Kintsugi: spiritual beauty and renewal in Second Life

Kintsugi: Spirited Beyond

Having recently opened in May 2020, Kintsugi: Spirited Beyond has been garnering a lot of attention – and rightly so; it is a place of serene beauty, lovingly created by NorahBrent and Zalindah.

Kintsugi (金継ぎ, “golden joinery”), also known as Kintsukuroi (金繕い, “golden repair”), is the Japanese art of repairing broken pottery by mending the areas of breakage with lacquer dusted or mixed with powdered gold, silver, or platinum, a method similar to the maki-etechnique. As a philosophy, it treats breakage and repair as part of the history of an object, rather than something to disguise.

Wikipedia

Kintsugi: Spirited Beyond

I include this description, because Kintsugi: Spirited Beyond grew out of a personal loss experienced by NorahBrent, as Zalinah notes in her profile:

Pulling her grief and transforming it into creativity was her only way of coping. She asked me to join her and I couldn’t resist.

– Zalinah

Kintsugi: Spirited Beyond

So it might be said that Kintsugi: Spirited Beyond that has a deep connection for both NorahBrent and Zalinah, and especially offers a means for Norah to mend her loss through creativity, making it a part of her personal expression, making it a part of who she is, rather than trying to disguise or hide it. This is turn gives any visit to Kintsugi a personal element, the visitor sharing not just in the creativity displayed in the completed region, but also in the healing process that is folded into its design and presentation.

The natural beauty of the region is evident from first arrival, but to help encourage exploration, a story as been added; those arriving are asked to find the nine spirits located throughout the setting, with each spirit found within a location: house, forest, water, garden, and more, there secrets revealed through local chat.

Kintsugi: Spirited Beyond

Thus, the best way to describe Kintsugi is as a subtle story told through a series of vignettes, each defined by a specific part of the region design, and knitted together as a whole by both the stories awaiting discovery and the natural flow of the landscape across the islands and water-borne elements reached via stepping stones that wind across the shallow, reflective waters that enfold the islands and their treasures.

The Japanese motifs found throughout the region  – Cherry trees, Torii gates, koi pond, raked zen garden, water lanterns and more – are used to marvellous effect, both adding to the spiritual feel to Kintsugi whilst also gently brushing it against the imagination sufficiently for the active mind to call forth stories of its own that might find a home here.

Kintsugi: Spirited Beyond

At the same time, there is much to capture and hold the attention of the more casual visitor: the natural beauty of the setting, the mystery of the deserted town on the high hill, the places to sit and appreciate each element within the region’s unfolding story. And obviously, there is much to commend the region to the eye and lens of the Second Life photographer.

Kintsugi is a truly bewitching setting, rich in detail and narrative, fully deserving of a visit. When you do, please consider making a donation at the landing point to help ensure its continued presence in Second Life.

Kintsugi: Spirited Beyond

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Second Norway: making the changes

Second Norway, March 2020

At the end of April I was able to confirm that Second Norway, after recent concerns about its future, would be continuing as a part of the Luxory Estates group, with Vanity Bonetto and her team taking over day-to-day management of things – land management and sales / rentals, etc., with Ey, Mialinn, SlaYeR, joining the Luxory team with responsibilities for the road and rail network, management of the Second Norway airport and for social / community elements within the estate. See: Second Norway: the future is bright.

In that article, I noted that as part of the change-over, there would be a certain amount of work being put into the estate, with the northern regions being re-worked to offer new island home spaces, together with a re-laying of roads and rail systems through the more connected regions within the estate.

Second Norway: one of the new islands, already occupied

So what has happened in the two weeks since the hand-over? Well, rather a lot. As Vanity noted to me as I dropped in to take a look at progress:

We are working our pixels off here!

The northern regions have now all been relaid to offer three or four islands apiece (although some have “mainland”elements running through them. These offer islands sized between (at the time of writing) 7,292 sq m through to 11,776 sq m (although there was one smaller parcel at 4,688 sq m still available). Prices for the parcels are in line with other Blake Sea estates, and can be found in the Second Norway sales office).

Second Norway: one of the larger island parcels awaiting occupancy

To the south, closer to the airport and the land around it, parcels with water and road access are in development, although it will be a while longer before these are ready of occupancy. At the same time, Ey and SlaYeR have been rebuilding the road and rail system, as Ey recently blogged:

We have been here before, SlaYeR and I. Hauling railroad tracks, getting them in place. Laying warm asphalt on new stretches of road. As the basic terraforming of the north-west is now done, the (rail)road guys can move in, as we have done many times before. New land will emerge connected to the road network. This is sort of back to the future for us.

  – Ey Ren, May 9th, 2020

Second Norway: the new waterfront district being developed by AustinLiam

South of the airport is a further development, this one being undertaken by AustinLiam, offering a working waterfront district, with further rental islands alongside of it.

