Kids These Day in Second Life

Lex Machine (Archetype11 Nova): Kids These Days

It’s been over a year since I’ve written about the work of Lex Machine (Archetype11 Nova), perhaps one of the most engaging visual artists within Second Life. Part of the reason for this gap is that I understand Lex has been on something of a hiatus. Even so, his most recent installation opened back towards the beginning of July, and to my shame, I came very close to missing it.

Kids These Days takes as its topic the changing face of childhood; of the truth that even in so-called developed nations, children are all to prematurely being made to “put away childish things”, and deal with the “realities” of life. Before they are old enough to understand who they are, they are being forced to focus on “who they want to be”; before they can really understand if who they want to be reflects who they actually might be, they are being cajoled into confined tracks of thinking and discourse, channelled into taking decisions that are ill-equipped to understand – or which are patently harmful to their core self.

Lex Machine (Archetype11 Nova): Kids These Days

Of course, for many children the world over, this is very much a fact of life; they are from the earliest age forced into marriage and/or to bear children or take up arms on the basis of tribal or ethnic fealty. Day in and day out, they are forced into situations we in the west correctly view as abhorrent. But until now, those of us in developed nations have managed to remain aloof to all of this secure in the belief it couldn’t happen here.

Only it has; as noted, kids these days are subjected to pressure beyond their years. Some of this can be blamed on “the Internet”, and that dark and mysterious world beyond the computer and mobile device screen, and the increasingly role of the toxic and utterly partisan worlds of social media.

Lex Machine (Archetype11 Nova): Kids These Days

But more insidious than this is the fact that in many respects adults and parents are now making the situation worse for; just take, as two example: the matter of gender and the matter in which many on the religious right are determined to suppress any and all acceptance of anything but “male” and “female; and the blatant disregard the majority of adults today have for the environment, thus forcing those for whom we should be stewards in safeguarding the world, to fight for a future world where they can live without fear of climatic or other repercussions.

All of these ideas are explored within Lex’s Kids These Days through a series of individual, but interconnected vignettes. Some of these are – in his trademark and captivating way – on a massive scale, while others are of a more natural avatar-based size – and perhaps as a result, easier to miss.

Lex Machine (Archetype11 Nova): Kids These Days

Some of the latter might bring to mind the innocence the “childhoods past” – the locomotive suggesting playing with toy trains; a blanket set with cushions, parasol and the delights of a panic representing carefree family days out, adventures by car to new worlds to explore; the presence of cars themselves referencing time when teenager years were about engines, racing, personal freedom and escape, and not – as is all to frequently the case today – a focus of political activism or having to “rebel” in order to be recognised. Others offer commentary on the pressures piled on kids today – the demands that they “gain the keys of success” and “unlock their potential”; demand that all too often leave youngster forced to bear of drag weights of expectation they are ill equipped to carry.

The larger vignettes, meanwhile, offer a more immediate focus, speaking as they do to the central theme. Here we find pieces depicting the way technology can carry young minds to concepts and worlds they are ill equipped to handle. Scattered around the landscape stand Crow Demons, symbolising the many predators – criminal, psychological, familial, political, and so on, waiting to prey on young minds and bodies. And, in the midst of them stands a clown-like pied-piper, representing adults the world over touting their pipes of conformity over their young.

It is among these that Lex offers his clearest and most succinct observation about the future of kids across the globe being born into the world of today, a sentiment that should stand as a warning to us all for the way we continue to abuse our offspring.

Lex Machine (Archetype11 Nova): Kids These Days

Kids These Days is rich its visual expression and powerful in the manner in which it presents its subject. It is also – for those like me who are confirmed admirer’s of the artist’s installations and regions builds – a place that offers numerous Easter Eggs to Lex’s past works, some of which where build when he was known by a different name(!).

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An Endless: Birdlings Flat in Second Life

Endless: Birdlings Flat, July 2022 – click any image for full size

It was back to Endless:, the Full private region held by Sombre Nyx for me recently to witness her latest design inspired by a physical world location. For this build she has turned to the southern hemisphere, and a country for which I have a certain fondness; for reasons I’ll not bore you with here.

