Category: Reviews

The Scale of Love in Second Life

Posted on by Inara Pey
The Carbone Gallery: Milena Carbone – The Scale of Love: Agape

The Scale of Love is the title of Milena Carbone’s latest solo exhibition, which is now open at The Carbone Gallery in Second Life. It is something of a refresh of her 2020 exhibition, The Nine Levels of Love, presented at Noir’Wen City, but which I failed to blog about at the time – so I hope this makes up for that oversight.

The central theme of the exhibition is a visual exploration of the various types of love as espoused by the ancient Greeks; but as with the majority of Milena’s work, the canvas she paints within this compact installation is – quite literally – cosmic in scale, and carries with it some religious undertones that indirectly link the piece back to one of Milena’s central themes: the nature of “god”.

The Carbone Gallery: Milena Carbone – The Scale of Love: Pothos

To address the art first – as this can be appreciated quite  independently of any more complex cogitations if one so wishes. This is set within a marble-walled structure stand nine large format images, each representing a state of love as defined by the ancient Greeks.

Each image interprets the selected ideal of love through a simple statement utilising posed avatars pictured against white backdrops and then processed to be presented in soft, neutral tones and / or monochrome (with a single notable exception). The result is a single frame encapsulation of their subject that has a depth of structure about it that is captivating.

Take, for example, Harmonia, with its two figures joined in form by dance both in the foreground and through their shadows (which in turn have amore nuanced meaning, to which I’ll return in a moment). It perfectly and simply encapsulates the idea of harmonious love – two souls united, able to move as one, sharing outlook and motion, a concord of expression.

The exception to the general approach of soft tones and monochrome – each of which offers a subtle statement on both the positives of love: gentleness, lightness of mood and touch, and the negatives: broodiness, possessiveness – is that of Eros, which Milena defines simple as “flesh love”, but which might be more correctly seen as primal lust, and the form of love the ancient Greeks saw as the most base and frightening, involving as it does a loss of control. To represent this, Milena utilises a sea of red washing around her two lovers, symbolising the heat of passion (and which may perhaps also be looked upon as having more subtle undertones).

The broader aspects of the installation revolve around the origins of love, both as a human concept and as a part of the cosmos as a whole.

The latter involves considerations on the universe as a whole, how everything we can see, everything we know, everything we are, is the result of particles coming together under the force of gravity, the one seemingly immutable and universal force of attraction. Thus, given that love – in all its forms, including its expression through our various religions – is an immutable part of human life, might it not be a continuance of that universal theme of mutual attraction?

Bound with this is a consideration of Aristophanes‘ speech from Plato’s symposium on the origins of human love. Intended as a humorous morality tale, the speech as referenced here is used to draw a further line through the idea of human love being part of the natural state of attraction found in the universe as a whole. At the same time, Milena perhaps offers a subtle reference to the speech through the positioning of the figures in Hormonia, I commented on earlier; note how they appear to be conjoined to form a double-headed, eight-limbed creature as imagined by Aristophanes whilst considering the nature of love.

The Carbone Gallery: Milena Carbone – The Scale of Love: Harmonia

One might niggle over Milena’s selection of types of love – where is Ludus or Pragma, for example? When considering their definitions, are not her Agape and Charis one in the same, both effectively referencing unconditional love? But the fact is, there are multiple ways to look upon the ancient Greek concepts of love; as such, it’s likely not advised to get too hung up on definitions or individual references.

What is worthy of appreciation is the art itself, even if you don’t follow the broader themes contained within it, because The Scale of Love is beautifully executed. The art is exquisite, while the setting offers a Greco-religious theme suggestive of both a temple and a church that are in keeping with both the focus of the exhibition and its broader themes: the marble and Doric columns echoing the former, the central hall and end rooms echoing the nave and crossing of a church. And in the latter regard, make sure you look down the “nave” from one end towards Agape at the other, and the marvellous way it has been framed (and consider the subtext within that framing).

As always with Milena’s Work, The Scale of Love engages the eye and mind on multiple levels, the art and setting alone making it visually appealing, the themes and ideas contained within them making it cognitively rich.

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Leloo’s land of the sea in Second Life

Posted on by Inara Pey
Tierra Mer Mar, LeLoo’s World, July 2021 – click any image for full size

‘Twas off back to Leloo’s World, a corner of Second Life offered for public enjoyment by LeLoo (LeLooUlf), for me during the week, as I wanted to witness the latest of her designs following a suggestion from Shawn Shakespeare for the poke!

