LEA11 - Fennet's Lost Kingdom of Petra is officially open
The Lost Kingdom of Petra has finally emerged from the mists of time and is officially open to the public.
Come marvel at the splendor of Al Khazneh, the magnificent treasury, carved from the red rock cliffs. Aspiring senators and other orators can practice their craft on the podium facing Petra's amphitheater. (It's recommended that you bring your own audience, however; the desert is generally deserted.)
Use caution while exploring the ruins; seismic events have weakened the stone and many structures are prone to collapse. You may also encounter poisonous reptiles and other dangerous animals. Be prepared!
Don't forget your swimsuit! Petra was built on an extensive reservoir system that remains intact today, (at least in the virtual world). I suggest you pick up a free AT Swimmer on the MP before you visit, to enable you to swim in Petra's sparkling prim water.
And make sure to bring your soulmate along; the desert has innumerable settings guaranteed to inspire a bit of romance and barefoot dancing beneath the stars.
Art Blue proudly presents IN THE GREEN, an installation by Norton Lykin. It is placed inside the giant SURREAL CUBE which spans nearly over the full sim LEA20.
The Grand Opening on November 3rd, at 1.00 PM SLT will start with a short play THE CUBE OF LIGHT and a particle performance by Venus Adored. After this the audience is invited to travel, to drift, to go with the light in a bubble into IN THE GREEN.
Norton Lykin is a highly gifted visual transformer for the mind, known from FREEDOM IN A SANDWICH, presented in July at the Surreal Tower Gallery which is curated by Juliette (JulietteSurrealdreaming).
Art Blue will bring us close to the world of Norton Lykin by words of Thelonious Jaha: „There is a place for all of us. When I first landed on the earth, I met a woman who spoke of a place beyond the Dead Zone, a place where everyone is accepted — a City of Light.“
Venus Adored worked out a performance of Light which needs special viewer settings. This is the first time the Mandel Effect will be used in Second Life. Please arrive right in time to get adjusted. See image below.
Also Ultravioltet Alter will perform live at the Grand Opening.
Have you even wanted to make your own movie theater? Maybe even a home version just for some friends?
First you need a screen -- well of course! A simple flattened prim will do or something more complex with an invisible prim as the actual screen. It is fairly easy to find instructions for getting media on a prim; the tough part -- for me anyway -- was figuring out how to get rid of YouTube's "next related video" insistence. Most of those films were SO not related. That's definitely not an elegant way to present your work.
After a lot of experimentation and searching, logic won out and I discovered the method by myself. So of course I wanted to share. It's easy when you know the steps.
First you need to make a playlist or add the videos you want to an existing one. See this page for step by step instructions.
You can't just link to your playlist URL to your screen; I tried that and simply got a static webpage with a bunch of thumbnails. You have to be a little tricky.
From your CHANNEL page click on the "View as public" choice (top right). The page will change and you will no longer see your page as a manager. This is important!
Once you see your channel as the general public does, click on Playlists in the menu.
From the playlists choices pick the one you want to be in your theater, then click to start watching the films in that list.
The URL in the location bar at the top of the screen is what you have been after all along. Copy the whole thing!
Back in world paste that URL into the "Home Page" area in the Media Settings - General tab. You will need to adjust the height and width of the webpage to fit nicely on your screen. My sizes should be a good starting point. Don't forget the offsets *wink*.
I turned off all user options in Customize so there is no chance of the viewers clicking on something and taking the screen off to some unassociated content. All eight films in my playlist play in order and then loop back to the beginning.
Now I don't actually expect someone to watch all eight films, but just knowing it works makes me happy.
There have been some major changes in the medieval areas of SOIL. With the addition of a blacksmith's shop the village setting is much more believable. The mystical alchemist's abode moved over to the church area and works much better there.
I haven't disappeared! Not many changes at MOSP this last week or so. Prims are in that "rare" area as I always like to leave enough for you guys to rez reasonable amounts of props and such. This little guy (and he IS tiny) will be greeting you at the entry point for awhile. He is animated and so very cute.
