Life through Xia’s Diary in Second Life

Diotima Art Gallery: Xia’s Diary

Xia’s Diary, currently open (for a little while longer, at least!) at Diotima Art Gallery curated by Red Bikcin, is an exhibition in images and words that offers reflections on life – both real and virtual – by Xia Chieng.

This is a thought-provoking installation in which Xia offers something of in introspection on her own life – how it has played out in Second Life, and how matters from her physical world life have informed her time in in the virtual and how the latter has caused her to more generally reflect on life as a whole.

My life has been intense, but I’ve never known where to fit. Opportunist and ambitious, my life has taken me to many places and to experience all kinds of situations, some good and some bad. Blinded by moving forward, never look around me or those left behind … When I looked at life through the camera, I felt that I could finally see it. Then he started a new path.

– Xia Chieng, defining Xia’s Diary

Diotima Art Gallery: Xia’s Diary

Twenty-one images – all of them avatar studies (although one has an aspect to it suggesting it might have originated in the physical world) – are presented in the exhibition. Most sit as individual pieces, although there are three that clearly form a single group, and three more are presented in such a way as to suggest they could form a set.

All are accompanied by Xia’s thoughts, the words provided with evocative titles such as Lost HopeOde to Emily, Broken Doll, and so on. They offer frames to the images over which they sit – and a windows into Xia’s thoughts and feelings.

These images are a document of my journey through life, RL and SL, I make no difference. Everything I do is part of my life. Many things are recreated in our mind with our imagination. Maybe it is a way of looking for a meaning and transcending many problems that torment us. A second life can be a second chance. 

– Xia Chieng, defining Xia’s Diary

Diotima Art Gallery: Xia’s Diary

The words, offered white-on-black are as clear-cut and unequivocal as their presentation. Evocative, provocative (as are some of the images), brutally honest, they offer the kind of introspection most of us probably prefer to carry out within our own heads (and most likely in a darkened room) well away from public display.

Thus, Xia’s Diary becomes something of a tour de force of feelings and responses in which we are cast into multiple roles. We are the voyeur and the emotional vampire, illicitly peeping in on the sometimes salacious, often poignantly deep, confessions from the heart and drawing from them. And given these are confessions – honest, down-to-Earth examinations of self, of hopes, of fears, of confusion of need – so too are we cast as the confessional-made-flesh, bearing witness to the opening of a soul. And because these are deeply personal reflections, so too are we given pause to hold up a mirror to ourselves and review who and what we are in life, both physical and virtual.

Diotima Art Gallery: Xia’s Diary

Intense, sometimes dark, expressive, and captivating, one of the more richly narrative and personal exhibitions I’ve recently seen.

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A return to Natural Falls in Second Life

Natural Falls, July 2019

Update: It appears this iteration of Natural Falls has closed. SLurls have therefore been removed.

DannChris might be a hamster in Second Life (and love the Maverick profile photo, Dann!), but he’s a hamster with a love of water settings. we discovered this when visiting his Natural Falls V in early 2017 (see Navigating Natural Falls in Second Life) and again with a visit to A L T I T U D E earlier in 2019 (see Gaining a little A L T I T U D E in Second Life).

At the start of July 2019, Dann dropped me a note thanking me for writing about A L T I T U D E which was nice in itself – and to inform me that a new Natural Falls would be coming along soon. More recently, friend and fellow traveller, Miro Collas poked me to let me know it had arrived. So hoping it has retained the watery themes present in the previous builds and within A L T I T U D E, we jumped over to take a look.

Natural Falls, July 2019

Natural Falls has tended to represent, in Dann’s words, a decaying city waterlogged by some disaster – whether man-made or natural or a combination of both (such as humanity’s willingness to acknowledge climate change but stubborn refusal to adequately address it), is up to the visitor to determine.

As with previous builds, the city sits at least knee-deep in water and under the cement conduits of a really elevated railway, the parallel tracks of which sit to the north and south, bracketing the larger part of the city below them.

Natural Falls, July 2019

Getting around is a matter of following the wooden board walks, some of which sit between walls cunningly designed to resemble buildings, adding to the feel that this is a sprawling, flooded metropolis when seen from lower levels.  Power lines are strung along some of this walkways, passing between tall poles that march along the board walks, giving the impression some of the buildings here are still occupied. The walkways don’t however, all interconnect – so if you’re going to explore everywhere (and you should), you’re going to have to be prepared to do a little jumping and / or get your legs wet.

