Category: Reviews

Scylla’s study of the Virtual Toxic in Second Life

Posted on by Inara Pey
Kondor Art Square: Scylla Rhiadra – Virtual Toxic
Elven Years ago, I opened a new exhibit that tackled the subject of representations of gender violence in Second Life entitled Is This Turning You On? About a month and a half ago, Hermes Kondor asked me if I’d be willing to return to the subject of toxicity and hypocrisy within Second Life.  This exhibit is the result.

– Scylla Rhiadra, introducing Virtual Toxic

Thus reads the introduction to Virtual Toxic, what will be for some, an uncomfortable exhibition at the Kondor Art Square.

Without a doubt, whilst Second Life offers a lot that is positive in life – physical or virtual; however, it also attracts the more negative aspects of human behaviour. And while other platforms also suffer from their own forms of toxicity, negativity and hypocrisy, the fact that Second Life does offer the means for positive immersion leads Scylla to frame this exhibition around a central question:

Why do we persist in replicating the flaws and toxicity of our sublunary physical existence in the virtual world as well? We can literally fly here. Why then do we fetter ourselves to the dark places on the ground?
Kondor Art Square: Scylla Rhiadra – Virtual Toxic

Thus we are presented with a baker’s dozen of images that deal with what can be seen as the more toxic – or at least darker – attitudes that can be expressed through words and activities in-world.

Virtual Toxic starts in the north-east corner of the square with Imagine Dark, a piece that offers a narrative on the fact that in entering Second Life, we are presented with multiple opportunities for discovery and expression, light and dark – and ask the question as to which we might chose. From here, the remaining images progress clockwise around the edge of the square with the last sitting in the centre. Each has a particular focus on behaviours and activities that all have an uncomfortable edge to them – sugar daddy / baby girl role-play, direct violence, rape “play”, the objectification of the female, and more. Each comes with its own text element offering  either direct or narrative context.

Each image and its associated text is provocative in the statement offered for us to consider; statements that – due to the fact they are based on physical world situations, attitudes, outlooks, activities – obviously extend beyond the virtual and challenge us to think more deeply and broadly about how we interact with one another and why we might chose to engage in actions that are in the physical world abhorrent to us and / or why we opt to display toxic / hurtful attitudes towards others.

Kondor Art Square: Scylla Rhiadra – Virtual Toxic

The former of these aspects is duly noted in one of the three information panels on the exhibit in the centre of the square (Some Important Disclaimers), which should be read when visiting the exhibit. The latter is perhaps most clearly defined in the south-east corner of the square, and the pieces My Name Is… and Gaslit.

Within the former we see reflected the fact that there are some who have an unwillingness to view others as equals / individuals with thoughts, feelings, emotions, etc; the avatar stands with face blotted out by the word Whatever. It’s a term that can have both positive and negative implications – and here is the usage is reflective of the negative / passive-aggressive form (as in, “I don’t care about you or what you have to say or feel”). Gaslit, meanwhile, references our use of words to manipulate others into self-doubt or (possibly) taking an action they’d normally avoid.

Kondor Art Square: Scylla Rhiadra – Virtual Toxic

Offered for public consumption to overlap with the UN Women’s 16 Days of Activism against Gender-Based Violence Campaign, which draws to a close on December 10th, 2021, a campaign specifically focuses on violence and abusive acts against women (1 in 3 of whom, globally, will be subjected to violent abuse at least once in her life, with that abuse extending well into digital environments, as seen through the likes of Gamergate), Virtual Toxic is an arresting exhibition. However, it is not polemic; in asking its questions – most clearly exemplified by the 13th image, Why? at the centre of the art square – it invites us to view, read and consider what is presented without undue sway on the part of the artist.

SLurl Details

Luane’s winter World in Second Life

Posted on by Inara Pey
Luane’s World, December 2021 – click any image for full size

Luane’s World is a region I’ve oft visited over the years, it being a popular destination that is always rich in detail and visually impressive through every iteration, thanks to the care region holder LuaneMeo pours into it. However, I have to admit it has been a few years since I last visited when it has been dressed for winter. Hopefully, this post helps rectify that fact.

