Category: Art in Second Life

Ghosts on the grid; echoes in the metaverse

Posted on by Inara Pey
Ghosts of the Internet
Ghosts of the Internet

There are ghosts
and
they inhabit other grids.

They are the souls of avatars lost to us,
like echos from other dimensions,
it is said,
though no one knows for sure.

What we do know is
A weakness in the structure of metaverse
has opened
and they now
wander.

So opens the description of Glyph Graves’ Ghosts of the Internet, a fascinating installation which continues the artist’s reflections in virtual space. Fascinating, because it exists both in Second Life at LEA21 and in the Inworldz region of Translation – and those in one can see the “ghosts” of those in the other moving around, and can even converse with them.

Ghosts of the Internet
Ghosts of the Internet

The landing point at each installation provides instructions on how to get started, together with recommended graphics settings (using Firestorm as the example). There’s also a teleport to deliver you to ground level, which is more-or-less identical in both regions (Sasun Steinbeck provided a tool to help copy items between the two environments), comprising barren rock, partially flooded and surrounded by tall hills.

Within either landscape sit a series of semi-transparent otherworldly forms, with shifting colours within, which might be taken as alien crystal growths or exotic sculptures. Some of these are the “bridge” between Second Life and Inworldz, allowing communications between the two to take place. Others, spread around the borders of the landscape are the Pylons of Binding – move beyond them, and contact with “the other side” is no longer possible. Snails also roam each of these realms, and at least one is large enough to slide run over you if you’re not careful, although they are shy: touch one, and it will retreat into its shell for a few seconds.

Ghosts of the Internet - conversing with myself (SL to Inworldz)
Ghosts of the Internet – my Inworldz ghost floats before me in SL

But it is the ghosts which are really the focus here. These appear whenever someone on either side is within the boundaries set by the Pylons of Binding (although if there is no-one in the region on the other grid, no ghosts will be visible). In other words, the ghosts that appear represent avatars visiting the installation on the other grid.

Communications between world is initiated by touching a ghost (which will then become somewhat multi-hued) and then typing into open chat (you may have to wait for the “ghost” to respond to your initial touch first). Only one conversation with a ghost can be established at any given time, so if you touch a ghost already in a conversation, it will not respond to you. It is also not recommended that you touch several ghosts at once to initiate multiple conversations, as “bad things will happen” as a result (and it might get very confusing).

Be aware that whatever you say to the other person is also repeated in open chat at their end of the link, not in IM, and so will be heard by anyone else who is near them. Chat from any other avatars around you, however, is not transmitted. To terminate a conversation, or if you do not which to speak to someone on the other side who touches your “ghost” there, simply touch the appropriate ghost to terminate the connection.

Ghosts of the Internet (Inworldz) - conversing with myself (Inworldz to SL)
Ghosts of the Internet (Inworldz) – facing and conversing with my SL ghost as it appears on Inworldz

If you have accounts on both Inworldz and Second Life, Ghosts of the Internet brings a whole new level of meaning to the expression “talking to oneself”; nevertheless, it is an easy means of experiencing the installation should there otherwise be on-one else on the other side with whom you can converse. Alternatively, if your focus is solely on Second Life, you can enjoy something of the experience by having a friend hop over to Coppelia, and converse with them from the Ghosts of the Internet installation on LEA21.

As well as being a fascinating technical / artistic piece, Ghosts of the Internet carries with it echoes of the past. Remember the heady days of 2008, when a group of brave explorers set-out to move between dimensions, travelling from Second Life to OpenSim, and the promise therein? It is also – possibly – a hint of a potential future, given Ebbe Altberg’s comments on SL and the metaverse.

Both of these give the installation an added philosophical edge in terms of what might have been and what might yet be. I also found that when talking two myself between the two worlds, prompted thoughts of how the metaverse might be used as an expression or reflection of the multiverse, and our own multiple existences therein …

Ghosts of the Internet
Ghosts of the Internet

So, for a while at least, there are ghosts on the grid, and echoes in the metaverse. See them and hear them while you can. Recommended.