The only other newness is a very nice hammock in the gardener's shelter down by the raised bed garden at ground level.
My very vague plans as we move into winter are a revamp of the snow area. There is a very primmy New Mexico house with furnishing up there that could come down for a more svelte land impact build. I just need for something special to show up.
Meanwhile only a few more days to get your film into UWA. There have been some impressive works.
Long, long overdue, Peaceful Valley has new outdoor facilities. The old outhouse was made in my Bayou days - so three years or so ago. This is SO much nicer! What would have been 40 plus in prims weighs in at 4 and a few land impact points were even saved. Materials and animation make it photo and film worthy *wink*.
Bryn Oh is perhaps one of Second Life’s most respected and well-known artists. Her work spans the last seven years of SL’s history, and her installations have been visited by many in that time, whilst also making frequent appearances in the Destination Guide. Over the years, her pieces have grown from static sculptures to region-wide art-focused experiences, rich in narrative and elements of gameplay. It also spans the virtual and physical divide, having appeared at exhibitions, shows and festivals around the globe, marking her as an internationally regarded digital artist – in every sense of the word “digital”.
Such is the extent of Bryn’s work, that and in-depth retrospective is perhaps long overdue. Chance Acoustic and Art Blue have offered a modest, but attractive means of celebrating Bryn’s work through A Room for Ferrisquito. However, Bryn’s catalogue is so vast, it cries out for something more extensive.
Until recently, Bryn has fought shy of offering such a retrospective herself. However, she was recently invited to participate in the Art & Algorithms digital festival in Titusville, Florida, where she is one of a number of digital artists exhibiting their work through the festival’s digital lounge, and thus Bryn Oh retrospective 2007-2014, has been born.
This is a comprehensive study of her work, which might be said to span two locations in SL. The primary focus for the retrospective is a region-wide installation at LEA9, where visitors can explore the development of her art over the years chronologically. The second element – primarily aimed towards to the Art and Algorithms event, is an invitation for them to experience The Singularity of Kumiko on her home region of Immersiva – where she states she has instructed Mr. Zippers not to slaughter anyone should they do so!
The LEA9 installation is an immersive, multi-faceted endeavour involving elements of her work in both 3D and 2D together with information boards and links to machinina pieces on YouTube. Interestingly, most of the pieces on display are not Bryn’s own choices; as far as possible they’ve been drawn from suggestions and requests provided by members of her Immersiva in-world group.
Putting some of this together wasn’t easy, as Bryn informed me on inviting me to take a look around LEA9. “I discovered that all my really old work from 2007 etc., are now all unlinked and the prims migrated in some cases!” she said. However, if any of the early pieces on display had to be put back together, I’d say the time spent doing so has been more than worth it, because LEA 9 presents the visitor with a fascinating voyage through Bryn’s work – and more.
Those familiar with Bryn’s art over the years will doubtless recognise many of the items on display and regard them with fond memories; they may even trigger reminiscences about art, SL and more. Each year is presented in it own space or spaces, combining individual pieces with sets from some of Bryn’s more immersive, region-wide designs. Large signs denote the years as you come to them – make sure yo take the welcoming note card on your arrival, and do take your time exploring; there is a lot to see and read – and not all of it in the exhibition spaces, as noted there are a number of opportunities to watch machinima of Bryn’s work, such as the one below for Condos in Heaven.
Bryn is known for giving insight into her creations through the pages of her blog, where she frequently allows us glimpse her creative thinking. In many ways, this retrospective is a deeper extension of that process. Exploring it, I felt I was not so much looking back over her work of the last seven years but had in fact entered her “Country of the Mind”.
I make no apologies for using a fictional construct, as given form by Greg Bear, to describe my response to viewing this installation; if anything I’d say it was actually appropriate. “Bryn Oh” came into being as a way of exploring whether a digital character unaligned with any physical identity could gain acceptance as an artist in her own right; given the world-wide renown Bryn’s work has attained, there is little doubt she has achieved this goal.