The last time I visited, a scant two months ago, the quarter-region parcel offered an inland setting that put me in mind of Old Mexico, with high canyons and desert environment. The new setting – Tierra Mer Mar – retains a sense of high rocky walls, but rather than being the walls of canyons, they are now the faces of the high cliffs of a coastal area that cup within their arms a small bay as they face a sandy island rising out of the blue sea.

Tierra Mer Mar, LeLoo’s World, July 2021

To the south, the cliffs are set far enough back to allow for a shelf of land to sit between them and the waters below. This shelf is home to the parcel’s landing point. It also provides the first area of exploration, with a gacha area tucked into the trees to the west, and narrow walk along the foot of the cliffs that runs to the east, the land dropping away along one side, the path itself eventually coming to a blunt end.

A set of rope steps runs down from the end of the path to offer a way down to a shallow bay that otherwise sits almost completely hidden from the rest of the setting courtesy of a low headland. Thee steps down to this little bay might be missed, thanks to clearer wooden steps and platforms leading the way down to the water’s edge at the head of the larger bay, and a floating deck topped by a shaded piano. A further route down to the water’s edge can also be found closer to the gacha / landing area, where stone steps offer the way down to another floating deck.

Tierra Mer Mar, LeLoo’s World, July 2021

Those wishing to make their way to the north side of the bay can do so by following the track from the landing point and through the gacha before doubling back along a hanging footbridge that runs above the rocks of the bay’s edge and alongside a series of tanks in which sharks watch visitor progress. After turning to run along the base of the western cliffs, the footbridge provides access to the the north-side beach and headland.

As well as being an eye-catching setting, Terra Del Mar is home to a host of wildlife. Seals play in the shallows or bask on the shore and on floating platforms – the latter practically thumbing their noses (so to speak) at the orca swimming nearby. Dolphins also play on or close to the surface of the water, whilst the dorsal fins of sharks can also be seen cutting through the the waves in places.

Tierra Mer Mar, LeLoo’s World, July 2021

On land, bears are also enjoying the sun, and a couple of sea turtles appear to have been carried up from the water and unfortunately left on a deck well above the water. Birds and waterfowl are also much in evidence; gulls fly overhead, and pelicans and cormorants have found perches along the water’s edge, doubtless keeping at least one eye on the waves lest a meal swim into the shallows, whilst sandpipers scuttle back and forth on the sand.

There are more creatures to be found in the water as well – fish, sharks, rays, the aforementioned orca and dolphins, more turtles – all of which make spending time in / under the water strongly recommended. Indeed, swimming and puttering about on the water is encouraged: there’s a dive point at the end of a pair of logs extending from one of the over-water platform and float rezzers await use, while boats can also be found that offer sit points. If you have a swim option on your AO or a dedicated swimming system, then this a a place to put it to good use!

Tierra Mer Mar, LeLoo’s World, July 2021

Staying on land offers a lot to discover as well – such as the secluded bay mentioned above, where shoreline snacks can be enjoyed or a shark balloon obtained and played with. There’s also the various decks and narrow stretches of beach where seats can be found for sitting one your own or with a friend or friends, with more shaded by the inland trees and swings are awaiting passengers here and there.

Once again rich in detail and demonstrating you don’t necessarily need the space of a full-sized region to create an engaging and noteworthy setting, Terra Del Mar at LeLoo’s World is deserving of a visit and offers multiple opportunities for photographers.

Tierra Mer Mar, LeLoo’s World, July 2021

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The Borderless Project: immersive explorations in Second Life

Posted on by Inara Pey
The Borderless Project: Delain Canucci

Currently open within the region of Akimitsu, held and curated by Akiko Kinoshi (Akiko Kiyori) and forming a part of her “Akipelago” group of regions, is The Borderless Project, a multi-element, immersive exhibition that brings together a number Second Life artists known for their work in 3D spaces, and / or in using light, sound and immersion to create engaging and interactive spaces.

In the simplest terms, the Borderless Project is inspired by the work of Japan’s TeamLab, originally founded in 2001 by Toshiyuki Inoko, and which in 2021 marks its 20th anniversary with an immersive installation in Tokyo entitled Borderless, billed as “a world of artworks without boundaries, a museum without a map”, and which is the latest in their globe-spanning immersive experiences.