Even with the work on-going, sales have started, and the new parcels are proving popular among former Second Norway renters who had to move out while the changes were made to the extent that Vanity informed me the Luxory land team are finding it hard to keep pace with demand. Despite all the changes, the open waterways have remained operational, and it’s possible to sail / motorboat around the new islands even while the work continues.

The rental islands come pre-formed and semi-landscaped with rocks and a small channel that cuts through one corner to provide a small, separate island reached via a connecting stone bridge. Moderate terraforming is allowed, providing that it is neither excessive nor spoils the overall theme for the estate – so no private mountains or fjords! Similarly, building and other structures must be in overall accordance with Second Norway’s temperate / northern latitude theme.

Second Norway: two more of the new rental islands, already occupied

There’s still a way to go with the changes, as both Vanity and Ey note; but considering it’s only been a couple of weeks since the hand-over occurred, a lot has been achieved, and it’s easy to see the Second Norway is well on the way to becoming a renewed community with a secure future that offers a lot to tenants and visitors alike.

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Thermae’s gentle beauty in Second Life

Thermae, May 2020 – click an image for full size

Thermae generally refers to Roman imperial bathing complexes featuring heated baths and that also formed a centre for socialising among the better-off. Within Second Life, Sage Allegiere – famed for Gardens of Absentia (see: The Garden of Absentia on Second Life) – uses the name for another of her public region creations.

The name is not in any way inappropriate; this is a place where visitors can literally bathe in a creation that reflects nature at her best – although the major structure to be found on the main island might admittedly at first be taken for a spa or similar offering. The setting is that of group of temperate islands  – quite where is entirely up to the imagination – with the outlying isles protecting this, the innermost of the group, as it sits lower and perhaps otherwise more vulnerable to the winds and storms that might otherwise pass.

Thermae, May 2020

The landing point sits just off of the centre of the region, on the slopes of one of its highest reaches. An inlet cuts into the island on the far side of this hill, a balloon supported bridge crossing the landward end of the the gorge it forms. Down the slope from the landing point sit a cosy cottage with a wild flower garden guarded by a wrought iron fence. find the opening in  this fence and a gentle grassy path will take you down to a shingle beach, one of four scattered around the island’s coast.

Most of the island is crowned by young trees – although there are some that have reached maturity awaiting discovery along the ruggedness of the island’s back. In fact, so rugged is the island, that there are few laid paths – exploration is a matter of finding the lesser slopes in the grass that lead down and around the rockier parts of the island.

Thermae, May 2020

This means that finding your way around the island is a matter of careful exploration – and given there are multiple possible paths, this adds to the richness of discovery through exploration. One of these paths leads to a rock arch that also passes over the inland end of the southern inlet to join with the bridge mentioned above.

The path from here leads fairly directly to the large house mentioned above. Sitting on a high, flat table of rock, it has a open garden and an inner terrace. The garden is set as if for a party, the terrace as well, although at other times it might make for shaded conversations. Inside, the long rooms of the villa are comfortably furnished, one wing forming a lounge, the other a bedroom, the corner between them a rustic-style kitchen.

Thermae, May 2020

A second garden sits below this villa, nestled into the south-west of the island. Further around to the north, a second inlet has been formed as a result of water breaking out from a table under the the rocks to splash down over the rocks. A further shingle beach runs around the far side of this inlet, lanterns floating gently over it and the the bay formed by inlet and falls, although reaching it is a case of finding more of the paths running between the trees and the islands cliffs.

The north side of the island is home to another beach, a broad swathe of grass rolling down to it from the uplands of the island, suggesting water may have also once flowed down it to the sea.

Thermae, May 2020

Off the coast from this side of the island are three smaller isles that form a line running to the north-west. The outermost of these three looks to be a private home, so straying by air in that direction is perhaps bed avoided so as not to risk invading privacy. A further knob of rock to the north-east is home to a light house.

Sitting beneath a setting Sun, Thermae makes for a high photogenic setting with much to enjoy and plenty of places to sit, in gardens, on benches, on the water and under the trees. In all, a highly pleasing visit.

Thermae, May 2020

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  • Thermae (Thermae, rated Moderate)

Of twins and lock downs in Second Life

The Carbone Gallery

The Carbone Gallery is a new gallery venture by Milena Carbone that opened at the start of May 2020, offering a venue in which she can display her own work and that of invited guests.

Milena is a relative newcomer to Second Life, having joined in mid-2019; as an artist, she is not afraid to use her work to stimulate the grey matter and challenge perceptions. In doing so, she draws inspiration from a number of sources: science, psychology, philosophy and religion chief among them. I became enamoured with her work after visiting Agape in Pace, a fascinating exploration of art, love, hate, religion, politics all offered with reflections on quantum field theory (see Art and quantum states in Second Life). As such, her art is not intended to be seen so much as experienced.

