Cica’s new Fairy Tale in Second Life

Cica Ghost – Another Fairy Tale

Cica Ghost opened her latest installation on Saturday, March 7th 2020 for a month-long run. Entitled Another Fairy Tale, it offers a continuation of ideas first presented in Fairy Tale in 2017 (see: Cica’s Fairy Tale in Second Life), introducing a new family of fantastical creatures scattered across a twilight landscape.

Like Fairy Tale, this installation is introduced with a quote by a writer of tales, with Cica using words from Hans Christian Andersen: Everything you look at can become a fairy tale and you can get a story from everything you touch, and such is the evocative nature of the scene that for anyone who visited Fairy Tale, the intervening years between it and this installation simply vanish, and it is as if we’ve turned a page in Cica’s magical story and arrived at the start of a new chapter.

Cica Ghost: Another Fairy Tale

But while the original featured a somewhat bleak and barren landscape with columns of rock and branches bereft of leaves vied to reach the sky, here we are in a garden setting, where tall flowers point their colourful petals towards the darkening sky, and leafy vines droop their way around rocks even as flowerless shoots also rise towards the clouds scudding overheas, the ground beneath them mottled and covered by verdant, moss-like grass,

Within this setting reside creatures fantastical, some seemingly born of the land, some of the sea and some of the air; some with legs and / or wings, others limbless or with forelegs ans sinuous tails. Many are quadrupeds, some with cloven, hoof-like feet, with or without claws, others with foreleg appendages that appear to be capable of manipulating other objects.

All of them are united in the facial features, which range from the almost bovine (at first glance) of some through to the very anthropomorphic looks, the latter most noticeable in the winged creatures, graced with very a human-esque placement of forward looking eyes above a nose-like snout that in turn sits above a lipped mouth. All are faces suggestive of intelligence and awareness, eyes occasionally focusing on visitors, expressions set in frowns at being disturbed or what might be smiles of greeting.

Cica Ghost: Another Fairy Tale

How and where these creatures evolved is perhaps part of the region’s story. There is a suggestion that while some are now quadrupeds, they mostly share a heritage born of the surrounding waters, and that even now  evolution is being witnessed as those with sinuous tails or bodies are adopting to life ashore, growing forelimbs – or they are at least given to being equally at home on land or in the sea. This idea is aided by another creature that rises slowly from the waters just offshore,  as if gradually worming its way ashore, while nearby, a second, massive creature (a wonderful combining of mesh elements and the region’s terrain on Cica’s part to give it form and life) raises its bulk and head above the waves to look down on the landscape like a mother watching over her brood at play.

Whether this is a land of our own planet but hidden far, far, away from everyday human affairs (as can be the way of fairy tales) or is perhaps part of another world entirely is something also left to the imaginations of visitors. For those who like the interactive elements of Cica’s builds, be sure to mouse around; sit and dance points are waiting to be found within flowers and close to some of the land creatures, while grabbing a leg of one of the flying chaps will take you on a journey across the region, revealing many of its delights and curiosities – such as the Jaws-like rocks pushing up from the grass their open “mouths” partially lined with “teeth” revealing they are nests and home to as yet flightless version of the airborne creatures.

Cica Ghost: Another Fairy Tale

Imaginative, whimsical, and delightful, Another Fairy Tale is a delightful continuation of a trips through Cica’s worlds of the imagination. Do be sure to at least enable ALM when visiting to appreciate her always considered use of lighting projectors and materials.

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Celebrating International Women’s Day in Second Life

Celebrating International Women’s Day in SL

Sunday, March 8th marks International Women’s Day, 2020, a global opportunity to celebrate women’s achievements while calling for greater equality.

Held on March 8th  each year, IWD is over 100 years old, the first official event being held in 1911, IWD is a focal point in the movement for women’s rights, and is marked in multiple ways around the world, and in many countries is now a recognised holiday or holiday for women.

The theme for this year’s IWD is #EachForEqual, a call for gender equality, and the the day will be marked in Second Life at Celebrating International Women’s Day in SL, a series of events throughout the day organised and hosted by the Confederation of Democratic Simulators (CDS). The these will comprise music, dance, live performances and interactive activities.