For 2021, Luane presents a rural setting centred on a frozen body of water bordered by lowlands to the south, west and north and highland to the east, the latter also forming the region’s landing point, safely fenced off from the cliff edges and risk of falling to the lake below, while two routes of exploration extend away from it.

Luane’s World, December 2021

The first is via a high bridge spanning one of the three channels into the lake; the second takes a set of steps down the eastern slope to where the path splits north and south. The northern arm of the path points the way out for the region and into the adjoining residential regions Luane also operates, and which sit outside of this article. The southern arm of the path offers a route around the lands surrounding the lake, eventually meeting the path away from the landing point and the high bridge by the landing point.

The highlands across the bridge are home to an open air café presided over by bulldog riding mini Santas while their “little” helpers (who are a good deal taller than the Santas, if shorter than us!) take care of stuffing sacks with goodies. Alongside of them a long, snowy slope runs westwards to join the path circling the lake.

Luane’s World – December 2021

A relatively gentle incline, the slope can be walked down (or up), but for those making the descent, a sign board at the lip of the slope offers the chance to take a sled down the hill – just watch out for the gentle curve in the slope   and the slight risk of hitting some low stone marking the far side of the snowy trail!

Being frozen, the lake is ideal for skating, as proven by the penguins zipping and dancing across it (plus one Emperor Penguin who appears to have decided skis are a much better option!). Those who wish to join them ca find skates available at the little pier on the western shore, close to the box bridge crossing another of the channel leading into / out of the lake.

Luane’s World, December 2021

This pier is also home to a  – wait for it – bumper car rezzer. While this may at first sound odd, allowing for some unevenness in some the ice elements on the lake, the cars can be a lot of fun for scooting around the lake and offer three different modes of driving, depending on whether you want a quiet pootle or engage in a little friendly competition with friends – just do be aware of any skaters (including the penguins!) also on the ice.

For those seek a little respite from the cold, the lowland offer a number of places visitors can retreat into; a total of five cabins and cottages are available, all furnished and ready to offer a touch of warmth to counter the snow – although one might take a little bit of locating 🙂 . Also awaiting discovery is a cave with a touch of Christmas spirit hidden within it.

Luane’s World – December 2021
Luane’s World – December 2021

Beautifully laid out, easy to explore, rich in opportunities for photos, Luane’s World remains a delightful place to visit.

SLurl Details

Frogmore’s Swedish winter Crispness in Second Life

Posted on by Inara Pey
Crisp Kringle – Frogmore Christmas Region, December 2021 – click any image for full size

“It’s small but I wanted to be able to add details,” Tolla Crisp told me after inviting me to visit her winter setting, an offshoot of her Frogmore (and Mousehole) regions (although quite separate from them). I have no problem with small settings, even when a complete Homestead region is concerned, because small can often be better.

In the case of Crisp Kringle – Frogmore Christmas Region, small brings us a  little and engaging touch of Tolla’s homeland, as she notes in the About Land description:

A tiny Swedish Village of childhood memories, snow covered landscape, warm Fika Shoppes, and the light sound of Reindeer paws.
Crisp Kringle – Frogmore Christmas Region, December 2021

For those unfamiliar with fika is at the heart of Swedish coffee culture, a social institution involving the practice of taking a break with a beverage and snack that is widely accepted as central to Swedish life. Traditionally, it involves a cup of coffee enjoyed with a pastry, although the coffee can be replaced by alternate hot beverages such as tea and hot chocolate, and juices and squashes for children. In addition, the term can also be used to mean an informal meeting, generally within a business and between management and business.

Crisp Kringle – Frogmore Christmas Region, December 2021

Crisp Kringle offers plenty of opportunities for both. Along the little village street  can be found a little fika café where a hoot drink and pastry can be enjoyed indoors, while a couple of outdoor spots offer either hot chocolate or mulled wine for those needing a warming of the hands an tummy without necessarily wanting to stop and sit a while. And while the idea of a fika and a meeting might be couched in business, here it also relates to the way people can visit, meet, explore and enjoy entirely informally.

