The haunting beauty of Golgothica in Second Life

Golgothica, February 2021
Golgothica’s story has yet to be written … The detailed, rich mysterious, Gothic landscape will hopefully inspire those who come here to discover with others what it’s story is and why things are as they are. It is an open book, the first chapter is a simple description of the place and the locations. But who lives here, what they do, and why, is in the creative minds of those who come to dwell here?

So reads, in part the introduction to Golgothica, the latest region-wide setting that has sprung forth from the eye and imagination of Hera (Zee9). Sharing the same Full region as the latest iteration of her famous Drune cyberpunk environment (which sits high in the sky overhead), Golgothica is – and I say this without any hyperbole – a simply magnificent build.

Golgothica, February 2021

Located on the ground level of the region and reached via the main landing point that also offers a way to the current iteration of Drune, the setting is presented as a medieval style coastal town or village, with a small wharf, numerous houses and places of commerce, a church that at first glance appears to perhaps be under repair, and with outlying farmlands, woods and roads that cross the countryside while the high walls and towers of what might at first be taken as a mighty castle rise to the west, dominating the skyline.

Golgothica, February 2021

It all looks typically Middle Ages on being seen for the first time – it is only as visitors explore, that the darker side of the place, caught in the growing shadows of twilight, starts to reveal itself. The local inn, for example, carries the name The Slaughtered Lamb and has hanging over its door the image of a severed wolf’s head on a pike; thus neither name nor sign are particularly welcoming – although inside, all is undoubtedly cosy.

And what is one to make of the Romany camp  at the edge of town, the caravans carefully arranged around a stone pentagram lain within the ground, or the riverside statue seeming to celebrate the blood lust of werewolves? What sinister rites might be performed out at the henge where fires burn – one within the rune-inscribed round stone at the centre of the henge, and the other at the feet of the great wicker man watching over the ancient stones, apparently awaiting someone to occupy its woven form…

A walk in the opposite direction to the henge raises further questions: what has happened to the local church?  A visit to it will reveal that rather than being in a state of repair, it has in fact been left to ruin, with nature slowly claiming it as a place of her own, all former signs of devotion long removed saved a single statue – and even that is far from saintly.

Across the waters of the local stream, the woodlands add to the mystery, strange lights illuminating the tree trunks, casting haunting light across glades that offer the unexpected, from statutes to shrines that hint towards unnatural acts.

Golgothica, February 2021

Then, beyond this all sits the castle that is in fact a monastery – at least according to the map that can be obtained at the main landing point, or which is automatically delivered as visitors land aboard the vessel moored at the village quayside, and which marks the start of all journeys through the setting. With its foreboding walls and towers and great gates, it has all the look of a fortification designed to keep people out, rather than welcoming them in for worship, whilst the shape of the many watchtowers that line its walls imply something of a far eastern influence.

Caught against the setting Sun in the default environment for the setting, this great complex is no home to the chanting of your usual monks, Gregorian or Buddhist, however; although it is clearly the seat of some form of learning, given the Maester’s library on the upper level of the southern keep-like structure.

Golgothica, February 2021

Instead, this appears to be a place where deities of a more forbidden kind are paid homage, as can be witnessed by the Bosch-like murals in the sleeping cells of those who reside here and through the design of the main chapel. And what of the dungeons lying below that chapel, what do they say of those who might occupy them – and the fate that might awaited them?

Two interlinked elements are always apparently within Hera’s builds that makes them ideal for visitors and role-players alike. The first is narrative: all of Hera’s builds from the 2019-XS pre-Drune, through Drune (covered numerous times in these pages) to the likes of Venesha and on to Golgothica carry within them threads of narrative and imagine just waiting for those coming into the region to pick them up and follow them or weave them together.

Gologothica, February 2021

The second is attention to detail that both helps to strengthen these threads and gives the more casual visitor touches to be appreciated. Take, for example the beehives behind the mead house; a small detail they might be – but an important one. After all, what is mead without honey, other than water with some added fruit for taste? Add to this the fact that the major structures within Hera’s builds are of her own design, thus making each setting genuinely unique in form and character.

