40).