The core entertainment comprises (all times SLT):

  • 09:45 – opening with MC DJ QT, who will be playing a range of music from the blues through to contemporary songs and music between Debauche sets.
  • From 10:00 – Debauche Dancers: Debauche combines outstanding choreography, creative stage settings, gorgeous costuming to present artistic entertainment that has been pleasing audiences across Second Life since its first performances. Whilst having a core rooted in burlesque, Debauche also incorporates many other dance styles in order to present a memorable theatrical experience for its audiences.
  • 14:00: Aleykat: Aleylia Resident is a highly regarded singer in SL who takes listeners on a musical journey, her range including upbeat pop, classical renditions and timeless material.
Celebrating International Women’s Day in SL

In addition visitors to CDS are invited to:

  • Visit the Making Wave Exhibit: over the last 300+ years, women made enormous strides in establishing for themselves a place of their own in the world, achieving legal and political equality throughout much of the globe. A great deal of this success has derived from the power and insight lent by the rise and ongoing evolution of Feminism. Making Waves chronicles the historical contributions of Feminism to the continuing struggle for social justice, acknowledging the past while looking ahead to the future of the women’s movement.
  • The sharing Wall: a wall of posters for YOU to participate in! Bring your favourite poster or images and you’ll be able to set them up for display on our Sharing Wall! It’s free, fun, and can be thought-provoking.
  • The Doodle Board: a chalk board for visitors to play on.

About the Confederation of Democratic Simulators (CDS)

Currently comprising six regions, the Confederation of Democratic Simulators (CDS) is the oldest, continuously-running democratic estate in Second Life.Loose themed on Germanic, Alpine, Tuscan, or Mediterranean styles, the regions present an all-encompassing government based on citizen participation, with elections to the Representative Assembly held each six months, and the work of the Representative Assembly supported in its work by a Scientific Council.  This governing structure is not role play, as might appear to be the case: it is more a residents co-op, not unlike the way apartment buildings are managed in real life, where every landowner is a “citizen” and is granted the right to vote and be elected to manage the overall space.

Among the goals for this project are: to enable ownership of high-quality public, private, and open-space land; create a themed yet expressive community of public and private builds; and implement novel democratic forms of self-government within Second Life.

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2020 SL project updates week #10: TPVD and CCUG

Countryside, January 2020 – blog post

The bulk of the following notes are taken from the TPV Developer meeting held on March 6th, 2020. These meetings are generally held every other week, unless otherwise noted in any given summary. Also included this week are notes from the very brief Content Creation User Group (CCUG) meeting of Thursday, March 5th. These are indicated by [CCUG] appearing before them.

The embedded video is provided to Pantera – my thanks to her for recording and providing it. Time stamps are included with the notes will open the video at the point(s) where a specific topic is discussed.

In terms of the TPVD meeting:

  • The core of the meeting (10:05-45:08) revolved around specific issues TPVs that have implemented their own shader changes are encountering with merging EEP (note: not Firestorm) and views on EEP assets and permissions. In the interests of brevity, these are not recorded in the notes below.
  • The latter part of the meeting (45:15 onwards) is an esoteric, somewhat tongue-in-cheek discussion concerning on-line status.

SL Viewer News

[1:46-5:02]

  • The new Premium RC viewer, version 6.3.8.537335, was released on Tuesday March 3rd. See the notes below for more.

The remainder of the current SL viewer pipelines were unchanged for week #10:

  • Current release viewer version: 6.3.7.535996, formerly the Yorsh Maintenance RC viewer, dated February 7th and promoted February 20th.
  • Release channel cohorts
    • EEP RC viewer updated to version 6.4.0.536347, February 11.
    • Love Me Render RC viewer, version 6.3.7.536179, February 10.
    • Camera Presets RC viewer, version 6.3.6.535138, January 24.
  • Project viewers:
    • Copy / Paste viewer, version 6.3.5.533365, December 9, 2019.
    • Project Muscadine (Animesh follow-on) project viewer, version 6.4.0.532999, November 22, 2019.
    • Legacy Profiles viewer, version 6.3.2.530836, September 17, 2019. Covers the re-integration of Viewer Profiles.
    • 360 Snapshot project viewer, version 6.2.4.529111, July 16, 2019.