The Borderless Project: Betty Tureaud

As with TeamLab, the Borderless Project team – Betty Tureaud, Delain Canucci, Gem Preiz, Thoth Jantzen, Mitsuko Kytori, Blaise Timtam and Akiko herself – have created an installation that stands as a “gallery without a map” so to speak, through which visitors can wander and explore. Each artist has at least one space, each with at least one installation within it, the majority providing multiple elements within them.

The “gallery without a map” element comes from the fact that the various installation spaces  – located at different altitudes – are all linked by a teleport portals (touch or walk through to activate), which also link to the ground-level location I’m using here as a landing point. However, none of the portals are labelled in terms of artist or destination; therefore there is no implied hierarchy or order to the installations in terms of which should be seen “first”, etc., – visitors have utterly free choice.

The Borderless Project: Gem Preiz, tribute to TeamLab

What is key to spending time at the Borderless Project, is that you have your viewer correctly configured.

Of the recommendations given it is crucial you have Advanced Lighting Model enabled, (Preferences → Graphics → make sure Advanced Lighting Model is checked – there is no need to also enable Shadows), together with media (the button with the movie camera on it, top right of the viewer window) turned on – and note that there are times where you will need to toggle this off / on again in order to pick-up the sounds within individual elements (keep an eye out for the in-world text requests to toggle). Less important is having draw distance set to the recommended 250m+; given the size of the individual installations and the distance at which you’re seeing things, this is frankly overkill.

The Borderless Project: the gardens by Akiko

The “primary” installations are by Betty, Delain, Gem, and Thoth, with Gem and Delain offering the largest by area / content, including two “secondary” displays apiece (Gem proving a hat-tip to TeamLab via two reproductions of elements from their Borderless installation, and Delain a separate “dino cave” that comes with places to sit). The garden spaces by Akiko, Blaise and Miyduko also offer places to sit and relax, and opportunities to play with EEP and more.

Each of the installations is richly diverse in terms of elements, colours and sounds (both local and via media – remember to toggle this off / on as directed), with some of the artists including interactive elements that can be walked into / over or pushed around. In respect of the local sounds, it’s important you avoid running / flying, as the scripted object can take a second or so to fire-up and call the sounds to be played in the viewer, so if you run you could easily miss hearing them – and if you fly, you won’t hear them at all!

The Borderless Project: in one of Delain’s smaller vignettes

I’m not going into great lengths about the individual installations here, as frankly, they should be experienced first-hand, and people should approach them unburdened by my own perceptions and ideas. I will say that when visited the large cubist environment Betty Tureaud has created, make sure you follow the big white arrival at the arrival point and grab + wear the teleport HUD – you might have problems finding your way inside the cubes if you don’t! Also, keep an eye out for the poses within Delain’s vignette settings – they offer multiple choices for photography.

I admit to having a couple of niggles during my visit – notably as a result of the local environment settings within Delain’s main setting, where I found it so dark I walked back through a teleport disk when trying to leave the landing point (and no, I didn’t have Shadows enabled alongside of ALM). More particularly, the low light makes it hard / impossible to read in-world guidance notes in places. As such, it might be better to either make them Full Bright (if they are not) or to add a couple of point lights to illuminate them to make them more obvious.

But niggles aside, there is no denying the depth of content to be found within the Borderless Project, and I enjoyed the several hours I spent exploring, trying and poking (including playing god and shoving the solar system around!).

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Summer at Mimmo in Second Life

Posted on by Inara Pey
Mimmo, July 2021 – click any image for full size

Elise Sirnah is not only an established Second Life photographer, she also has an eye for region design, something she has demonstrated with Mimmo, the Homestead region she co-holds along with Grace Shade (graice2). It’s a place that I’ve visited on a number of occasions, although this is just the second time I’ve blogged it, the first being back in 2019.

I’ve no idea how many times the region’s looks may have changed since then, but July 2021 saw me hop back to take a look. What I found was an interesting setting that brings together mixes of tropical and temperate environments and public and private spaces – the latter placed in such a way that it is relatively easy not to confuse them as part of the public areas – into a single setting.

Mimmo, July 2021

At my last visit, Mimmo had the look and feel of a garden and extended grounds of a Tuscan style villa that occupied one side of the region, the rest of the landscape flowing outwards from it. With this iteration, the region offers far more of an island-like setting, offering numerous discrete point for photography, all of which more-or-less flow together as a continuous whole.