But creativity is rarely purely an outward expression; through the creative process, we often define or enhance or influence or own thinking and perhaps reflect facets of our personalities back to ourselves as much as display them outwardly. As such, wandering through these spaces within LEA9 gave me the sensation that I was witnessing not only the growth of Bryn’s artistry within SL, but was also seeing the growth of her persona as a distinct entity separate from the human mind behind her. It’s as if each of the pieces on display, from the small to the large, form aspects of her “big and little selves”, to use Bear’s terminology, each reflecting a facet of her creativity and drive, which blend together and with her Primary Self – the human mind behind her – adding to her growth as a distinct personality. I actually mentioned this idea to Bryn as I toured LEA9; I’m not entirely sure what she thought of my perspective – but she seemed intrigued.
My point here is that this installation is more than just a simple retrospective display of past works; there is something very tactile about it which speaks as a voyage through the developing of Bryn as a personality as much as to the creative beauty of her work. As such, it is a fascinating place to visit and in which to dwell.
Certainly, this is an installation – a country – worthy of careful exploration. There is a visual and written richness to it that is engaging and well deserving of the time one can spend immersed within it. I can honestly say I have spent more than two hours within the installation following Bryn’s invitation, and I will doubtless be returning to it again.
The blue gardener's shed had been with MOSP since the LEA20 days and it wasn't new when I pulled it out of inventory some two years ago. I have been planning on a redo of that area for some time -- and honestly hoping to find a nice little mesh replacement house.
That didn't happen and so this week I made a new one patterned after one I saw on the web which I would love to have in real life. It is tiny and meant mostly as a backdrop. Filming and photography will NOT be easy in the cramped quarters, but it is very cute. And I recovered at least 80 prims -- a bonus.
The house moved up the hill a bit and there is now a very festive apple bobbing (and eating) area down by the --- APPLE TREE! How appropriate is that?
Other new area seating includes some lovely willow chairs with nice animations and a fun stoop by the new birdhouse.
Opening in Second Life at the Rift Horizon Gallery on Wednesday September 3rd at 08:00 SLT is an exhibit by Chance Acoustic entitled A Room for Ferrisquito, featuring elements of Bryn Oh’s work from the period 2008 through 2011, and which will be marked by a special presentation by Art Blue.
The room is situated over the gallery, so if you arrive at ground level, use the teleport sign to reach it. The oval room offers an intimate display space, with images of Bryn’s work, as photographed by Chance, framed around the curved walls, and The Consumerist Sherpa sitting on one side of the floor. Overhead, the Beetlebot presides from a high perch, watching everything.
However, the focal-point for the exhibit is Ferrisquito, an angelic-appearing character, who can be summoned via a wall panel close to the “door” into the room. When summoned, he’ll acknowledge in chat, then duly arrive and stand on a pose ball. Once there, he’ll rez elements of Bryn’s work, displaying them on the floor space around him and sometimes overhead in the upper gallery area which can be reached via the staircase, allowing them to be viewed and examined by visitors.
In all, there are 25 3D pieces of Bryn’s work to be seen, comprising: Under the Poumbrella [poembrella], Mayfly machinima, Downloading …, The Violinist, Run like a fawn, Run Rabbit Run, Mother, Feed me, Steamdragon, Wee little Steamclock, Standby, Carriage, Consume, Poumbrella, Pouncing Fox, Confused eyes, Bryn Oh´s bicycle, The Rabbicorn, 26 Tines, Cerulean, Willow, Angler Girl, The Violinist and Nightmare. Ferrisquito himself is a reference to the icon representing the robot theme park featured in Immersiva, while the room in which the pieces are displayed is seen by the Art Blue and Chance as a time capsule, designed to keep the pieces forever safe and available for display for as along as Second Life exists.
In keeping with this idea of time, the exhibit’s opening will feature a short play by Art Blue entitled Knowing. Lasting 20 minutes, it involves a story of time travel, an attempt to uncover the secrets of life, and the discovery of Bryn’s work; all of which is narrated by an owl, Nervual. Following this, visitors will be invited to enjoy Chance’s images of Bryn’s work, and witness the arrival of Ferrisquito, ready to reveal the 3D pieces he carries with him. Visitors will also be invited to collect a special book of images and text from the exhibition as a keepsake of their visit.
