In September 2018, I wrote about the Rainbow Painters Art Gallery. Curated by Timo Dumpling and Patience Dumpling (patience Roxley), the gallery offers free space to artists both new to exhibiting their work in Second Life and those who are established on the exhibition circuit.
The open nature of the gallery means that it presents a broad range of art, both from within Second Life and from the physical world, with the Second Life art encompassing both 2D and 3D work.
At the time of my second visit, the gallery featured another broad spectrum of art, including 3D work of reycharles, the physical world art of Moya Patrick (Moya Janus – actually French artist Patrick Moya), the physical world photography of Black Rose, the marvellous mixed-media portraiture of Cybele Moon (hana Hoobinoo), the fabulous nature photography of Anibrm Jung, the surreal art of Tani Thor, and Monroe Snook, displaying some of her fractal art.
These artists alone make a trip to the gallery, however, they are also joined by a number of artists I’ve not previously encountered, and their work adds further depth to a visit.
There is the fascinating physical world art of Pure Lovee, for example, or the line drawings of Viktor Savior (which includes a stunning portrait of David Bowie), to name but two of the talents on display. Of them all, I confess to being particularly drawn to the two pieces offered by Siobhán Muintir (Qorell); taken from within Second Life, they are in a world, beautiful.
Those wishing to add their art to that being displayed at Rainbow Painters should contact either Timo or Patience in-world. As I noted in September, the gallery shares a quarter-region with an open-air games area (table games and 10-pin bowling) and dance / events space. Join the local Rainbow Painters group for details of local events.
Recently opened to the public is Tranquil Bear Winter Resort, a homestead region designed by Alex Luciano (AlexandraSadie). Given the time of year, it’s another snow-themed region, in which Alex invites visitors to enjoy horseback riding and ice skating along with walks along the trail that winds its way around the region.
Visitors arrive at a gazebo on the west side of the region, the main track commencing at its foot to offer a route around the island, running east to turn south and then back west, concluding at an open-air stone fireplace and seating area. Along the way, it passes under a step of rock on which sits a large wood-built lodge, and encloses a large frozen pond occupying the region’s centre.
The ice skating referred to in the About Land description can be enjoyed on the pond. There’s a couple of skate givers on the south side of the pond, one alongside the coffee wagon beside the track, and the second on the ice itself. The skating animations are a little basic, so if you have your own skates with animations, these might be a preferable choice.
Horse riding is available to those who have wearable horses, the trails offering one possible path to follow, although the region has plenty of space out under the trees to make further wanderings possible.
Up on its vantage point, reached by stone steps cut into the rock, the lodge offers warmth and places to sit for those who might find the outdoor setting a little too cold. It also includes the café also referred to in the About Land description.
A walk from here leads up to ruins on a hilltop, offering a view across the woodland of the region. The route up to ruin passes over a high rocky arch, beneath which a spur of the track points the way to where some of the region’s outdoor seating. More seating can be found alongside the frozen pond, offering the chance to watch any skaters on the ice. Those wanting something a little more romantic can enjoy a cuddle on a horse-drawn sleigh.
The track running around the landscape could perhaps benefit from a little experimental re-texturing to see if it could be better blended with the snow on the ground, as it does tend to stand out a little, but other than this, Tranquil Bear Winter Resort makes for a photogenic visit.
Those taking photos might like to share them via the region’s Flickr group. Those needing rezzing rights for props can join the region’s group (via the joiner close to the landing point gazebo). But do please clear away anything you put out once done.
Surrounded by mountains, this is a simple region design that offers a natural setting that can easily be enjoyed without putting a heavy load on a computer even with the constant snow falling across the region.
Saturday, November 24th saw the opening of a new exhibition at DiXmiX Gallery, curated by Dixmix Source. Osmosis De Un Sueño: The Return sees Kimeu Korg return for the second part of an exhibition first witnessed in June 2018 (read here for more), moving to the White Gallery at DiXmiX this time around.
Kimeu is perhaps Second Life’s artist most rooted in surrealism in the presentation of his work, which can easily equal the likes of Max Ernst and René Magritte. Sometimes blending in-world images with elements from the physical world, for this part of Osmosis De Un Sueño, he presents pieces firmly produced in-world, several of which include his sense of whimsy, others of which present a more pointed expression.