Crisp Kringle – Frogmore Christmas Region, December 2021

From the icy landing point, the street rises by a series of steps to pass between various small businesses (including one with a sense of being Santa’s workshop) before descending down to another frozen body of water. This is large enough to support some ice skating (skates available via a sign on the ice), with the ice certain think enough to support a lot of weight, despite someone having hack a hole through it  for some ice fishing, as evidence by the reindeer (large and small) stress testing it from time to time with heavy jumps.

Crisp Kringle – Frogmore Christmas Region, December 2021

Also to be found are cabins where further warmth can be found, together with opportunities for cuddles, or the for daring, an outdoor, coal-fired hot tub awaits.  While for those who fancy a quite skate away from the main pond and the town, a small pond sits over the hills.

Small, but with a lot of detail to be discovered and photographed, Crisp Kringle – Frogmore Christmas Region offers a nice winter setting with just a hint of Christmas to be found within it without a hint of the usual schmaltz to spoil it.

Crisp Kringle – Frogmore Christmas Region, December 2021

SLurl Details

Kraven Klees: a digital master In Second Life

Posted on by Inara Pey
Janus Gallery III: Kraven Klees

Towards the start of the year I wrote about the simply brilliant art of Kraven Klees, at the time being exhibited at Chuck Clip’s Janus Gallery I, Sinful Retreat (see: The digital mastery of Kraven Klees in Second Life). It therefore seems only right that as the year draws to a close, I return to Sinful Retreat and the Janus Gallery III, where Kraven is again the guest artist – and once again, presents a simply magnificent select of his work.

While it is a term more usually applied to the world of film and the idea of cinematic collaboration, it’s hard to look at Kraven’s digital art and not see him as a auteur. By taking photographs and combining them with both fractal generating software and assorted art genres – impressionism, abstractionism, surrealism, Kraven works subjectively to bring together multiple ideas and techniques to create pieces that are stunningly layered and narratively rich.

Janus Gallery III: Kraven Klees

Within Twisted Imagery, we are treated to all of this and more. Whether a piece utilises an iconic image as its basis – such as with Shhh, featuring Pete Humphreys’ finger-on-lips David Bowie – or offers a landscape that offers us a glimpse of autumnal warmth not only through the use of colour, but also through the manner in which the use of fractals creates a sense of flow within its lines (Autumn Road), all of the the pieces on display are an utter delight to behold. Wrapped within all them is not only a use of fractal generation, but also touches of abstraction, impressionism, realism and surrealism.

In terms of narrative, these are pieces are as equally as engaging. In some, the narrative is as layered as the piece; in others it forms a symbiosis with the art. Take Welcome My Son on the upper level of the gallery, for example, together with Peyote alongside of it. In the first, we have a richly layered narrative: there’s the natural protectiveness and comfort in the way the father is holding his baby son, the suggestion that the babe is either new or recently born; there’s then the sense of wonder and confusion in the baby’s eyes while his overall expression of calm suggests he is being comforted by that parental warmth, and finally the colours and swirls give the depth of emotion and feeling – pride from the father, and trust and peace from the child.

Janus Gallery III: Kraven Klees

Beside it, Peyote sits as a piece and title that both inform one another, working in a symbiosis that carries us into the world of native American Indians. Both evoke the manner in which the spineless cactus, rich in psychoactive alkaloids, has played a central medicinal roles in American Indian culture, and also its use without non-medicinal “vision quests”. Meanwhile, those seeking a rich presentation of surrealism need look no further than the exotic Clockhead, whilst on the lower level, 101st Airborne presents a richly evocative piece that draws on paintings that commemorate the US military, thus taking us in yet another direction.

All of the above really just scratches the surface of Kraven’s art, both as a whole and within Twisted Imagery as an exhibition of selected pieces. I say this because all of his work has a depth – in content, colour, narrative, and style – that is genuinely unique. As such, this is (again) an exhibition that should not be missed by anyone with a passion or interest in art.

Janus Gallery III: Kraven Klees

SLurl Details

A Calas Christmas Wish for 2021 in Second Life

Posted on by Inara Pey
Calas Galadhon 2021: A Christmas Wish – click any image for full size

December 2021 has arrived, and with it comes the public opening of the Calas Galadhon winter / Christmas regions, put together by Tymus Tenk and Truck Meredith, ably assisted by the Calas team.