For me, art is not just about aesthetics or fashion, but must open reflection to the questions of our chaotic time. Art can help for a better world. An artwork addresses an important question with more questions. Otherwise, it is decoration.

– Milena Carbone

For the opening of her gallery, she offers two installations: Twins and Locked.

The Carbone Gallery: Twins

Twins, as the teleport board to the first of these installation notes, have long been the subject of many myths, with artists using them as symbolic representations. Describing itself as an expression of “four mythical aspects of twinship”, Twins is a layered piece that, while couched in in studies of twins, though the use of eight images, is equally an exploration of self. The four story elements of the installation  – Identity (also routed in the onset of puberty via the use of the “character” of “ephebe”), The Opposite, Replication and Fusion – all being as much about people as individuals as it is about the notion of twins sharing their lives.

Within this structure are also commentaries of conformity in the modern age, together with questions on whether the desire  / need / pressure to conform really offers happiness; philosophical musings on the the deals of love and partnership; and observations about outlook, human nature and the need to understand ourselves if we are to achieve balance.

Carbone Gallery: Twins

Locked is a four-part story focused on the trials and tribulations the world-wide lock down that has resulted from the rise of the SARS-CoV-2 virus.

As with Twins, it is reached via a TP board from the foyer of the gallery space, and takes for form of a four rooms opening off of a central hallway. Within these rooms are the four parts to a story. These can be visited in any order, although I’d personally recommend following them in the order Breakdown, Sideration, Glimmer and Amnesia; doing so allows the narrative threads and themes within the story to naturally grow in complexity as you progress.

The Carbone Gallery: Locked

Each room contains three images by Milena, a sculpture by Mistero Hifeng, and a “chapter” of the story; a seat in the middle of each room offers visitors the chance to sit and read the story and reflect on it through the presence of the images and sculpture. Again, while the core of the piece offers  reflection on isolation as a result of the pandemic, so too does it fold in many others aspects and thoughts – up to, and including a question on the nature of God him / herself.

This layering is nuanced and subtle. in the central hall, for example, is a wall of photographs carefully selected by Milena over a period of days that both reflects our natural inclination to be close to others. However, interwoven with these images are others with a dark edge – reflections of both the darker sides to life and the anger and frustrations that can grow out of enforced isolation.

The Carbone Gallery: Locked

Also to be found within these rooms are question and musing about the current politic climate – notably the jingoism espoused in the petty nationalism / totalitarianism exhibited by the extreme right, the kind of future we are leaving to our descendants, and the choices we face for our own immediate future. All of which makes for a compelling, provocative piece.

As a first guest exhibition, the Carbone gallery also presents The Privilege of Ageing, a meditation on the subject by Harbor Galaxy, and which itself is a captivating study of eight images.

The Carbone Gallery: The Privilege of Ageing by Harbor Galaxy

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A cosy coffee lounge in Second Life

Mediterraneo Coffee and Lounge Bar – May 2020 – click on an image for full size

Sitting just off the east coast of Nautilus and at the western each of the clustered private islands to be found there, sits the Mediterraneo Coffee and Lounge Bar, the creation of Franz Markstein. Occupying a quarter of a Homestead region, it is an attractive setting, accessible by both teleport and by air / water.

West-facing, the bar sits above a strip of beach amidst tropical greenery. High-ceilinged and with a small mezzanine, it has a light, airy look and feel, thanks to the floor-to-ceiling windows along the west side of the bar, while the mezzanine offers a more cosy retreat and seating area. Vines and greenery help to both break up the interior walls and also to give the bar a sense of oneness with the surrounding greenery.

Mediterraneo Coffee and Lounge Bar – May 2020

To the side of the main bar are three further rooms that sit as a smaller, cosy lounge, a little music room / gallery space and a library / study. They offer little getaways within the bar’s own sense of getaway.  For those who prefer an outdoor setting, there is both the beach and, between it and the bar, an overgrown but still comfortable garden, a bubbling brook tumbling down the rocks to one side and across the beach to the sea.

Mediterraneo Coffee and Lounge Bar – May 2020

Littered by the wrecks and ruins of boats, the beach offers several places to sit, from a look-out tower to deck chairs, all open to the sound of the surf washing up over the sands. At the north end of the beach and tucked below the rocks that hold up the bar, is a long wharf.

With auto return set to zero, this offers those coming by boat or float plane the opportunity to come alongside, enjoy the bar and its modest surroundings without the fear of their boat going poof and leaving them without the means to resume their water journey. A small fishing boat is moored at the wharf, but it still leaves plenty of room for others to come alongside, so long as they are not ridiculously big.