Birdlings Flat takes its name from a settlement in Canterbury, New Zealand, at the eastern end of Kaitorete Spit and the southern end of Lake Forsyth, where the lake discharges to the sea. It’s a place of rugged natural beauty named for the Birdling family, the first European settlers to farm the area.

Endless: Birdlings Flat, July 2022

In her About Land notes, Sombre describes the setting thus:

Inspired by a small and isolated coastal settlement in the South Island of New Zealand, Birdlings Flat offers wide vistas, unkempt fields, a pebbled coastline strewn with driftwood, a sprinkling of science, and a chance to find stillness.

However, prior to the arrival of William Birdling and his family, the area was called Te Mata Hapuku, with Birdlings Flat nowadays used to specifically in reference to the  pebble beach on the ocean side of Kaitorete Spit, a location well known as a place to find small agates and a variety of other attractive rounded pebbles.

Endless: Birdlings Flat, July 2022

Designated as a rural settlement, the area actually thrived for a time as a centre of farming, even gaining its own branch of the local railway, connecting the area to the nearby town of Lincoln to allow for easier shipment of goods and produce. This line became known as the Little River Line when it was extended to another settlement (called by that name in the 1880s), and while the line was closed in 1962 and the tracks torn up, the route today is known as a public walking and cycling track called the Little River Rail Trail.

Over the years, the area has seen various uses – it is popular for those carrying out coastal studies, and the the waters are known for the presence of significant number so Hector’s dolphins and can be used by southern right whales, while during certain times of the year, fur seals and (occasionally) elephant seals can be found along the pebbled coast.

As well as coastal studies, the area was once used by the University of Canterbury for meteorological studies, the university establishing a weather station there for several years. Birdlings Flat has also been used for launching sub-orbital sounding rockets, using the US-built Arcas (All-Purpose Rocket for Collecting Atmospheric Soundings) system. These launches also fall under the prevue of the University of Canterbury, which also established a radar station in the area to monitor rocket flights and the airspace around the launch area.

Endless: Birdlings Flat, July 2022

The latter forms a part of Sombre’s build, which encapsulates the small, rural nature of the location and its tiny community (in 2018, the local population was just 195) whilst also capturing the rugged nature of the landscape and life along this coastal area  simply but perfectly. It’s not a setting one needs to wax lyrical about, because it speaks very eloquently for itself, and exploration and photography within it are both a delight.

However, in order to reach Birdlings Flat, visitors must go via the region’s Landing Point, and this once again presents visitors with the opportunity to visit not one, but two settings within the region. This is because Sombre is once again joined by Jackson Cruyff, who offers people the chance to visit his Forest.

Occupying a sky platform some 2,000m above the ground-level setting of Birdlings Flat, Forest presents a wooded environment somewhat mindful of the North American continent rather than anywhere antipodean; a place left to the wilds and where assorted animals and wildfowl might be found wandering and / or circling over head. It’s a place where people can simply roam and find refuge, and also – for those who look – places to sit and contemplate.

Endless: Birdlings Flat, July 2022

Two easy-on-the eye settings; one offering a rich depth of background on one of the more remote parts of the physical world few of us are likely to have the opportunity to visit.

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An Underwater World at Le Monde Perdu in Second Life

Luane’s Underwater World, July 2022 – click any image for full size

It might not seem that long since I last wrote about LuaneMeo’s Luane’s World – largely because it isn’t; I covered the spring look to the region just a couple of months back, in May 2022 (see Spring 2022 at Le Monde Perdu in Second Life).

However, I have good reason for returning so quickly to the region of Le Monde Perdu (The Lost World), because Laune, again working with Gorba McMahon, has made the Summer 2022 build a place to be enjoyed by both land lovers and those who enjoy dipping under the waves in either human form or as merfolk, as she presents Luane’s Underwater World.