General Viewer Notes

  • Given the delays to EEP due to some late-breaking issues (see below), it is now possible the Lab may opt to promote one of the other RC viewers in the period between now and when EPP is ready for viewer-side release. In particular, the Premium RC viewer may be fast-tracked to release status (although the back-end support will not be activated until Premium Plus is launched later in the year).
  • The Camera Presets RC viewer remains “crashy”, and any merge with releases is currently being held pending a decision on whether EEP is ready for release or if another RC should be promoted ahead of it.
  • Viewer build tools update viewer (using the VS 2017 + a more recent Xcode version, etc.), has become “complicated” due to the repository migration, the need to update libraries, etc. As a result, and depending on the amount of work involved in the libraries aspect of the work, this may become a two-phase project: put the RC viewer out, then finalise the libraries for future builds.

Premium RC Viewer

[5:34-8:33]

  • This viewer is contains new code to specifically handle benefits information related to benefits / limits applied to accounts based on subscription level (Basic, Premium or the upcoming Premium Plus).
  • This data will in the future be provided by the server at log-in, rather than being received through an assortment of mechanisms or being hard-coded into the viewer. However, until the server-side support is turned on, the viewer code does not actually do anything.
  • Once the back-end support switch for these changes is thrown – which will not be until Premium Plus is launched later in the year -, it is possible that users on viewers / clients lacking the necessary code changes may find things like uploads failing (due to the incorrect L$ value being applied).
  • However, TPVs are encouraged to start trial integrations with the code so that they are ready to go with updates which the switch is thrown, as the code will be required as a part of the log-in process, so TPVs need to be ready for it in order to avoid users experiencing log-in issues.
  • Other than these changes and some UI improvements, this viewer is functionally identical to the release viewer, and it is anticipated it will rapidly move to release status because of this – possibly ahead of any EEP release, depending on how the final issues resolution process for EEP advances.

EEP Status and Deployment

[CCUG] The full resources of the rendering team (including Runitai Linden, recently returned to SL from Sansar) are now working on trying to solve some remaining shader issues with the Environment Enhancement Project, which is having some lighting problems that need further work

Note the with regards to EEP:

  • It is no longer a goal to make all environments across Second Life appear *exactly* as they do under Windlight.
  • Because of this, some content may look different under EEP lighting than it does under Windlight.
  • This means some region designers and some content creators may have to make adjustments to their region environments  / their content for optimal viewing with EEP.
  • There will be some known issues with EEP when it is released, but the belief is that these will be minor.
  • There will be fixes for rendering issues following EEP, mostly likely through the Love Me Render project.
  • If there are what LL consider to be “significant” breakages, then effort will be made to address these.

Fun facts:

  • The current EEP viewer (RC 6.4.0.536347 at the time of writing) has accumulated over 185,000 user hours thus far, and has a crash rate 2% below the current LL release viewer.
  • Over 600 Jira issues have been filed against EEP, the vast majority of which have been cleared by LL.

ARCTan

[CCUG]

Project Summary

An attempt to re-evaluate object and avatar rendering costs to make them more reflective of the actual impact of rendering both. The overall aim is to try to correct some inherent negative incentives for creating optimised content (e.g. with regards to generating LOD models with mesh), and to update the calculations to reflect current resource constraints, rather than basing them on outdated constraints (e.g. graphics systems, network capabilities, etc).

This project is in two phases:

  • Phase 1: viewer-side changes, primarily focused on revising the Avatar Rendering Cost (ARC) calculations and providing additional viewer UI so that people can better visibility and control to seeing complexity.
  • Phase 2: provide updates on in-world object rendering costs, etc., using the avatar ARC methodology as a basis for this work.

Status

  • Vir’s  fix for the appearance / Bake Service issue he encountered appears to work within the text environment he has created, although it is still awaiting a QA thumbs-up
  • The next element of work he is anticipating is putting together a “version 2.0” of ARC calculations, which may use a similar scheme to Animesh.

In Brief

  • [8:49-10:05] viewer updates: a reminder was given that users should update to recent viewer updates from the Lab / their preferred TPV on a regular basis, as necessary changes (such as the Premium RC updates plus others in the pipeline) will mean that older viewers lacking the necessary code will cease behaving as expected in certain ways.
  • The next CCUG meeting will be on Thursday, March 28th, and my summary of that meeting will likely be back in its own separate blog post.

Lab Gab 16 summary: marketing Second Life

via Linden Lab

The 16th edition of Lab Gab was live streamed on Friday, March 6th, featuring three members of the Second Life Marketing team: Brett Linden, the Lab’s Senior Director of Marketing, Darcy Linden, Performance Marketing Manager and Strawberry Linden, who was also acting in her role as the show’s host.