I have yet to be disappointed in any of Hera’s designs; they never fail to to engage, surprise and enamour. However, with Golgothica I cannot help but feel she has created something very special, perhaps her most engaging, immersive design to date. I’ve no idea how long Hera intends to keep Golgothica open – I suppose that very much depends on her creative spark – but it is quite genuinely not a setting to be missed. or avoided.

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Considering No Futur in Second Life

No Futur, Kondor Art Centre, February 2021

Currently open at the Into the Future Gallery of Hermes Kondor’s Kondor Arts Centre, is an exhibition by Caly Applewhyte entitled No Futur. The easiest way to describe this exhibition is to use Caly’s own description:

No  Futur [is] a very French expression that refers to the uncertain future of our world. this exhibition is an illustration of this idea that our world seems to be running to its ruin with our madness of “progress”.
We are constantly trying to do better or more … more technology, more biotechnology, more money of course … but in the end, we may wonder if we are not doing worse. What we are experiencing today is only a bad start if our powerful political and industrial leaders do not realise that economic growth at all costs is only a countdown … game over.

– Caly Applewhyte

No Futur, Kondor Art Centre, February 2021

Given this description, it is clear that this is an exhibition that has a sombre lean. It might also be thought that given Caly’s words, it focuses on issues of the political-industrial complex that – as Caly notes – is pulling us towards possible destruction. However, this latter view would be in error.

Rather than focusing on political indifference (and / or denial) and industries that continue to find the needs of board room returns of a higher priority than that of committing more fully to ethical, environmentally friendly means of doing business, these are pieces that focus on  the individual, either directly or indirectly. This makes them far more personal in nature, with all of them carrying a distinct lean towards matters of ecology and the environment, and the damage we are doing to it through pollution and climate change.

Gas masked, often in an environment suit, sometimes an adult at others more child-like, the figures within these pieces are set within environments where it is clear the air is no longer if to breathe and monuments crumble in a toxic environment. There are figures that walk deserted streets, who even when indoors need isolated pods and / or continue use of masks to assist with breathing. In some, eyes stare out at us in pleading, in others that stare wistfully at a world they can no longer freely share, or who hug rocks they can no longer feel thanks to the separating barrier of an environment suit.

No Futur, Kondor Art Centre, February 2021

With only a single figure in each image, these are all pieces that also emphasise our essential isolation from the world.  We’ve allowed ourselves to be cut off from it through the technology Caly notes and the creature comforts of modern life; we’ve created metaphorical barriers between ourselves and nature. All of which appears to be referenced as well, through the use of fences within several of the images.

Sombre it may be, but No Futur is nevertheless rich in expression, message and artistry.

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Exploring The Redwoods of Second Life

The Redwoods, February 2021

Designed by Julia Dagger (JuliaTrouble) and occupying a Mainland sky platform The Redwoods offers people a chance to escape to a corner of Second Life devoted to nature in the form of a setting that might have been lifted from southern California’s Sequoia National Park.

It is a location that is exceptionally easy on the eye where, thanks to the design and the sound scape, it is possible to genuinely lose oneself in a sense of being deep within Nature’s realm. It’s also – on the surface at least – easy to explore; but as with many things in Second Life, actually holds a secret.

The Redwoods, February 2021

Tucked into the south-east corner of the setting and almost entirely ringed by cliffs, the landing point offers a map marking the the park and its trails. While in keeping with the sense of being within a national park, this map and the others like it aren’t really necessary, as the trails through the landscape are clearly and pleasantly laid out, complete with logs to form natural steps down and over the slopes and undulating ground.

A short distance from the landing point, the path divides, one arm running both north and west to where the lake sits, an open space within the the tall sequoia trees, both fed by and feeding the park’s streams. Around the lake’s shores can be found benches on which to sit, and a camp site tucked into the shade of the trees, while a boat and a deck offer over-the-water places to sit as well.

The Redwoods, February 2021

The second branch of the track runs along the edge of the stream that feeds into the lake, and which is in turn fed by waterfalls to the north-east. This stream largely splits the land in two, separating the main trails through the trees from the park’s lodge.

An expansive structure, reached by way of two bridges over the stream, the lodge offers indoor and outdoor seating and the kind of information counter one might expect in such a place. It’s a cosy place to rest and / or appreciate the local comings and goings and is overlooked by a small cabin sitting on a square block of rock. With no visible means of getting up to it, I assume the latter is a private retreat, rather than a further space for visitors to spend time, and so we didn’t investigate it further.