Following the opening of Ferrisquito in Second Life, Art Blue will also be hosting an exhibition on Metropolis grid featuring the room, together with two of Bryn’s 3D pieces – the Beetlebot and the The Consumerist Sherpa, – for which he has had special permission to transfer to Metropolis grid. The exhibit will form part of his Vulcanicus OpenSim art time capsule.
This opening on Metropolis grid will be marked by a special event in which Art Blue will call the room and its surroundings into existence before his audience, the artist giving form to a new “world”. Those wishing to attend the event should contact Thirza Ember via the HG Safari Facebook group, as sitting is limited for the performance.
Open now through until the end of July 2014 at LEA23 is Sniper Siemens’ brilliant installation Second Life History, a glorious walk through the platform’s past, marvellously presented in a series of visual vignettes which recapture events which are bound to be both familiar and new to Second Life residents.
From the landing point, one is invited to tread a watery path through a partially submerged park, only the trees, lamp posts and railings visible, the route leading the way from the gates and 2001, through successive years charting the highs and lows of Second Life’s past and present, before climbing a set of stairs towards the open door of the future, and the promise of the Lab’s “next generation” platform.
Along the way you can meet a Primitar (looking rather broken and forlorn, lying in the water) and various characters who point the way to different events and occurrences represented by information boards and self-contained scenes which evoke those moments of history and / or the emotions to which they gave rise.
So it is you can learn about (or recall, if you’ve been around long enough) such events as the initial Second Life closed beta in 2002, the opening of the gates to all in 2003, the tax revolt later that year, the arrival of the Linden dollar as a virtual currency and the advent of free accounts, Black September (2006), the banking shutdown of 2007, the Lab’s withdrawal from paying VAT on behalf of users in the European Union, and so on.
Technical innovations are also marked, both by overhead SL version numbers, and by their own little vignettes – LindenWorld, the first viewer, the arrival of the famous blue UI, prims, pay-to-TP teleport hubs, streaming media, open-sourcing the viewer, voice, windlight, viewer 2.0, it’s all here, as well as all the more recent technical innovations on the platform.
To call the installation a delight is an understatment; if you have any interest at all in SL’s history, it is guaranteed to stir memories, raise a smile, and more. There are a lot of cheeky little touches, and one or two personal pieces; one little vignette marks the rezday of sniper’s first avatar incarnation, while further around the installation is a wonderful little poke at Philip Rosedale’s stepping-down as CEO. Similarly, the arrival of viewer 2.0 is announced by the appropriately named (given users’ reaction to the viewer’s arrival) Curveball Resident.
While exploring the build, don’t miss the web icons; clicking these will take you the official blog posts on the subject being displayed / discussed. These include the very first official blog post from Philip Rosedale in 2004.
This really is a marvellous installation, and shame on me for not having found the time to write about it any sooner. If you’ve not already dropped-in, I really do urge you to do so before the end of July; I seriously doubt you’ll be disappointed!
Given the subject matter, it seems only appropriate that I close with yet another look back at LindenWorld from August 2001.
On Monday July 21st, 2014, the University of Western Australia (UWA) announced the opening of their new combined Art and Machinima challenge, Transcending Borders, which brings together their 7th MachinimUWA and their 5th UWA Grand Art Challenge into one event.
I provided an overview of the challenge at the time, including the fact that there are prizes amounting to L$1,030,000 on offer to artists and machinima makers – and to members of the public who wish to participate in the voting process on entries.
Submissions for the challenge have already started, and FeeWee Ling, curator of the UWA’s 3D OpenArt challenges, brings word that the first two 3D art entires are now on display in the Transcending Borders gallery area above the UWA’s home regions. Machinima entires will be listed on the SLArtist website as they are received.
The entries are Transcending, by Xia Firethorn (shown above) and Union by Silva Khandr (below).