The official video of the segment is available via You Tube, and the following is a summary of the key topics discussed and responses to questions. Note that this is not a full transcript or summary; I’ve tried to keep this summary to the core discussions on the Marketing Team’s work, so be sure to refer to the video as well. Also, items provided below may not all reflect the chronological order in which they were discussed, but have been grouped together where appropriate. Time stamps are provided for those wishing to jump to a specific point in the video, which is also embedded at the end of this summary.

Note that further information on the Lab’s Marketing work for Second Life can also be found in the official blog post, The Heart & Science of Second Life Marketing, which is mentioned on several occasions during the video.

Brett Linden (l) and Darcy Linden (r) joined fellow Marketing team member Strawberry Linden for the March 6th edition of Lab Gab

Marketing Team Goals for 2020

[4:02-5:17]

  • Continue the drive for greater user acquisition (sign-up and conversions to retained users) and grow the active user base.
  • The retention focus is also on existing users – helping to keep them engaged and feeling a part of SL’s very broad “community”.
  • Helping the Second Life economy – highlighting and encouraging creativity in Second Life and the potential the platform offers in terms of creativity and potential income generation.
  • To re-energise the Second Life brand. The platform is 17 years old – no mean feat for any technology product  / platform – but that longevity  and history means that it’s important to keep SL relevant in pop culture, the media, etc., so the fact that it is still thriving is not forgotten.

General Marketing

  • [6:44-7:43] One of the major aspects of marketing material production has been SL related videos (e.g. in-house tutorials and videos exploring different regions in SL, plus the Made in SL series).
    • These have seen a dramatic increase in the volume of available videos for people to see through various channels and many of them have been localised into other languages for ease of digestion.
    • They also feed into market segmentation and efforts by the Lab to probe what resonates with users (potential, new and established) and generate greater interest / awareness in the platform.
  • [9:05-10:22] What is the target demographic LL looks at for SL?
    • LL has done analyses of audience segmentation, communities, themes, etc., and a lot of demographic data has been gathered in respect of this.
      • There is a lot of interest in the platform from the 18-24 year age bracket.
      • Conversely, with users who have spent 1,000 hours or more in SL, the age range is much broader (18 through to 60+).
    • Given the latter point, and  that as a virtual world, SL allows people to do pretty much anything they want and be whomever they wish, the Lab focuses more on breaking age barriers, and focuses on the richness of opportunities and experiences available within the platform, rather than on specific age groups, and helping communities active within SL to grow, regardless of age, race, gender, etc.
    • [46:35-47:22] That said, campaigns that are targeted for older users are being developed.
  • [24:32-25:49] Where to SL ads go, and how are channels selected?
    • Ads go to all suitable channels across the web – Google, Facebook, Microsoft, etc., and more recently Twitter and other social media.
    • Videos go to You Tube and Facebook.
    • LL always willing to experiment with new channels – social media, for example, has given “very mixed results”.
    • All advertising is subject to analysis and time has been put into enhancing the tools available for doing to and which will allow LL to extend their reach even further.
    • Part of this drive also involves identifying active communities in SL that can be used as a focus for ad campaigns.
  • [27:23-28:52] and [37:50-39:48] Is SL marketing work being localised for languages other than English? Yes. The new user video tutorial series, for example, has been translated into around 8 languages.  The same is also being done with SL ads.
  • [29:02-30:29] Why don’t SL users see these ads?
    • The fact the active SL users rarely / never see on-line adverts for SL is testament to the targeted nature of the campaigns and that they are reaching the intended audience – people who are not active in SL.
    • Advertising specific to existing users (e.g. promoting events, etc), goes via different mechanisms.
    • Investment is being made in technologies and capabilities to extend SL’s reach via marketing and potential user acquisition.
    • Most tech-literate people have heard about SL, so a portion of the work is focused on piquing their curiosity to the point where they go from reading / hearing about it to actively taking a look.
    • Some of this has been geared towards encouraging former users to log-in once more.
    • Work is also focused on audiences who may not be aware of SL.
  • [32:22-35:23] What is happening with regards to more organic marketing?
    • LL wants to to curate, create or assist the SL community in strong word-of-mouth marketing, including high-quality social media content.
    • Also looking at possibly using non-paid product placement opportunities with established TV programmes and media channels to more directly pitch SL.
      • An example of this that unfortunately didn’t go ahead, was the potential for Second Life to be placed / referenced within the British-made Black Mirror anthology series.