The Redwoods, February 2021

As noted above, the setting is easy on the eye and easy to explore, whether on foot or on the back of a wearable horse – but it does have a secret, one that is best found on foot. Tucked away completely out of sight is a little bar. Of an unusual design, you’ll have to search for it to find it, and I don’t want to give its location away. Suffice it to say, walk as far as you think you can, and then go through the precipitous curtain beyond the log camp – just mind the first step!

In days when we can too easily feel as if home life is closing in around us, and walls too close for comfort, The Redwoods offers a sense of pushing those walls back and presenting us with a chance to appreciate woodland walks and the sensations of witnessing sunlight through high branches, the call of clear flowing water always close by.

The Redwoods, February 2021

In short, it presents a sense of freedom and escape, whether you wander the trails, sit in one of the camp sites our tuck yourself away within a hammock under the trees, thus making it a perfect visit.

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Sinners and saints, a new arts challenge in Second Life

UWA: Gratitude exhibition, December 2020 – Elle Thorkveld

At the end of 2020, Chuck Clip organised a special art exhibition intended to be a final farewell to the University of Western Australia (UWA) and its more than a decade-long patronage of the arts in Second Life (see: Calling artists: an exhibition to say farewell to the UWA in Second Life and Artistic Gratitude in Second Life).

While the last remaining UWA region remains present in SL (it has been anticipated it would depart the grid in early January 2021), the exhibition closed at the end of the 2020. However, such was the response to it that Chuck, together with co-organiser Mariposa Upshaw, has decided to continue the flame lit by Jayjay Zifanwe and the UWA by presenting and hosting occasional open invitation Art Challenges on a given theme.

The first of these will open at Chuck’s art-focused regions of Sinful Retreat and Angels Rest in July 2021, with the opening currently subject to confirmation. The theme will be that of Sinners and Saints, and submissions are now open.

Sinful Retreat and Angels Rest are mirrors for each other, highlighting the dichotomy of light and dark in art and humanity as a whole. We thought it appropriate that our first show should reflect that. Despite the terminology, you need not think in terms of Christianity. Sure, you could pick one of the seven deadly sins (Pride, Greed, Wrath, Envy, Lust, Gluttony, or Sloth) or virtues (Prudence, Justice, Temperance, Courage, Faith, Hope, or Charity) but we are not locking you into that in any way. We welcome all here, so if you are Buddist, Muslim, Jewish, Taoist, a Reiki Master, a member of the Church of Satan, whatever your belief system, or lack there of; submit two pieces, one for each side of the saintly / sinful coin.

– Chuck Clip, on the Saints and Sinners challenge

The challenge is open to 2D and 3D artists and to poets and writers, with those entering the challenge asked to submit two pieces, one depicting the side of light (or goodness, or saintliness or The Force, or whatever you might like to call it) and the other the side of “darkness” (or The Dark Side,  or sinfulness or wickedness – again, whatever you prefer to call it).

There are a few guidelines that those wishing to enter should observe:

  • Those participating must subject two pieces of art: one good/light and one evil/dark.
    • If  you only wish to submit is single piece, please contact Chuck Clip or Mariposa Upshaw beforehand.
  • Submissions can take the form of 2D or 3D or poetry on a prim, and individual pieces may not exceed a Land Impact of 200.
  • All pieces should be able to be interpreted by the casual viewer as being representative of the theme. Where the link to the theme is difficult to ascertain, this should be referenced in a note card accompanying the work.
  • The exhibition will remain open for a period of three months, after which pieces may be cycled in and out as part of the overall environment of the regions.

Submission Guidelines:

  • Completed items should be dropped into the Sinners & Saints Submissions drop box located at the Sinful Retreat landing point.
  • Submitted pieces should be accompanied by a note card with the following information:
    • Your user name (Not a Display Name, as these can change).
    • Titles of the submitted pieces.
    • Any required explanatory notes per the guidelines above.
    • Biographical notes on yourself.
    • A landmark to a location where more of your work might be seen and / or Flickr link.
  • If you are unable to submit you pieces and note card via the drop box, please place them all into a single folder entitled “Sinful Retreat Challenge” and pass the folder to either Chuck Clip or Mariposa Upshaw.
  • All submissions must be received no  later than Saturday, June 26th, 2021.