When looked at on the map, the region has an an intriguing look, resembling some kind of vast sea creature basking on the surface of the sea, its head to the north-west, three of its flippers outstretched and a bulbous tail to the south-east. Two of these “fins” are formed by headlands, one stumpy and sandy, the other sinuous and heavy in trees, with the largest of the off-shore islands forming the third, and another of the rentals making the bulbous “tail”.

Mimmo, July 2021

The use of smaller islands as homes for the rental properties helps minimise the risk of accidental trespass, the private spaces they represent only reachable via stepping stones through, and bridges over, the coastal waters. These smaller islands, together with the southern end of the main island give the region that more tropical feel, with sand and palm trees much in evidence. North and east, the rest of the main island is far more temperate in looks.

The north-west of the main island is dominated by a curtain of cliffs together with a large body of fresh water below them. A stream proceeds from the lake, forming a “spine” through the region as it runs south and east to reach the sandy coast and a fallen lighthouse that once overlooked one of the region’s rental isles. Paralleling this stream for part of its course is a rough dirt track, which also circles through the region’s landing point whilst also presenting obvious paths to follow when exploring.

Mimmo, July 2021

The landing point sits within the fenced grounds of a large wooden cottage / farmhouse that looks highly suited to the role of a studio gallery.  It shares it grounds with a small potting shed and old British-style telephone box. This cottage is one of two large structures on the main island, with the second reached by following the track north and west from the landing point and over the single formal bridge spanning the stream (there is also a makeshift bridge made from logs also available further downstream).

The second structure takes the form of a barn – or possibly warehouse, given the paved waterfront it is built upon – conversion sitting on the west side coast of the region. At first glance, this looks like a private residence, but on examination it can be seen this is not the case; rather it presents a cosy home with furnishings and fittings by Grace (that is already giving me ideas about a possible new place on the home island!).

Mimmo, July 2021

Balancing this house to the east of the stream is a gently sloping landscape that sits as something of an extended garden, complete with an old folly, places to sit, sculptures, and a geodesic dome for those who need a little shade from the Sun. More places to sit and past the time can be found throughout the setting: along the coast, or just back from it (or even out on the water), off along the north-east headland with its small hill (note the little island just off this headland is another rental property, not part of the public spaces), and also on the stubby western headland, where a little café sits.

There are some rough edges to the the landscaping – rocks and mesh not fully blended into the terrain so they either float or leave gaps, the odd floating plant, etc., but nothing that serious detracts from the overall photogenic nature of the region, or the opportunities to visit, sit, dance and / or swim. Those wishing to have rez rights can join the local group for a fee of L$150 –  but do please clean up after use! Also, do note that a local chat extender is in use within the region, and can be disabled by using channel /999.

Mimmo, July 2021

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  • Mimmo (Pomerania Park, rated Adult)

Cica’s Summer Day in Second Life

Posted on by Inara Pey
Cica Host: Summer Day

Cica Ghost opened her latest region installation on Sunday, July 18th. Entitled Summer Day, it is, as always with Cica’s installations, accompanied by a quote; one that might possibly have more meaning when taken with the installation than may perhaps have been the case with some of Cica’s recent works, a point I’ll come back to in a moment. That quote is:

Sometimes you will never know the value of a moment, until it becomes a memory.

– Dr Seuss

The scene is quite simple – a rolling landscape under a deep teal sky, white horses gambolling and frolicking amidst the grass and under the shade of trees; a chap fishing on a little lake where he is watched by a swan, the fish under the water perhaps teasing him by ignoring his line and bait; and a woman (his wife?) sitting outside of a house, fussing a pair of geese, one of which is perched on her lap.

Cica Host: Summer Day

What is surprising is that unlike Cica’s other region-wide installations, Summer Day has few sit-points within it – just the bench with its white cat and the little boat bobbing off-shore, so far as I could see; and there are none of the usual animations / dances that tend to be a hallmark of her work. It is this lack of animations and sits, combined with the use of the quote from Dr. Seuss that led me to wonder if, perhaps, there is a message to be found within this Installation.

Seuss’ words remind us that memories grow from the experiences we have – or create – in our lives; so it is important we ensure we make time to have experiences – moments – that will result in happy, lasting memories – be it through engaging in something we enjoy, appreciating nature’s beauty or simply having fun. Otherwise, there’s a risk that when we page back through our memories, there is a risk that rather than having a richness of experience to enjoy, we find that all we have are a lot of “what if I had just…” memories.