Marketing Second Life’s Adult Content

[10:28-16:00]

Two core questions were asked on the subject of adult content.

  • Is there any work being done to promote adult content in Second Life, including LL working with adult content creators, bloggers, etc, plus placing ads on other adult platforms?
    • Yes, LL are cautiously looking at how to incorporate SL’s adult content into messaging. But there are major  business implications / issues associated with trying to do so.
    • For example, industry “best practices” as defined by Google, Facebook, et al, tend to be conservative / limiting in what they will allow with advertising, which can impact both how LL can promote adult content and how effective any campaign might be given the restrictions other platforms have in place vis. adult content.
    • There are also serious consequences LL have to consider if they promote adult content through other platforms in the wrong way – such as losing complete access to a mainstream channel for advertising SL as a whole.
      • [58:15-59:24] The reason SL does not have a Twitch presence is because Twitch will not countenance any risk of adult content appearing on their platform. This is something the Lab is attempting to redress via discussions with Twitch.
    • Nevertheless, LL is testing more “provocative” messaging in some of their romance related campaigns – on of the more successful of their promotional campaigns in terms of click-through and possible audience capture.
  • Will adult content be promoted alongside / as a part of major SL events such as the SL Birthday, or promoting those adult regions that are thematically landscaped, or offering adult bloggers blog roll support?
    • For those logged-in to SL, either in-world or places like the Marketplace, it is possible to opt-in to seeing information related to Adult products, places, etc. via search, through the Maturity ratings.
    • There is also a Destination Guide category for adult content, allowing for the rules on image types, etc.
    • In terms of SLB and adult content, Marketing cannot speak for the Product Operations team, but how adult content might be handled vis-a-vis SL17B is something that is on Patch Linden’s radar (see also: Lab Gab #15 summary: the Moles, Patch SL17B and more).

Increasing User Retention

[18:56-24:30]

  • A good part of the marketing work is not just running campaigns and hoping they will draw users, but actively monitoring campaigns – how well / poorly they perform – and carrying out a range of testing (from simple A/B testing through more complex multivariate testing) to provide direct feedback on campaigns allowing them to be constantly refined and improved.
  • Testing also encompasses all aspects of the user sign-up process, landing pages, etc., that sit behind ad campaigns (collectively the join flow that carries an interested party from an ad through the sign-up process and (hopefully) in-world).
  • This has resulted in upticks in both sign-ups and users arriving in-world.
  • Testing initiatives also extends into the active user base (e.g. the rez day e-mail campaign) to see how the Lab can more positively engage with its existing users.
  • In terms of further plans  / activities related to user retention, The Heart & Science of Second Life Marketing provides more information on what the Marketing team is and will be doing.
  • In terms of how existing users can help SL grow, the easiest, most effective way to it tell others about the platform, what you do, invite them to give it a go and be there to help them and help get them involved.
  • [25:50-27:22] Most SL ads focus on a specific genre / theme – so why don’t users following those ads go to a related sign-up process with suitable default avatars and arrive in-world at locations that reflect the theme of the ad?
    • Lab has run several experiments with community matching between ads and sign-in / arrival in-world.
    • However they are dependent on a wide range of factors (time taken to create the relevant avatar type, work with communities in-world to ensure incoming users get the support they need on arrival, resources available at the Lab to make them happen, etc.), and so they do take time to implement.
    • Currently, much of the focus at the Lab with SL is towards other areas / requirements, so such tests are currently on hold, to be picked up in the near future.
    • The aim is very much on having people to traverse a sign-up experience and arrive at an in-world location that meets their expectations based on the ad.