There are many things that make the end of the year special: the holidays, celebrations, snow and more – all of which are to be found in Second Life. However, what is unique to SL, and looked forward to every year, are the Calas Christmas regions. A highlight of the season every year, for 2021, the Calas Christmas setting once again returns to a 2-region layout, and as always both are beautifully decorated for  visitors, with lots to see and do, be it wandering, riding, skating, cuddling, photography, or just getting into the end-of-year spirit.

Calas Galadhon 2021: A Christmas Wish

The theme for this year is A Christmas Wish, and after the last couple of years in the physical world, we’re probably all already wishing for a brighter and more open 2022. In this, the Calas regions get us off to a good start; from the landing point, it’s a short walk to the Arctic Express – a familiar motif for the regions over the years – and thence along the train tracks to where a white stag stands waiting in the train tunnel. However, before anyone can reach the stag, they are teleported to the regions proper.

From here, signposts point the way to the main pavilion, the path itself fairly direct as it winds through snow-laden trees and around the edge of the frozen lake. But while it may be direct, it is not the only route to locations awaiting discovery with in regions, so wandering and exploring is strongly recommended.

Calas Galadhon 2021: A Christmas Wish

The Pavilion overlooks the traditional skating lake, and provides within it opportunities for dancing and getting into the Christmas spirit by a roaring fire. Close by is the balloon tour gazebo, whilst a little further away is a pavilion set out for fine dining. Meanwhile, across the ice, a smaller pavilion awaits dancers who would like a smaller, more intimate dance area.

The balloon ride offer a skyborne tour of the regions, and it is joined at the ground level by the traditional sleigh rides through the region – these can be found close to the arrival point at the start of the pavilion trail. Also awaiting discovery within the region are a number of romantic spots, indoors and out, such as the cabins among the trees. These can be found via exploration or by grabbing a note card from the giver just inside the entrance to the main pavilion and which contains local LMs.

Calas Galadhon 2021: A Christmas Wish

Prior to the public opening, Ty confessed to me he tends to drive himself to have the Calas team “outdo” the previous year’s build, which is getting harder and harder to achieve. My response to this is that, really, I don’t think it is necessary; all of the Calas Christmas designs have been richly engaging down the years, and sometimes a sense of less is more is better than trying to pile things on.

For 2021, A Christmas Wish offers an also perfect balance between offering a richness of Christmas cheer and a relaxed openness of winter settings and walks – some with touches of Ty’s and Truck’s usual humour. There are also numerous poses awaiting discovery that further enhance the opportunities for photography that also make it well worth while taking a wander, rather than just heading for the pavilion and the skating. Finally, there is a also a nice use of off-region elements to the setting that allow for a dense of depth without throwing up huge amounts of off-region landscape to distract the eyes.

Calas Galadhon 2021: A Christmas Wish

Entertainment will, as always, be presented at the Pavilion, with additional entertainment also available via the main Calas regions; for dates and times, refer to the Calas Galadhon blog in the coming days.

The Calas Christmas regions are always a popular destination, and avatars can place the heaviest load on the viewer, consider keeping your avatar dressed accordingly, use Bakes on Mesh, and avoid outfits that utilise multiple high-res unique textures. Also, to assist the simulators, do lighten your script load..

Calas Galadhon 2021: A Christmas Wish

Also, keep in mind that because the regions are popular, you may want to make adjustment to your viewer to help with processing: reduce the maximum number of fully-rendered avatars, perhaps turn off shadow rendering, if used (other than for photography), drop your draw distance, etc.

But above all, enjoy your visit!

Calas Galadhon 2021: A Christmas Wish

SLurl Details

Note that Sincere Estates is rated Moderate.

Art and Virtual Identity in Second Life

Posted on by Inara Pey
Nitroglobus Roof Gallery: Margherita Hax, Virtual Identity

To round out what has been another year of totally flawless exhibitions at Nitroglobus Roof Gallery, Dido Haas has invited Margherita Hax to present the first ever gallery exhibition of her SL photography, which will be up through the month of December.