Laune’s Underwater World, July 2022

With this iteration, the setting presents a south-facing arc of land sitting with its back to the rest of Luane’s estate, which embraces a wide and relatively deep bay within its protective arms. The south-facing arc of the land forms a sweeping curve of sun-bleached sand with many places set across it for people to sit or cuddle as gulls wheel and turn overhead, and waves break gently against the sloping sand.

Behind the beach, the land rises sharply but not precipitously or to great height; just enough to present stepped uplands sliced into from the north by a tight inlet, and whose grassy hills carry a suggestion of this being a Mediterranean setting, courtesy of the Tuscan style villas, houses and outlands scattered across them. Furnished within and showing outward signs of being occupied, these are actually public spaces as well, offering further places to sit and pass the time – and, as with the beach, plenty of opportunities for photos.

Luane’s Underwater World, July 2022

However, do be aware that behind the villa occupying the north-east lowlands, there is a trail and bridge leading into the neighbouring regions of the estate. These regions do have private residences scattered across them, so do please take care to avoid trespassing when wandering in that direction.

Throughout the landscape, there is a gentle sense of peace and of time passing slowly; a vibe that this is a place where nothing seems to happen as the minutes and days tick one to the next. But dive into the waters of the bay, and it becomes apparent something has happened here at some point. Caught in the arms of the land and sheltered under the waves is a world which at one time lay above the waters that now guards it.

Luane’s Underwater World, July 2022

This is a place rich in colour, with corals and anemones bloom, oysters hold great pearls, shark, fish, dolphin and turtle swim – and the ruins of an ancient civilisation stand in silence, the wooden wreck of a once proud sailing ship close to hand.

Exactly what caused this place to drown and when it happened is unclear – and actually unimportant; for who is to say this place was ever once above the waters of that bay? Perhaps the ruins and statues here were not carved by human hand, but by those of the merfolk they appear to celebrate?

Laune’s Underwater World, July 2022

What is clear is that here, among the corals and anemone, watched over by sea creatures great and small, are many more hiding places where lovers can rest in one another’s arms, photographers can find ready to be used within their arts, and those who simply want to sit and pass a little time can find peace. Some of these may well be out in the open and easy to spot, but others are tucked away and may require a little effort to find – but it will be time well spent, and are welcoming to both human and merfolk.

As always, Laune’s World offers much to see and appreciate with this Summer 2022 build, and I recommend that rather than reading my twaddle, you go see for yourselves!

Luane’s Underwater World, July 2022

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Traci’s Formless in Second Life

ArtCare Gallery: Traci Ultsch – Formless

Currently open through to mid-August 2022 at ArtCare Gallery, curated by Carelyna, is Formless, a collection of 24 monochrome collages by Traci Ultsch, built using photographs and paintings, some or all of which might just be unfinished – hence the title: Formless.

Traci is typically self-effacing about the art on show, stating:

This exhibit follows on from the ‘Crash’ and ‘Overdose’ works from 2021 in being concerned with more personal subjects, this one specifically dealing with more recent events … They are not what they are. Or maybe they are, who am I to tell anyone what to think about any of this. Maybe it’s just a self indulgent ego driven attempt at getting attention in some over dramatic way.
ArtCare Gallery: Traci Ultsch – Formless

For those who may not have witnessed either Overdose (reviewed here) or Crash (reviewed here) these were very personal pieces (Overdose dealing with the two faces of addiction, Crash a exploration of the nature of art and its relationship with both the artist and the observer); heady and rich subjects for exploration. Here, the pieces are – on the surface – more esoteric in nature; but they are far from being merely an attempt to gain attention, offering as they do a richness of expression and reflection on the likes of life, love, human nature, age, and relationships.

To start with, let’s take the manner in which they images have been set out; a huge amount of consideration has been given to theme, point and counter-point. Grouped into sets of three, each set with its own collective title. These triplets have then bee set out in pairs, two sets of three per wall, each pairing linked by their respective titles, which offer a mix of counter-point to one another (e.g. Just Like Heaven / Just Like Nothing) or a continuation of a central idea (e.g. Don’t Wake Me Up / I’m Dreaming of You).