Additional Discussions

  • [5:17-9:04] Lucagrabcr initiated a forum thread on SL Marketing which is mentioned in the segment, with Brett specifically picking up on the idea of “spinning off” communities into their worn worlds (“Tiny World”, for example).  In particular, while making it clear this is not on  LL’s roadmap, the idea does resonate with SL possibly having the potential to offer white label services (e.g. “Tiny World, brought to you by XYZ, powered by Second Life”).
    • Offering the platform as a white label service is actually something I thought Sansar would have been ideally suited – and early in the platform’s history, Ebbe Altberg did point in that direction. Whether it was actually promoted that way, I’ve no idea. If not, then it might stand as a missed opportunity for that platform.
  • [16:02-18:55] and [30:30-32:21] Second Life has had something of a negative stigma in the media over the years. What is being done to reverse this?
    • Negative press must be responded to on many fronts. Much of what is being put out through social media, performance advertising campaigns, the video promotions, etc., will all combine to shift such negative perceptions where they occur.
    • The community plays a role in this through positive videos that are organically created by users, blogs and other resources that help present SL’s richness, etc. user generated videos are seen as particularly effective in countering trolling videos.
    • Lab is aware that more can be done to challenge perceptions and preconceptions, and again, they see telling the stories of those engaged in the platform as a means of doing this.
  • [59:28-1:00:22] Is physical world merchandise being considered as a means of helping to promote SL? Yes, but nothing to announce at this point in time, but a review of potential merchandise, vendors, etc., has been carried out.

 

A return to Peacehaven in Second Life

Peacehaven, March 2020 – click any image for full size

It has been just over three years since we last visited Pacehaven, a setting designed by PurrBlaize. At that time Purr had just made the move from a Homestead region to occupying a quarter of a Full region (see Peacehaven – A New Beginning in Second Life and, before it, The serenity of Peacehaven in Second Life). Since hat time, Purr has once more relocated, and gained something of a larger space in which to establish Peacehaven with a new look.

Now occupying almost a 1/2 region, Peacehaven retains all that has made it an attractive visit, whilst also sharing the space with a neighbouring parcel that offers live music and events to create a feeling of even more space. It is once again an environment that demonstrates you don’t need a full region in order to create an expressive place that offers a rich amount of exploration, being almost almost perfectly put together by Purr and her SL partner BluBlaize.

Peacehaven, March 2020

Offering an aspect looking to the west, the setting has a summertime, semi-tropical look as it runs inland from the western ribbon of beach, above which the landing point sits, to form a rugged, uneven and attractive landscape cut by paths, water channels and gorges that slice between and around two central plateaus, gorges and water channel alike spanned by bridges such that while smaller than a region’s full size, Peacehaven has multiple routes of exploration that make it feel as if it occupies an entire region.

Three paths point outward from the landing point and the graystone summer house that sits alongside it. The first runs to the north, the second due east, the third to the south and east. All three actually eventually link up one to another, providing a means to tour the entire setting – although as noted, they are laid out in such a way that they don’t feel as if they are “just” a simple loop. Quite the reverse in fact.

Peacehaven, March 2020

To the north, the first path runs alongside a water channel, passing a squat fort (home to a little rooftop café) and which stands guard over a man-made causeway the extends out over the water to a waiting lighthouse. Two bridges span the water channel, one linking the path to the fort, the second to connect it with another deck that offers moorings for boats. Beyond this, the path reaches a garden pavilion sitting on the north-side beach, crouched next to one of the region’s squat plateaus.

A fence separates the pavilion from the path, but a gate allows access, and rather than being a private space as the fence might suggest, the pavilion forms a small place to hang out, a second path running due south from it to eventually become the southern path back to the landing point. Along the way it branches with a west-pointing route, and also passes under a rocky arch and colourful flowerbeds.

Peacehaven, March 2020

The southern end of this route ends in a set of steps connecting Peacehaven with the neighbouring music venue that is also available for exploration, while an ancient pointed arch indicating the path running back to the landing point. This arch also sits under the shadow of one of the parcel’s plateaus – the larger of the two, in fact – which is home to a cottage that has been a motif throughout the various Peacehaven designs. It can be reached either from a further branch of the west-pointing path, one which gently coils upwards around to sides of the plateau, or the third of the paths available from the landing point, as it passes through the summer house and then climbs up to the cottage by way of stair and tiered garden.

A bridge connects the cottage with the second plateau – the one below which the hangout hides – which is home to a half-circle ruin, another motif from previous Peacehaven builds. This also forms a place to hang out and / or dance while a final path from here snakes down to meet the west path running from the landing point to beach summer house.

Peacehaven, March 2020

All of this barely scratches the appeal of Peacehaven, which remains as much an attractive and photogenic sitting as it ever has been, rich in colour, offering a warm, natural welcome and plenty of opportunities to simply relax and recharge.

