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.
Please use the above settings.
on the LEA Blog
Reblogged from Living in a Modemworld
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.
Revamping for Fall
Syndicated Post from MOSP
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.