This is particularly true if you want to get down to the little Japanese style market that sits just over (and on) the water, or drop in to the old amusement park the water has claimed as its own, the old roller coaster looking rather forlorn. A slightly worrying aspect of stepping down into the water is the fact that off to the north-east, a couple of massive electrical pylons drip their high-tension power lines in to the waves. Fortunately, neither one is actually connected to a electrical generation system, so there’s no risk of electrocution present with them!

Natural Falls, July 2019

Which is just as well, really, because it is only by wading through the water that you can get to visit what I personally think is one of the most gorgeous motifs Dann presents in his region designs: a fabulous walled and flooded garden. I first saw this in Natural Falls V, and it was  – for a time, and in an expanding form – a feature of A L T I T U D E, so encountering it within this iteration of Natural Falls came as an absolute delight.

“I had to recreate it,” Dann informed me when I noted its presence,  “We had a party at Altitude which needed a special place, but there wasn’t enough LI, so the garden got taken down.” He paused a moment and continued, “I will put it back at some point 🙂 .” If he does, I hope he actually reproduces the garden in some form at A L T I T U D E rather than moving it from Natural Falls, as it makes for an ideal focal point; and with a suitable teleport portal, could even make for a nice link between the two regions.

Natural Falls, July 2019

There are other reminders of past builds to be found here – the old pavilion sitting among the lilies, the great engines slung beneath the elevated railway lines and concrete channel that turn massive propellers – presumably helping to keep the structures aloft.

Also to be found are the more artistic / whimsical statements those who have visited past Natural Falls might find familiar. The figures close to the landing point, for the example, who stand beneath a pained warning: Who Watches The Watchers, even as a haphazard pile of televisions rises close by to apparently keep an eye on them – and while a flying saucer overhead appears to be spiriting some of them away! Then there are the quirky little places to sit waiting to be found, such as atop a set of diving boards, complete with a potted plant. Or, in a touch of delightful and fantastical whimsy, a blue whale slowly circling in the air and offering passers-by a ride, either hanging from the ladder that dangles from his flank or in the garden sprouting  from his back.

Natural Falls, July 2019

Imaginative, rich in detail, quirky, fun, and giving a little tap on the shoulder of ecological conscience, with this iteration, Natural Fall remains a thoroughly recommended visit. Photos can be shared via the region’s Flickr group.

The Man Who Lived in the Future, in Second Life

The Edge Art Gallery, July / August 2019: The Man Who Lived in the Future

Currently open at The Edge Art Gallery operated and curated by Ladmilla, is an exhibition marking the 500th anniversary of the death of Leonardo da Vinci. The exhibition, entitled The Man Who Lived in the Future, features a new look for The Edge Art Gallery and displays are by sadi8 and JurisJo, jessamine2108, Larisalyn, PatrickofIreland, Kapaan and Ladmilla herself.

The new look for the gallery space is very much Tuscan in nature – as befitting da Vinci, a son of Florence (Vinci being a città of Florence). Exhibition spaces take the form of individual Tuscan-style houses all space around three sides of open lawns and a garden area, with the main reception area and a further gallery space rounding-out the building on the three sides of the lawns.

The Edge Art Gallery, July / August 2019: The Man Who Lived in the Future – Larisayln

Within this garden is a model of da Vinci’s aerial screw by Sergio Delacruz, together with an airship and Bach’s Spine (the latter by Eupalinos Ugajin) to give reminders of both de Vinci’s own vision and the ideas of motion and flight, which both fascinated him. However, this is very much an exhibition of 2D art, and the manner in which the artist have chosen to interpret the life and times of da Vinci is what makes it attractive.

For example, Larisalyn takes as her muse, Cecilia Gallerani. A mistress of Ludovico Maria Sforza, Duke of Milan, she was da Vinci’s subject for his 1489 painting The Lady with an Ermine. She was also responsible for inviting da Vinci to her chamber discussions on philosophy and other subjects with members of the local intellectual set over which she presided. With the images presented here, Larisalyn notes she has tried to represent da Vinci’s style of painting.

The Edge Art Gallery, July / August 2019: The Man Who Lived in the Future – Kapaan

Kapaan, meanwhile focuses on both da Vinci’s inventiveness and his art. His gallery space includes representations of da Vinci’s parachute,  together with monochrome images of the parachute in use. These are displayed with imaginative takes on a couple of da Vinci’s most famous works, The Vitruvian Man and Mona Lisa.