Mediterraneo Coffee and Lounge Bar – May 2020

One of the things that makes this bar particularly attractive to me is the manner in which it has been marvellously kitbashed by Franz, using a Funatik building as its base. This gives it an entirely unique styling and look that suits its location admirably, while the overall décor has clearly been considered to give the bar its sense of warmth despite its size.

Whether you arrive by teleport, boat or float plane, the Mediterraneo Coffee and Lounge Bar is a richly detailed delight to visit.

Mediterraneo Coffee and Lounge Bar – May 2020

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Phenomenal Women at Itakos in Second Life

Itakos Project: Phenomenal Women

Now open in the White Hall of Itakos Gallery, curated by Akim Alonzo, is Phenomenal Women, a joint exhibition by Cecilia Nansen and Maloe Vansant. The focus of the exhibition is to “interpret a poem about women” using Maya Angelou’s Phenomenal Woman.

Born Marguerite Annie Johnson in 1928, Maya (a nickname bestowed on her in childhood by her older brother, Bailey  Jr., being derived from “Mya sister”) Angelou is best known for her series of seven autobiographies, which focus on her childhood and early adult experiences – which were far from easy. Born into a stormy relationship between her parents which ended when she was three, Maya and her brother were dispatched by her father to live with her paternal grandparents for four years before he abruptly sent the children back to their mother. Whilst there, Maya was raped by her mother’s boyfriend; he served just one day in prison for the assault, but after being released, was brutally murdered. This left Maya mute for five years, believing that by speaking out against him, she had caused his death, possibly at the hands of family members.

Itakos Project: Phenomenal Women – Maloe Vansant

From these harsh beginnings, Maya Angelou grew through multiple careers, including cast member of the opera Porgy and Bess, coordinator for the Southern Christian Leadership Conference, and journalist in Egypt and Ghana during the decolonisation of Africa, to become a celebrated actress, writer, director and leading member of the American civil rights movement, working with Martin Luther King Jr. and Malcolm X.

As a poet and writer, Maya often wrote on the themes of love, painful loss, music, discrimination and racism, and struggle. With Phenomenal Woman, written in 1978 when she was 50, she offers a piece describing the allure she has as a woman of middle-age, and what makes her irresistible to the opposite sex despite the fact that she does not fit into society’s definition of what makes a woman beautiful. It’s a subtle, engaging poem taking an unconventional subject and presenting it in an unconventional rhyming scheme and structure that both add to the poem’s allure just as there is much that is unconventional about her captivating appeal as a woman.

Pretty women wonder where my secret lies.
I’m not cute or built to suit a fashion model’s size.

Phenomenal Women opening

Itakos Project: Phenomenal Women – Cecilia Nansen

With their images in Phenomenal Women, Cecilia and Maloe offer a selection of views of women that are fascinating on  a number of levels. Firstly, they have very different styles. Maloe’s work tends to embrace darker colours and tones and a tendency away from an overt use of artificial lighting; Cecilia, meanwhile, tends towards brighter colours and tones and a broader use of highlights.

At the same time, both compliment one another through their use of camera angle, framing and cropping. In this, both artists demonstrate enormous skill in framing a story or message through a single frame.  Whilst visible in all of the pieces presented in this exhibition, this “complimentary contrast” is perhaps most clearly visible in the pieces Phenomenal Two – 2 (Maloe) and Phenominal-in-leather  (Cecilia), located on the upper mezzanine floor of the gallery hall.

As studies of femininity and feminine appeal, the 19 images are rich in the motifs that tend to make women attractive in the eyes of men and other women: body shape, application of make-up, cast of expression, curve of breast, use of clothing. Again, this makes for a powerful series, some of which almost ooze sensuality, whilst other use more directed aspect of nudity to convey the message.

Itakos Project: Phenomenal Women – Maloe Vansant

How well one might feel they offer an interpretation of Phenomenal Woman is perhaps more open to question. While it might be more a commentary on the limiting means of how the female form is oft represented in SL more than any “failing” on the part of the artists, these are images that do present bodies and faces that sit almost in opposition to the opening lines of the poem, whilst it might be argued that the inclusion of a fair amount of semi-nudity in several of the pieces is in opposition to the more mysterious elements of appeal voiced by the poem, which stay away from the more obvious elements of female sensuality:

It’s the fire in my eyes,
And the flash of my teeth,
The swing in my waist,
And the joy in my feet.

– Phenomenal Woman

(that said, nudity is not necessarily misplaced in the broader content of Maya Angelou’s life: one of her careers in her younger says was that of a sex worker.)

Itakos Project: Phenomenal Women – Cecilia Nansen

Thus, Phenomenal Woman is a complex exhibit, one almost of two individual parts: images and poem; yet both are connected through the complex intertwining of ideas, message and viewpoint.

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