Questions concerning the challenge should be directed to Mariposa Upshaw or FallenAurora Jewell.

Landscapes at IMAGOLand in Second Life

Imago Gallery – Tresore Prada, February 2021

Currently open at Imago Gallery, owned and curated by Mareea Farrasco is an ensemble exhibition entitled Landscapes and featuring the work of Blip Mumfuzz, Carelyna, Michiel Bechir and Tresore Prada. Together they present views of regions and places within Second Life that encourage a desire to visit them whilst also allowing us a glimpse at them through the artists’ eyes and narrative framing.

Within the gallery’s lower floor left side hall, Tresore Prada offers thirteen pieces that might be said to reveal places within Second Life, but also the passing of the seasons from winter to summer and mixing cooler shades that might suggest spring and autumn.

These are pieces that all immediately draw the eye and offer a story;  whose house is that beyond the snow-bound bridge? Does it belong to the artist, or to a friend they were on their way through the deep snow to visit? Has the cat lying on the sun-warmed wall simply found a place to rest whilst wandering, or does it call the little cottage across a summery river home? What are the promises to be found off the canvas of each of the trio of images depicting little boats on or near the water? The threads of possible stories exist within each piece, simply awaiting you imagination to thread them together.

Imago Gallery – Carelyna, February 2021

Across the hall, Carelyna also presents a baker’s dozen of images, all of which have been processed and finished to offer a painted-like composition of the settings she has captured. Suggestive of a mix of oil and watercolour works, these offer some unique perspectives on popular SL destinations. Take Littlesquaw’s Midnight in Paris (which I wrote about back in November 2020) as an example; normally witnessed at night by visitors, Carelyna here offers a view across its rive Seine towards the Eiffel Tower rich in the colours and tints of an Autumn day. On the opposite wall, her take of Takoma presents a impressionist style take on the subject that brings to mind the likes of Turner’s The Fighting Temeraire.

The upper floor of the gallery is split between an open mezzanine area and a second hall running across the back of the gallery. The mezzanine is home to the display by Michiel Bechir, who offers a selection of eight images that stand not only as landscape pieces but also studies of the architecture of Second Life, with two focused as they are on a large manor house seen under different conditions with two more  presenting views of settings redolent of older parts of US cities like New York. Offered as both colour and monochrome images, this selection allows us to see the diversity of Michiel’s approach to, and presentation of, his SL photography.

Imago Gallery – Michiel Bechir, February 2021

In the rear hall, Blip Mumfuzz presents a series of images in her own inimitable style. Far removed from what might be called “conventional”, they border on the abstract; rich in colour, their form taken by the rise of grasses against the sky, against a backdrop of open water or curtain of tress. Frequently flecked by out-of-focus elements dotting the air above them, these are pieces that are very much reflective of the moment in which they were captured – the soft-focus elements suggestive of seeds caught on the breeze, carrying with the the promise of new life; the colours reflecting the fact that these are not images of places just seen, but places both seen and re-imagined by the mind’s eye in the same instant.

Blip’s exhibition is also semi-immersive: climb the steps and  walk the photo-mural of the stream;  imagine the coolness of the water about your feet and look out into the scenes on either side and both in front of you and behind you, and let your mind wander free…

Imago Gallery – Blip Mumfuzz, February 2021

Four very individual and very captivating exhibitions well work dropping in to see.

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A Mindfulness retreat in Second Life

Centre for Mindfulness, February 2021
Mindfulness means maintaining a moment-by-moment awareness of our thoughts, feelings, bodily sensations, and surrounding environment, through a gentle, nurturing lens.

– The Greater Good, University of California, Berkeley

Modern life means we tend to always be on the go, both physically an mentality.  If we’re on on our way from something, we tend to hurrying to something else; if were not thinking about tomorrow, we’re reviewing yesterday; we have very little time in which we allow ourself to simply be in the now.

With the SARS-CoV-2 pandemic still raging around the world, even with the bright promise of vaccines and a growing confidence that it can at last be brought to ground and controlled, life has been and remains even more chaotic and stressful, both as we carry concerns about the pandemic and concerns for ourselves, our families and our income whilst also become impatient for a future where we can resume more “normal” lives.