Styles reminiscent of da Vinci’s studies of people and nature, as well as representations of his flying machine can also be found within the displays by PatrickofIreland, sadi8 and JurisJo, and Ladmilla – and I admit to finding PatrickofIreland’s The Study, featuring da Vinci himself, to be particularly evocative, as is the small model of da Vinci’s flying machine.

The Edge Art Gallery, July / August 2019: The Man Who lived in the Future – PatrickofIreland

I confess to being a little confused by jessamine2108’s images, which appear to be closer to more “traditional” avatar and SL nature studies, rather than being intrinsic to a celebration of da Vinci. Which is not to say they are not in themselves attractive.

Those who venture into the gallery space enclosing two sides of the landing point terrace will find a further selection of Ladmilla’s own art, including a series of images partnered with words by Eli Medier, which make for an evocative display in their own right.

The Edge Art Gallery, July / August 2019: The Man Who Lived in the Future – Ladmilla

Two musical events are planned alongside The Man Who Lived in the Future. On Saturday, July 27th, DJ Avalon Boa will be spinning music from 12:00 noon SLT through 14:00, with DJ le Ouf doing the same at the same time, on Saturday, August 3rd.

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A Lost Lagoon in Second Life

Lost Lagoon, July 2019. Click any image for full size

Lost Lagoon is a Homestead region designed by knight676 and Jana Guyot that offers an engaging – if curiously populated – setting that also has the ability to look and feel much bigger than the  65,536 sq metres offered by a region.

The region description states Lost Lagoon is a “lost place in the South Seas. Witnesses of bygone days and paradise for those who seek solitude and nature.” Certainly, it has all the elements one might associate with the South Seas (which usually encompasses the South Pacific): a tropical feel, palm trees, balmy beaches, and so on. But there is enough here to throw something of a spanner in the idea that Lost Lagoon is a South Pacific paradise and which serve to make it a unique setting deserving of exploration.

Lost Lagoon, July 2019

Surrounded by off-sim islands that perhaps in places look a little more temperate with there grass slopes, this is nevertheless a tropical setting, as evidenced by the presence of both palm trees and Moai, the latter of which certainly give the region a Polynesian twist. The island itself offers every sign of having once been the home of a lagoon: to the south is what appears to have once been a rock wall, long since breached by the sea, causing the former lagoon to become a bay cutting deeply into the island.

Within this bay are two much smaller islands,  little more than sandy humps. However, one of them is home to a small group of African elephants – the first hint, perhaps, that this really is a lost and unusual setting. They sit under the palm trees and even wade in the water, apparently unfazed that it is most likely salty seawater.

Lost Lagoon, July 2019

Of course, one might argue that the presence of African elephants might be excused by the fact that Asian elephants are in short supply in SL – but what then of the hippos with their slightly oversized tusks occupying the water by the second of the two little islands? They perhaps more directly throw a suggestion of Africa into the mix, contrasting strongly with the south seas idea, while the tigers roaming the island behind them further stirring the mix.

Thus, Lost Lagoon offers an intriguing mix, almost is if it is a kind of lost world in terms of the creatures to be found across it. And nor are the elephant, hippos and tiger the only curious mixing. Lions and meerkats also offer further hints of Africa – although the latter might be standing-in for mongoose. Also to be found across the island are snakes, waterfowl and birds of assorted kinds, all presenting  rich mix of wildlife.

Lost Lagoon, July 2019

There is also considerable evidence of human habitation to be found here, both ancient and modern. The latter perhaps most clearly comes in the form of the great, dome-topped finger of a lighthouse to the east of the island. Beneath it and almost within its lee, sits a nicely furnished cabin – perhaps that of those responsible for maintaining the lighthouse – built out of the cooling waters of a shallow bay.

Ruins to be found in the bay offer a more ancient setting, while the sometimes ramshackle cabins found around the coast help to give the impression that humans have been living here for some time. However, perhaps the most curious mad-made structure on the island is that of an aged submarine that appears to have grounded itself on part of the ancient lagoon wall. It had clearly been there so long that it has be claimed by the local foliage to the point where, from the landward side of the island, it looks like a metallic cavern sitting at the end of the trestle bridge that reaches out to it.

Lost Lagoon, July 2019

These low-lying man-made structures and ruins are overlooked by a old fortification and small chapel both of which stand on the island’s rocky spine. They are reached via a twisting path offering more chances for exploration, while on their far side, sitting on its own promontory and reach by passing under a rocky arch, sits the most wonderful ruin of a church or cathedral, beautifully repurposed.