Entitled Virtual Identity, this is a fascinating series of black-and-white avatar studies that are in and of themselves, a demonstration of the art of photography in its truest. From framing through the use of focus, depth of field, filters, cropping, to post-processing, these are images that are visually engaging. Within them, can be found both single-frame narratives and threads of broader stories and themes.

While the title of this exhibition suggests a focus purely on a matter of the “real” and “virtual” identity dichotomy, it does so from a broader perspective than we might normally view it:  purely from how an individual presents themselves through their avatar, actions and words to create a character. While this is part of Virtual Identity, so to is the other – oft overlooked  – aspect of identity: how we overlay what we see through projection, being overly focused on our own emotions and even idolatry. In doing so, it also touches on subjects such as honesty and filtering.

Nitroglobus Roof Gallery: Margherita Hax, Virtual Identity

Within Second Life, much has been made about the freedom of expression we have: one to another, the majority of us are very much anonymous, with complete agency over how we choose to present ourselves via our avatar’s appearance and – more intrinsically –  what we chose to reveal of our actual natures and selves. Many commentators have seen this as something that leans very much towards the beneficial, with a  quote by Oscar Wilde often being used to underline this point:

Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.

– Oscar Wilde, The Critic as Artist (1891)

However, as a truism, this quote is actually a double-edged sword; whilst broadly taken as a being a “good” thing for our freedom of expression in Second Life; Wilde’s words also underline the fact that that very anonymity can be used to detriment; not only in the more obvious ways we all think of, but also in one-to-one interactions and relationships, in that the likes of avatar appearance and the use of text make it both next to impossible to judge intent. Thus, within it lies a paradox, as Margherita notes:

I have always felt the fascination of this paradoxical combination of emotions which, although limited and contained by an important filter in one sense, flow even stronger into the other. Thus, suspended from judging what is true or fake, in my photos, through portraits, gazes, stories and attitudes, I try to show and narrate emotions, lifestyle, relationships and (why not) love in 3D.

Through a central story – told down one arm of the gallery, and more individual pieces down the other, Margherita tells both the story of a Second Life relationship from beginning to end, whilst also opening up questions of what level of reality that can be found purely through a screen / text relationship. Both are somewhat linked through the use of mythological figures: Narcissus, Eros and Athena.

Nitroglobus Roof Gallery: Margherita Hax, Virtual Identity

In particular, the former is used in an emphasis of what the artist calls “fake love”. It actually sits well with Projections, the two underlining how projecting our own needs / wants / desires into a relationship as a result of what we see is something that can result in heartache and hurt, regardless of any intent on the part of the other within the relationship. Eros, meanwhile, is used as a symbol of true love, and in the process perhaps offers a pairing with Athena and PinkPower in expressing the natural outflow of emotion and contentment that can be brought to the fore when our real personalities and heartfelt feelings are brought to the fore, and honesty forms the basis of our interactions with one another.

By using different avatars throughout, Margherita offers a reminder of how the two sides of identity and its role in a relationship and who we are. That something as simple as a change in appearance  – from skin tone through to gender – can completely alter perceptions, responses and personal outlook. This further underlines her central tenet of Margherita’s description of the exhibition: that when we are reliant purely on a single filter, emotions and projection also become singular; something that can be, depending on the intent of both parties, potentially harmful  – or actually unifying.

Remarkable in its power, this is an exhibition that offers multiple opportunities for discussion, there is simply so much wrapped within the images and the themes. As individual pieces, the images at Nitroglobus are all inspiring in their presentation and depth; by using the west-east arm of the gallery to focus on a core story of love (and regret), and the north-south arm for more “individual” pieces that can also help to underline the motifs and emotions of the other arm, Margherita offers an exhibition of two intertwined halves that might be said to present a metaphor that again underlines her idea of paradox.

Nitroglobus Roof Gallery: Margherita Hax, Virtual Identity

As this is the end of the year, and  – as I’ve noted – another superb series of exhibitions at Nitroglobus, I’d like to close with a personal note with regards to Dido herself. Her approach to the exhibitions she hosts – invitation, collaboration, encouragement, the use of additional 3D to offer contrast or emphasis, her sheer enthusiasm for art, makes any visit to Nitroglobus a consistent delight and an absolute pleasure to write about in these pages.

SLURL DETAILS