As noted in my initial coverage, there are special prizes on offer in the audience participation part of the challenge (a total of L$135,000 for audience participation in the art category and a total of L$105,000 in the machinima section). All you have to do is list your personal Top Ten entries in either the art or the machinima sections of the challenge (or both!). Prizes will be awarded to audience members whose top 10 lists most closely align to the final juried top 10. Keep your eyes on the UWA blog for details on how to enter.
For full details on the competition and prizes, please refer to the UWA blog post announcing the launch of Transcending Borders.
The challenge is open to entries through until midnight on October 31st, 2014; judging will conclude in December 2014, when the winners will be announced. I’ve always enjoyed following the UWA challenges, and with Transcending Borders, I’m particularly looking forward to seeing all of the entries, art and machinima, having been privileged with a request to join the judging panel. Hope you’ll also enjoy viewing the entries and drawing-up your own Top Ten lists.
"The events and history are into the cone of light. And then the cone of shadow hides everything and there are no more events. Everything ceases, when the event horizon appears .The night becomes the moment in which you can create an event horizon. Everything seems so different. In it superfluous disappears and only the essentials appears. What the light hides emerges and the particular becomes light in the night."
Interesting facts about this Artist:
In Real Life, Giovanna is an Italian Literature teacher and musician, and has been in Second Life since 2008. Immediately upon arriving, Giovanna began manipulating prims and soon found it her favorite place to create. June of 2009 saw her first show on Pyramid, after that there have been many, many others.
The list of them is a very impressive body of work: Pirats Art Network, Art Maniac, Studio 33, Galeria Mexico, Arte libera, Shamen Galleries, Artemis gallery, Vertex , Kelli Yap Newcomers and Friends gallery, La Quintessenza Art Gallery, Aneli's Gallery, Cuauhnahuac Gallery, Piramide Indire, PAD, Diadem, Second nation, Space art - A bottega con Arte e mente, Tanalois , Lalibela, ART GALLERY by Maryva Mayo, Astral Dreams - Gallery Art, ArtKandhor- Geyser art Space, Mare nostro, LEA art sandbox, Brooklyn is watching, Art nation, Erato of carleon, Raglan Artwalk 2010,-2011,-2012, Sun Escapes Arts Center, Scotland Art show, Blue Dolphin bay, and Portugal Lisboa. She has contributed to events related to RL, such as Arte Fiera di Padova, lodged by french artist Patrick Moya (aka Moya Janus) and attended are SLB10, SLB9 and SLB8, Art & Poetry Project, for which she exhibited at the Brera Academy, Carp Diabolus and Metales, 2LEI, a demonstration protesting violence against women.
As an extremely prolific Artist, her works continue: From November 2011 as well as exhibitions in galleries she devoted primarily to the design and construction of large installations such as: Variations On The magic flute, CyBorg Nature, for UWA Sky Sim for series, Synesthesya for Split screen and "The opposite and completion" for the Academy of Brera with a work inspired by Narcissus and Goldmund by Herman Hesse , and that was shown in the physical location of the Academy of Brera in Milan, through the projection screen. She had a third round of LEA land grant artists-in-residence endowment wheresheI presented her installation “Reflections” and work in collaboration with Solkide Auer and Daco Monday " The border of the injury” and for fifth round where she presented her installation "Arithmos". In December 2013 she presented "Fisicofollia" for the LEA FULL SIM ART SERIES.
Giovanna participated in the Burn2 - 2013, where she placed her installation "Diamonds" and at Burn2 -2012 with the artwork “Creativity”. In December 2012 she took part in the collective exhibition “Polvere di Stelle d’Arte” and in December 2013 in the collective exhibition "RED SHOES" curated by Mexi Lane in Second Life, events related to that in real life organized by Francesca Barbi Marinetti in Margutta RistorArte in Rome. She took part with her work during the “One billion rising at Second life” and at the celebration of the fiftieth anniversary of the birth of the Beatles organized by Arte libera. Pictures of her works have been included in the book “ Sfiorami l’anima”of the poet Cinzia Dipace.
If that all isn't enough, she has currently been invited to exhibit at The 7th International Printmaking Biennial of Douro_2014.PT.