With its rich mix of wildlife and range of influences – Moai, a Moroccan water pump house, a sitting Buddha, shrine to Shiva, and so on – Lost Lagoon really is an intriguing mix wrapped in an attractive tropical setting. There is a lot of take in, plenty to photograph (with a Flickr group for those who might was to share their images, rezzing rights available by joining the local group for L$150), and numerous places to simply sit and appreciate the location.

Lost lagoon, July 2019

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LEA: more on the closure, and a move to save it

Linden Endowment for the Arts: Another World, May 2017

Following my post on the forthcoming closure of the Linden Endowments for the Art (see: Linden Endowment for the Arts to officially close), committee member JMB (Jo) Balogh posted a personal statement on the closure to Facebook.

As I’m not active in any capacity on that platform, Jo subsequently sent me a copy of her comments via note card, and since I have received numerous questions both in IM and via Twitter, etc., on why the LEA might be closing, I sought Jo’s permission to reprint her thoughts below.

At the same time, and for interested parties, there is a new in-world group for those would would like to see the LEA’s work continue into the future in some manner.

Jo’s Comments on the LEA’s Closure

Again, please note, as Jo states, these are her views on the LEA closure, rather than any form of official statement on the matter; nor do they represent the views of other committee memebers. Nevertheless, they may help shed some light on things.

This is a personal statement, not on behalf of the committee, just my point of view.

For quite a while it was obvious to the Committee that the LEA program as such was slowly dying. Applications for grants were way down and there were complaints that LEA had become boring and predictable. The committee had shrunk in numbers and giving up the right to apply for a grant made becoming a member a non starter for many good people. We spend months discussing it amongst ourselves and in meetings with LL. We concluded that it was not fixable within the current framework and that the only way forward was to step down and let a new group of people with new innovative ideas take it forward. Basically for LEA version II to be started from scratch again, just as it was in 2010. So that’s what we did. We stepped down and left it with LL.

So this is where it stands. I’m sure that LL would be happy to provide the regions again if some of you can come up with a solid proposal for promoting the Arts in Second Life and be willing to run it because it is takes work, a lot of work, trust me on that. It’s a labour of love because it is not paid work. In those years since 2010 Art in SL has changed dramatically and will continue to do so. Go for it! Make it happen.

JMB Balogh (Jo Balogh)

Linden Endowment for the Arts: Serotonin Reuptake Inhibitor, April 2016

The New In-World Group Seeking a Continuance of the LEA’s Work

Potentially (but not necessarily) as a result of Jo’s comments, a new in-world group has started, called LEA 2.0 The New Future~ SAVE LEA! Which can be joined by visiting the group join boxes at LEA 5 (up until the end of August 2019, at least).

Founded by artists Tansee Resident and Riannah Avora, the function of the group is described as:

Join Group to SAVE The LEA Sandbox, AIR grants, Core grants and the future of SL Virtual Art and Creativity. Be Proactive. This is an opportunity for “Positive” voices to be heard and be a part of the continuing growth and innovation of virtual art and creativity at LEA with dignified and equal respect to all concerned artists.

Please Be specific with your suggestions. Offer reasonable solutions.

Suggestions can be sent to either Tansee or Riannah in-world or dropped into the green boxes placed on LEA 5 (again, at least until the end of August 2019). In an introductory note card, Tansee adds:

Be Proactive & Positive. Avoid Negativity. Write your suggestions and observations on a note card. Be specific. Be respectful. Offer realistic solutions and explanations why you think something will work and how you envision it working. We have 2 weeks to compile input & present to LL. The plan then is to have a meeting at LEA Theatre.

So, if you wish to contribute ideas of a realistic and positive nature for the future of the LEA – or some next generation LEA – now is the chance to do so.