Cica Ghost: Summer Day

So might Summer Day be a little poke Cica is giving us to maybe take a break from computer screen and keyboard and make time for the things that will give us happy memories? Those moments needn’t be complex: just space to enjoy a favourite past-time (the chap fishing), or to enjoy the touch of nature (the woman leaving the washing and fussing the geese) or simply taking time to play (symbolised by the horses), especially if we can share the fun with a friend or loved one.

Obviously, I don’t want to put words into Cica’s mouth, but I found it hard not to escape this feeling / sentiment as I wandered Summer Day, although it is true you might find it says something different. Which is why (as always with Cica’s work), I recommend playing it a visit yourself, rather than just relying on what is written here.

However, while you do so, please excuse me if I pop out to the garden for a moment, and make some memories playing with my cat 🙂 .

Cica Ghost: Summer Day

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A trip to Blackwood Farm in Second Life

Posted on by Inara Pey
The Blackwood Farm, July 2021 – click any image for full size

Following a recommendation from Shawn Shakespeare (SkinnyNilla), I opted to spend a little time on the farm. The Blackwood Farm, to be precise, a Homestead region gorgeously presented for public visits / use by Corvus Blackwood.

Sitting under a burnished summer sky, the clouds turned to bronze by a low-hanging Sun, the region presents as a single island into which  a channel of water has cut its way, roughly dividing the landscape almost into two. To the west, the land is predominantly low-lying, to the east it is dominated by a raised table of rock marked to the north and south by ribbons of scrubby coastline, the former of which sweeps east and west across the width of the region, curving past a small off-shore isle to the west, the home of a squat lighthouse watching over the channel between the two landmasses.

The Blackwood Farm, July 2021

The western side of the setting is home to the Blackwood Farm. This is a place, we’re informed by a large friendly sign close to the landing point, that is family owned and operated. An unfenced field of corn sits just behind the sign, stretching south along the track leading up to the farm, fir trees and a rocky mound also sitting with it within an oval of rutted tracks.

An aging gateway and fading wall guard the entrance to the inner sanctum of the farm. They face the imposing farmhouse that is flanked by barns to either side, and is fronted by a square fenced field of cattle.  It is a peaceful, pastoral setting: chickens wander freely, apples are in the process of being picked from a little copse of trees, a little lemonade stand awaits those in need of refreshment. In fact the setting is so peaceful, deer are happy to graze on the grass within the farm’s grounds.

The Blackwood Farm, July 2021

The farm is overlooked to the west by a uplift of land topped by a windmill that offers one of the many places to sit within the setting, a pair of batterer trailer homes sitting in the shadow of the hill, between it and the span of the south coast. Very rough and ready in their set-up, the two trailers are clearly occupied: a fire pit is burning, a fan is on to cool seats under one of the trailer’s awnings – but both have been left to a little goat to watch over. It forms one of several small vignettes awaiting discovery by visitors, and which bring the entire setting together as a whole.

Over to the east, the primary upland is home to the Apple Fall Old Manufactory, a structure that is so popular among region designers that at times it feels as if it is a required feature within an public region. Its popularity is likely down to both its aged looks and its flexibility of use. Here it has been turned into a charming house, complete with a large patio terrace that stretches from it to a little open-sided potting shed. It is an altogether eye-catching setting – but do please be aware that the house is actually a private residence, as indicated by the localised ban lines that will appear if you stray too close.

The Blackwood Farm, July 2021

The rest of the hilltop is very much open to exploration, as is the rough coastline to the north and below it. Reached by steps cut into the slope of the upland, this coastal area is again a place of little vignettes – a camp site, walks, a dock stretching out over the water and little boats that again add to the richness of the setting.

Those wishing to rez within the region can do so by joining the local group (fee: L$250) – but those who do re asked to clean-up after themselves.

The Blackwood Farm, July 2021

Such is the all-round natural looks to the setting, it really is an ideal location for avatar photography whilst the landscaping is equally photogenic; what is more, the setting works equally well under a range of different environment setting to the default – as I hope can be seen in a couple of the images here.

Whether or not you opt to play with the environment settings or use the shared environment, The Blackwood Farm is visually and – thanks to its sound scape – aurally engaging, richly detailed, and a joy to explore and photograph. This being the case, it should come as no surprise that I’d note it as a recommended visit.

The Blackwood Farm, July 2021

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