SLurl Details

FionaFei’s Impostor: reflections on art and heritage in Second Life

The Sim Quarterly: Impostor by FionaFei

Now open at The Sim Quarterly is Impostor, an installation by FionaFei that explores both her art and her heritage – and makes for a thoroughly engaging exploration of self and creativity.

A relative newcomer to Second Life and its art world, Fiona is nevertheless one of the most engaging and visually impressive artists active within the platform, her work being truly unique. I’ve personally had the delight in discovering it and in writing about it on two occasions thus far (see: Captivated by FionaFei’s art in Second Life (May 2019) and FionaFei’s shuǐmò Reflection in Second Life from November 2019), and she was recently featured in one of the Lab’s Made in SL videos, being the first film in a series that will be examining art in Second Life as a part of the Lab’s ongoing work to market and promote Second Life.

The Sim Quarterly: Impostor by FionaFei

Fiona specialises in reproducing shuǐmò ink wash paintings as 3D sculptures. Also called shuǐmòhuà (suiboku-ga in Japanese) shuǐmò, uses different concentrations of black ink to create an image. Found throughout East Asia, it first emerged in Tang dynasty China (618–907), before spreading to Japan (14th century), Korea and to India. Beside the use of black ink in place of colours, it is also marked by the emphasis of the brushwork being on the perceived spirit or essence of the subject, rather than directly imitating its appearance.

Through her installations, Fiona marvellously brings the entire essence of shuǐmò to virtual life. However, as she notes in writing about Impostor, something that causes her a certain amount of introspection about her own heritage, her art and expressionism, and her feelings of  – for want of a better word – displacement.

The inspiration behind this exhibit comes from my cultural background as a Chinese American immigrant and my technical background as an oil painter. While I am Chinese by descent, I have spent the majority of my life in the West. I have a fascination with Chinese history and culture, but I often feel like I’m viewing my ancestry through a filter of Americanized information and experiences. Furthermore, my artistic background has been in charcoal and oil painting mediums, and I’ve had very little experience in actual ink-brush painting. For these reasons, “Impostor” is meant to be a self critique and reflection of my inexperience with the actual ink-brush medium, where I feel like I’m never “good enough,” but I’m embracing it.

The Sim Quarterly: Impostor by FionaFei

Given this, Impostor is a deeply personal piece, offering us insight into Fiona’s world, her feelings and the push-pull she experiences with regards to western upbringing and her Chinese heritage. It is also an installation that again brings forth her innate skill and artistry in presenting a modern-era form of shuǐmò, one that is both evocative and rich in symbolism throughout.

From the landing point, visitors embark on a journey along a set of wooden piers set out as a walkway amidst ink washed mountains, their charcoal outline an echo of Fiona’s artistic background. They lead the way on to a large paint brush – another reminder of her background – that in turn leads naturally into an ascent up through the ink wash mountains to where a pagoda-like temple.

The paint brush forms a physical and symbolic link between Fiona’s background in art and her desire / love of classical Chinese ink-ash art that forms her bridge to her Chinese heritage. More symbols are to be found throughout the installation, several of which Fiona notes herself – the red hands (her own, desperate to reach through her art and physically touch Chinese history and its ancient cultures), the black splashes of paint that splatter the landscape (again bridges between her training in oil and charcoal and the tradition of ink wash she wishes to embrace, red flowers and black trees (the contrasting colours that she uses to emphasise her work), and more.

The Sim Quarterly: Impostor by FionaFei

Most poignantly of all, the red forest of lines and swirls that actually form the Chinese Characters 你是谁 (Ni Shi Shei? – asks “Who are you?”), a question that clearly occupies Fiona’s thoughts – and it is fair to say she is not alone in this; thus the words also touch us as we witness them. They stand as a tangled briar patch, a reflection of how thoughts of who we are can ensnare us. They also stands as a physical reminder of how easy it is to become captive to such thoughts, willingly or otherwise, depending on how our thoughts flow: touch them, and you can be set floating within their midst.  In this, they are one of several sit points that are to be found within the installation, so be sure to mouse around carefully.

Fiona views herself as an inexperienced “impostor” when it comes to ink wash painting. I beg to differ; her work both richly embraces this most ancient form of art and also lifts in to a new and evocative form of expression and storytelling, with Imposter itself a captivating installation that will remain at The Sim Quarterly until the end of May.

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