Linden Endowment for the Arts – Love, Henry, July 2015

For my part, I would simply suggest the following regarding an future organisation akin to the LEA:

  • Keep things simple, keep them open. One of the long-running critiques concerning the LEA was its star-chamber like nature. Meetings were largely closed-door affairs, the by-laws tended to discourage guests  rather than welcome them (with some understandable reasons for doing so); the grant selection process came to be seen (and not entirely fairly) as biased in favouritism; the blog / website never really reported on committee activities, furthering perceptions that it was all somehow secretive, etc.
  • Revisit the AIR grants: these were set-up at a time when arts installations had to be largely built and scripted by hand, making them intensive builds. Times have changed, and as more recent years have shown, installations can be developed using prefabricated mesh elements that can be used in a transformational manner, rather than being built from scratch. So, are 6-month grants actually still required? Could they be reduced somewhat to allow a greater range of expression through a year? Need they all aligned, starting and finishing on the same dates twice a year, or could they be set to operate on a more rolling-style basis with smaller groups of them overlapping with start / end dates? Is 20 AIR regions actually too much to be properly managed, and would a smaller number be preferable?
  • Utilise outreach and engagement. This loops back to the first bullet point in some respects. For assorted reasons, it is not unfair to say the LEA often tended to be regarded as being “apart from”, rather than “a part of” the broader diversity of arts and expressionism in Second Life. Better engagement with the broader arts information groups (e.g. SL Art, Cercle Fafner, to name two of the more prominent groups) would therefore perhaps be beneficial.

There is a lot more on specifics that will likely need to be looked into – up to, and including, I would suggest – the Lab’s own involvement in any LEA-like organisation (and their willingness to be perhaps be more involved than has in the past been the case; but then, this is the Linden Endowment for the Arts – at least for the time being). However, I offer these points as more generic points for possible discussion, if deemed relevant.

Should you have ideas of your own, then please – as noted – contact Tansee and Riannah, or drop your feedback into the green boxes on LEA 5 while they are available; and if you’re interested in keeping track of what might come of this move, join the in-world group.

Cica’s Dogwood in Second Life

Cica Ghost: Dogwood – July 2019

An arid land surrounded by the sea, conical hills sprouting from its back to rise above both the nude ground and denuded briar-like trees – this is the strange landscape that greets visitors to Dogwood, Cica Ghost’s latest installation in Second Life.

Within this landscape is an equally curious mix. Two slightly porcine dogs, the kind you might expect to see romping through an animated film, appear to stand guard either side of a ramshackle pair of fences that  themselves appear to be protecting a group of strange structures.

Looking like a mix of gourds, pearl drops and long-necked vases, these structures sprout valve-like arms from  necks rising up to open mouths. Combined with their sometimes bent shapes, these “arms” and open mouths give these forms a comically anthropomorphic look about them, little little odd women and men waving little arms at one another or to visitors, and exchanging conversation.

Cica Ghost: Dogwood – July 2019

Two more dogs stand among these structures, again appearing to have dropped in from an animated film. One is a toothy and slightly worried-looking bulldog, the other an almost Chihuahua-like companion. Together they have an air of a Laurel and Hardy pairing about them.

Also scattered across the island are black birds, standing some in groups some on their own. With their colouring, long legs and beaks, they resemble a cross between a stork and a crow; but like the dogs and the strange structures, they have a strong sense of individual personalities.

Both dogs and birds are nicely animated – the eyes of the dogs dart around, while the birds move their eyes, turn their heads and raise the occasional leg as if about to take a step, then lowering it again in an change of mind.  These animations, together with the multiple avatar sit points with their share of dances waiting to be found throughout the region, add a subtle dynamic to this setting.

Cica Ghost: Dogwood – July 2019

But sitting under a hazy sky, even with its oddly comical-cum-fairytale look, it’s hard to completely understand Dogwood – until that is, you reach the south-west corner of the region. It is here, with a narrow channel of water acting like a moat to separate it from the rest of the land, that a another hill rises. It is topped by a tall tower, reached by precarious-looking flights of steps stacked together without support. The tower is itself enfolded by the scaly tail of a great, wingless wyvern, who rests his bulk on the crown of the tower, eyes roving over the landscape before him.

Tower and wyvern add a further fairytale feel to Dogwood – but it is what lies within the tower, at the end of that precarious stairway that offers a key to Dogwood. A lone flower stands here, the brightness of its colours and the redness of its pot standing in strong contrast to the rest of the landscape. Put them with the quote Cica has selected to frame the installation, and the poetry of Dogwood falls into place:

Just living is not enough… one must have sunshine, freedom, and a little flower.

– Hans Christian Andersen

Cica Ghost: Dogwood – July 2019

Perhaps initially hard to grasp but equally quirky and cheekily humorous, Dogwood is genuinely poetic in its presentation, carrying a rich vein of fairytale under the banner of the Andersen quote.

SLurl Details

  • Dogwood (Dueville, rated Moderate)