Centre for Mindfulness, February 2021

Hence why perhaps now more than ever  we need the means to escape daily pressures and find room to simply be – and Second Life with all of its potential for freedom of expression, creativity and so on, can be an ideal channel through which we can do this. But even so, we all tend to spend our time in-world doing things and staying occupied; we rarely take a moment to be Mindful of ourselves, to be aware of what our bodies are experiencing and what we are thinking and feeling in the moment we are experiencing them.

It’s easy to stop noticing the world around us. It’s also easy to lose touch with the way our bodies are feeling and to end up living ‘in our heads’ – caught up in our thoughts without stopping to notice how those thoughts are driving our emotions and behaviour.

– Professor Mark Williams, Oxford Mindfulness Centre

Centre for Mindfulness, February 2021

The Centre for Mindfulness is an environment created within Second Life to help anyone who wishes to regain their sense of balance and self. The work of Cythe (Cytheria Teardrop) with the assistance of Anna Timmerman, the Centre has recently completed a relocation to a sky platform over Cythe’s Full region (which has the the added Private region LI bonus), to provide the complete experience for those wishing to re-centre themselves.

An important part of mindfulness is reconnecting with our bodies and the sensations they experience. This means waking up to the sights, sounds, smells and tastes of the present moment. That might be something as simple as the feel of a banister as we walk upstairs.

– Professor Mark Williams, Oxford Mindfulness Centre

Centre for Mindfulness: Meditation lesson; February 2021

Ringed by mountains that suggest it might be located within the highlands of Japan or the mountains of Nepal or Tibet, the setting offers the ideal environment for those who wish to de-stress, either on their own or through scheduled events (details of which can be found on the Centre’s website and on the information board at the the in-world landing point).

In terms of its design, the platform is divided into a number of areas,  all of which can be reached via the landing point’s teleport station  or on foot – but I very much recommend the latter, as it presents far more of the location’s natural beauty. Located within a Zen Garden watched over by a seated Buddha, the landing point offers circular walks to be enjoyed in their own right as a means to lose oneself in the act of walking.

Centre for Mindfulness, February 2021

This garden also offers paths to two of the centre’s facilities  – the Soul Meet, within its walled garden, and the Peaceful Minds pavilion sitting over a pool of calming water. Both of these play host to events at the Centre – at the time of my second visit, a class in meditation was taking place within the pavilion, underlining the fact that whilst in the virtual realm the Centre is very much about our condition in the physical.

Another important part of mindfulness is an awareness of our thoughts and feelings as they happen moment to moment. It’s about allowing ourselves to see the present moment clearly. When we do that, it can positively change the way we see ourselves and our lives.

– Professor Mark Williams, Oxford Mindfulness Centre

Beyond the gardens, a bridge reaches out to a peak offering the opportunity to perform simple yoga exercises alongside your avatar at the Happy Stretch gazebo – just follow the information boards on the gazebo’s walls. The bridge also provides a view down over a crater-like lake. Reach via path, stair and walkway and sitting on the the waters of the lake is the Tranquillity Bath, where your avatar can rest and you can  learn about the restorative power of the Osen.

Centre for Mindfulness, February 2021

Across the ridge of the gardens and to the east, is a second body of water. Reached via a walk along the ridge and between tress, it is home to the Dreaming Buddha, it is a place where swan boats can be ridden in a perpetual circle while you turn your thoughts inward and in peace.

Also close to the landing point is the Coin Store. To encourage participation in the Centre’s activities, visitors can earn CfM coins and exchange them for selected items. While I’m not sure the idea of involvement for reward is entirely in keeping with a genuine desire to reach a state of Mindfulness, I do understand the reason for including it; Second Life has more than enough to distract the mind and keep it occupied, that having a means to entice return visits can only help with on-going participation.

Centre for Mindfulness, February 2021

With space to explore, room for centre staff and what looked to be additional facilities waiting to come on-stream together with a full schedule of events open for anyone to join in, The Mindfulness Centre has a lot offer open minds. My thanks to Malburns for pointing me towards it by way of The World of Yana.

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