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Contemplating an Absence of Colour

Posted on by Inara Pey
Absence of Colour
Absence of Colour, Timamoon Arts

Art Blue recommended I make time to see a new exhibition which has just opened at the Timamoon Gallery, and which features as it subject … fractal art. Needless to say, I was immediately curious, so when an unexpected free 60 minutes popped-up I hopped over to take a look.

Absence of Colour is a joint exhibit by Milly Sharple and Ranadeep. As the name suggests, this is a presentation of monochrome and greyscale fractal art by the two artists and is, I have to say, stunning; even the setting is a continuance of the overall theme, albeit it with a slight hint of colour.

Absence of Colour, Timamoon Gallery
Absence of Colour, Timamoon Gallery

Spread across three levels, the exhibition space comprises 24 large cubes arranged eight to a level in a square around a communal area. Four cubes open onto this central communal area, and are linked to the remaining four cubes by short tunnels. All of the cubes has at least one element of art displayed within it. The interiors of the cube further reflect the title of the exhibition, alternating between white and black as you walk through them.

The entire arrangement means it as possible to wander between the cubes, crossing back and forth over the communal areas, or to enter one cube and then proceed through each of them in turn to see the displayed pieces before returning to your start point. Teleporters provide the means to move between the three levels.

Absence of Colour, Timamoon Arts
Absence of Colour, Timamoon Arts

The central level forms the landing point. The cubes here combine pieces by Milly and Ranadeep, while the upper level is devoted to Milly’s work, and the lower to Ranadeep’s. While both artists have used similar software for their work, both employing  Apophysis (although Ranadeep also uses Ultra Fractal and Incendia), their individual styles are apparent in many of the pieces. Ranadeep’s work often features bold lines and linear forms (although not exclusively so), while Milly’s often display more cursive elements and softer lines (although again, these are not exclusive to her pieces).

That all of the pieces have been rendered in black-and-white gives them a remarkable depth; some of the images in the cubes with a black interior have a particular perspective that makes the observer feel they are looking into them, rather than at them, as if they are not pieces of two-dimensional art, but actual constructs located in front of the observer and into which one might climb – or fall. The effect is both captivating and mesmerizing. It is also, while not unexpected given the nature of the art, perhaps far more heady in impact than might be the case had the pieces been rendered in colour.

Absence of Colour, Timamoon Arts
Absence of Colour, Timamoon Arts

Within each cube, as well, stand figures, male and / or female, apparently studying the pieces on display. These are as much a part of the exhibit as pieces on the walls, seeming to represent each of us as we explore and study, the subtle tones, swirls and lines on their bodies reflective of the impact the art on display has on our own thinking and perception.

This is a quite stunning exhibit, in terms of both the art on display and the manner in which it is presented. It’s not often that one encounters an exhibition where the very space in which it is presented actually forms a part of the overall work, but such appears to be the case here. Even the very subtle use of colour in some of the sofa and seats and on certain walls of the cubes, carries a meaning of their own which adds to the whole.

Absence of Colour, Timamoon Arts
Absence of Colour, Timamoon Arts

Definitely not one to miss. Highly recommended.

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Of art in hedges and sculptures under trees

Posted on by Inara Pey

ARTWALK2014_POSTER_BLOGSunday May 4th marked the start of the ninth annual Raglan Shire Artwalk.

Running through to May 25th, the Artwalk brings together over 140 artists from across Second Life in a display of 2D and 3D art ranged across four regions of Raglan Shire, providing visitors not only with the opportunity to see  photographs, artwork, and sculptures, but to also explore the Shire itself.

2D art of many kinds are exhibited along the hedgerows in the central area of Raglan Shire sim. SL sculpture works are exhibited among the trees and along the shores of the western half of Heron Forest in Heron Shire, in the park on Morning Shire and around the Athen Shire village.  TP kiosks to the display locations are throughout the grounds of the festival.

The Raglan Shire Artwalk is an excellent way to see art from a broad cross-section of SL painters, sculptors, photographers and artists, some of whom otherwise rarely exhibit their work, while others may well be very well-known. At the same time, the Walk brings with it the opportunity to discover more about the Tiny community of Raglan Shire.