ArtCare Gallery: Traci Ultsch – Formless

Within the individual sets of three is a richness of metaphor that helps direct one to thoughts on the ideas of love and life, age, relationships, and so on. Some of these are richly expressive in their simplicity of approach, yet deeply layered in potential meaning.

The left and centre pictures within I Wish You Were Dead, for example, with the twisted shape (shrivelled leaf? slug?) offer both an evocation of the central wish in the most visceral of ways (assuming the object is a slug), and also – with it’s shape mindful of female genitalia – a cruel twist on the wish focused on barrenness / loss of sexuality.

ArtCare Gallery: Traci Ultsch – Formless

However, there is a risk that in saying this much, I an artificially constructing a framework around these pieces outside of the artist’s core intent – which may equally be to offer a series of pieces we can chose to interpret through the lens of our own life experience and the events that have most recently affected us. As such, I’ll close my ramblings here and encourage you to visit formless via the SLurl below.

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A Rain-Washed Soul in Second Life

Rain-Washed Soul, July 2022 – click any image for full size
Rain-Washed Soul is an immersive sound environment nestled into nature, complete with guided meditations, Tibetan singing bowls, and of course the soothing sounds of rain and thunder. Have a cup of tea, meditate, relax and be one with your surroundings while listening to the healing and renewing sounds of rain and thunder.

So states the Destination Guide entry for this little setting, a part of The Nature Collective, designed by Emm (Emmalee Evergarden), and it was more than enough to guide me to Rain-Washed Soul.

Rain-Washed Soul, July 2022

Located on the northern arc of Heterocera, and tucked between Route 6 and the railway (with access directly off of Route 6), this is a parcel-based setting intended – as the description above suggests – to create a little haven of peace and retreat for those who need it.

The landing point for the locations sits on a covered boardwalk that effectively links the two halves to the setting, which overall has an east-west orientation.

Rain-Washed Soul, July 2022

To the west, surrounded by trees and with its back to the neighbouring parcel (reached through a gate in the fence), is an A-frame retreat, reached via a walk through a light tropical shower. It offers a place of meditation for individuals or groups, with a cosy little shelter for two close by. This is a place rich in local sounds, and visitors are encouraged to turn up in-world sounds and try the local bells, etc., to appreciate the local soundscape.

At the eastern end of the boardwalk the land is a little more open, with a stone terrace with a little information kiosk, together with places to sit, waterfalls, and a further immersive soundscape, with everything watched over by the local wildlife.

Rain-Washed Soul, July 2022

As with all locations connected to The Nature Collective, Rain-Washed Soul is participating in TNC’s summer hunt (July 18th through 21st, 2022) – details available from the signs within the setting.

A simple, charming little place to visit, with plenty of opportunities to recharge the batteries and forget worries!

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Abyssal – the art of Abyss Artful in Second Life

Kondor Art Centre – Into the Future Gallery: Abyss Artful

Abyss Artful is one of Second Life’s foremost avatar photographers, with pieces so highly regarded they have been used in the promotion of events such as SL19B. Her work – available on Flickr – centres on sci-fi /cyberpunk and fantasy, although not necessarily exclusively so, and all of which are rich in narrative.

Given Abyss has been active in Second Life for 13+ years, and has a deserved reputation for her work, it’s perhaps surprising to learn that Abyssal 1, currently on display at the Into The Future gallery at the Kondor Arts Centre, is the first exhibition of her work Abyss has mounted in-world.

Kondor Art Centre – Into the Future Gallery: Abyss Artful
Some 30 pieces are presented across the gallery, from the lower flower through the mezzanine catwalk to the roof. They may not have been produced specifically for this exhibition  – but this does not meant there are any the less for being seen. Rather the reverse, in fact, as the selection offered brings home the sheer richness of expression and story Abyss puts into her work.

These are genuinely pieces that do not require extended exposition on my part; each one marvellously speaks for itself. So, this being the case, I’m going to shut up and encourage you to go see for yourselves!

Kondor Art Centre – Into the Future Gallery: Abyss Artful

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