Raglan Shire Artwalk 2014
Raglan Shire Artwalk 2014 (shown: art by Trinity Yazimoto)

From any of the starting points, one is free to wander the footpaths and glades of the Shire, admiring the art and perhaps meeting some of the local residents.  For those not that fond of walking,  but who nevertheless prefer not to teleport everywhere, there is also a tour guide system available as well. Simply click on one of the green spheres at an arrival point, and let the caterpillar take you on a ride around the exhibits!

The SLurls

Note that all regions are rated General.

Contemplating the art (and meaning) of time

Posted on by Inara Pey
The Timewalkers, LEA15
The Timewalkers, LEA15

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.

These words from the opening of Burnt Norton, the first of T.S Eliot’s Four Quartets, were the first to enter my head while visiting LEA15 and Solkide Auer’s The Timewalkers, an installation which encourages you to contemplate time and its meaning, as you ride a pod up through the giant clock, and upwards into the wealth of colour, pattern and light, set against the backdrop of night.

The Timewalkers, LEA15
The Timewalkers, LEA15

Riding the pod up through the installation, I personally found a strong resonance between the piece and Eliot’s contemplation of time. Time is the one immutable force we cannot deny. It rules every aspect of our lives, past, present and future. It surrounds each of us as we live our lives of colour and light.

When contemplating time in reference to our own lives, we so often we look back; wondering what might have been, had a different path been taken. So even as we look back, we also catch a glimpse of a future that might have been. Thus our thoughts themselves  span the past, present and future, even as well continue to travel forward.

The Timewalkers, LEA15
The Timewalkers, LEA15

And yet, here lies a conundrum: to be conscious of time  is to be apart from our understanding of time, for consciousness implies a fixed perspective while time is characterised by a transient relativity focused on a fixed point in the present. Yet at the same time, the contemplation of time is also the contemplation of the eternal, as Eliot himself noted when he wrote:

Time past and time future
Allow but a little consciousness.
To be conscious is not to be in time
But only in time can the moment in the rose-garden,
The moment in the arbour where the rain beat,
The moment in the draughty church at smokefall
Be remembered; involved with past and future.
Only through time time is conquered.

The Timewalkers, LEA15
The Timewalkers, LEA15

Wherever your thoughts take you, Solikide offers a stunning display, rich in colour while deeply evocative of the passage of time itself, be it through obvious elements such as the clock, the pendulum and the metronome, or in more subtle fashion through the slowly rotating circles which suggest the never-ending cycle of time, or the slow rocking of the bell-like objects hanging below them, or the colour terrible clefts which seem to fall like dying leaves, their time of growth now done, and which also carried more of Eliot’s evocative poem to my mind.

The Timewalkers, LEA15
The Timewalkers, LEA15

And what then of life and death? Time is all-encompassing, and a journey through it can hardly be devoid of thoughts on where we all are destined to travel. The symbolism here also seems apparent as one ascends up through the piece, rising towards the light, passing the “bells” tolling silently (and perhaps causing an echo of another writer’s words – those of John Donne), to arrive at a place of intricate beauty.

Wherever your own thoughts take you, do make sure you spend time – no pun intended – as a Timewalker. It’s a visually stunning installation, and one that stirs the grey matter. Recommended.

The Timewalkers, LEA15
The Timewalkers, LEA15

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Ascend through chromatic atmospheres

Posted on by Inara Pey
The Ascension
The Ascension

This project began as a self guided spiritual learning path but quickly became an all-encompassing Journey of Ascending To A Higher Place with each individual choosing how they want to perceive the experience and to what degree of Complexity and learning they choose. Life is a continuous journey of choices, represented by the many choices provided for you at many levels.

So states Tansee in her opening remarks about her new exhibition at LEA16 on Sunday May 4th.

Ascension is further described as “a celebration of colour, sight, sound and  spirit”, and presents a series of themes and ideals in the form of an exploratory journey. This starts at an underwater landing point, where you can take a note card on the installation (recommended). Seven tunnels, each a particular colour intended to represent a specific chakra, all  lead to an undersea environment which can be explored before selecting one of seven ropes and climbing up to the Ascension island.

The Ascension
The Ascension

Here one can take one of seven further tunnels, each leading out to an encircling garden which is divided into seven areas, each representing a state / mood reflective of one’s state of self (“I  Know”, “I Do”, “I Feel”, etc.). Here, different activities are presented to be shared and enjoyed, with each area having a slide show present thoughts on self and one’s being.

The circular nature of the garden, complete with path leading the way between each of the seven areas, represents the endless infinity of birth and rebirth. The areas bordering the path are intended as places where people can seek refuge, relaxation, renewal and a sense of spiritual growth.

The Ascension
The Ascension

As well as providing access to the garden, the central Ascension island offers visitors a very literal journey of ascension, flying up through a series of chakra spheres, each one offering the opportunity to learn about the chakra in question, and the emotional states associated with it. Each sphere provides a place of rest and meditation, so one’s journey need not be rushed. For those who prefer, teleport boards offer a means of moving up and down between the spheres – although I recommend flying, as it’s easy to miss things along the way when teleporting.

At the very top of the installation is a MerKaBa, a vehicle of Ascension, which it is believed can be activated by certain principles in meditation. These involve breathing changes, and mind, heart, and body changes that alter the way a person perceives the reality. A fully activated MerKaBa field enables you to turn your body into a ball of light and bring it with you as you travel between worlds on different spiritual planes.

The Ascension
The Ascension

Towards the back (north side) of the installation is the International Mountain of Peace, a place where visitors are invited to use a series of direct input boards to leave their own thoughts with the world on matters of wisdom, love, hope, peace and more, either signed or anonymously.

As well as representing a spiritual journey and an encouragement for us all to celebrate joy, compassion and understanding, and carry these ideals into the world at large, the Ascension also represents a personal journey undertaken by Tansee herself, who notes, “When I began this project in December, I was not sure what a script did, had no idea what a particle was, and did not really know how to form a group. What a Beautiful Challenge it has been! This opportunity was a facing of fears for me personally.  I wanted to prove to myself that despite my personal challenges, determination and success can and will prevail if you believe in yourself.”

The Ascension
The Ascension

To mark the opening of the installation, The Ascension will be hosting a special live performance. Sky Fires, will feature the work of Particle Tom and Lexi, with music by DJ Sunshine. The event will take place at 14:00 SLT on Sunday May 4th, on the Chromatic Atmospheres particle platform.

Related Links

Calling time on Whiskey’s shots

Posted on by Inara Pey
Whiskey Monday
Whiskey Monday, The Viewing Room

I’ve made a number of mentions in this blog on the subject of Whiskey Monday’s remarkable imagery, which has been displayed through various galleries,  has been featured in SLB celebrations and is even available in RL.

Her work is thought-provoking, intelligent, evocative, mischievous, fun, pointed, and more – and all of it is certainly some of the finest expressions of art as a medium for social and general commentary I’ve ever seen. It’s also deeply personal, much of it reflecting on Whiskey’s real life and times in a frank, honest way free from pathos while laying bare her mindset and emotions.

Whiskey Monday
Whiskey Monday, The Viewing Room

For some time now, Crap Mariner has hosted a collection of Whiskey’s pieces, both her art and her Tweets as Picture series, located at The Viewing Room on his region of Edloe, and which sits directly under The Listening Room. However, Whiskey herself has been absent from the virtual for some time now – her last blog post having been made in November 2013, while she ceased activity on Twitter and Plurk some time before that.

While it is hoped that Whiskey will make a return to Second Life, time does march ever onwards, and Crap has been contacting those who knew Whiskey to let us know that he’ll be closing down The Viewing Room in the very near future as a part of some redevelopment work on Edloe.

Whiskey Monday
Whiskey Monday, The Viewing Room

So, if you’ve not seen Whiskey’s work there in a while, or haven’t had the chance to see her work up close, now is very much the time for making sure you hop over to The Viewing Room before it is too late.