This part of the exhibition offers a baker’s dozen of images to b appreciated. I don’t usually ascribe an order in which to view an exhibition unless the artist has indicated one, but with Osmosis De Un Sueño: The Return, I would recommend starting a visit by taking the steps closest to the gallery’s main entrance up to the mezzanine level White Gallery.
Doing so will take you past Look and Retrato Equestre (Equestrian Portrait) into the core of Kimeu’s exhibition, allowing the full richest of his surrealist approach come to the fore, peppered in places with his sense of humour – and his ability to question norms, as with the subtle Prisoner, beautifully layered in potential meaning as it is, despite Kimeu’s disarming claim about his work.
Given the preponderance of skeletons in the pieces, one might think there is a little touch of post-Halloween in the exhibit, but to me these are in some way a lead up to what I consider to be the last piece in the exhibition – or at least, the one I would recommend coming to last of all, sitting above the entrance to the gallery’s events venue, The Atom.
Entitled Blind Obedience, it is a sobering piece, one which in the toxic political environment prevalent in parts of the world today, perhaps bears a special meaning and / or warning. Such is the imagery used, it sits well apart from the rest as it makes an extraordinarily strong statement, one given added impact by viewing it last of all (and the reason I’m not reproducing it here – it should be seen first-hand).
Another remarkable exhibition by one of Second Life’s most remarkable artists, and one that should not be missed as it remains open through until at least late December 2018.
Serene Footman and Jade Koltai specialise in designing regions based on real locations around the world. Each of them has always been popular among visitors and bloggers, perhaps none more so than Isle of May, which opened its doors in May 2018 for a month before closing once more.
As someone who certainly appreciated the original version of Isle of May, I was delighted to learn – by way of the ever-vigilant Shakespeare – that Isle of May re-opened on November 23rd, 2018, albeit it in a new location.
When we closed the Isle of May in June we promised ourselves that we would try designing a winter version later on in the year to see how it turned out. Having worked on the sim for a couple of weeks, we rather like it.
– Serene Footman, discussing the return of Isle of May
The actual Isle of May is located on the north side of the outer Firth of Forth. It’s a small island – less than 2 kilometres long and under half a kilometre wide – sitting 8 km off the Scottish coast. It forms a rugged finger-like uplift of basalt, home to over 285 bird species, including puffins, kittiwake, guillemots, razorbills, shags and fulmars. It is managed by Scottish Natural Heritage as a National Nature Reserve, and from October through Easter, is a home for seal pups.
The name of the island is subject to some dispute, but it is thought to be either of Old Norse origin, meaning “island of seagulls”, or from the Gaelic Magh meaning a “plain”. It is uninhabited outside of its wildlife, but open to day trippers between March / April through until October, and makes for and intriguing place to re-create.
What we were hoping to create is something wild and untamed: less desolate and abandoned than Khodovarikha, or even Furillen, but still a place where you’d feel the wind and snow hurting your face, and the cold gnawing away at your insides. We imagined a roaring sea, with north-easterly gales blasting onto isolated beaches.
– Serene Footman, discussing the return of Isle of May
Jade and Serene have certainly succeeded in creating a winter’s scene, and one that is not uncommon to the rugged Scottish coastline. Those familiar with the original Isle of May from earlier in 2018 will also recognise this design, which retains the core look and layout of the original – hardly surprising, given it is based on a real location. However, there are some subtle changes as well they go beyond the weather.
For example, this design appears to offer a broader path down to the beach from the landing point, while the greenhouse that once sat on those shingles has been moved a north-side beach, reached by a similar twisting path down from the island’s plateau. This northern beach runs around the north-west coast, to the east offering a walk between the greenhouse and an A-frame cabin, while to west it offers a way to a lonely stone cottage.
Such abodes are in keeping with the look and feel of many of the Scottish isles, and while Isle of May may not have permanent human residents, it has a long history of occupation that encompasses both the Vikings and the site of one of the earliest Christian churches in Scotland. So the cottage isn’t that out-of-place, while the religious history is reflected this time not only by ancient ruins, but also the presence of a small chapel on the north-east headland. Another path switchbacks down from this headland, providing access to one of my favourite Second Life house designs: the Skye Luxury Forest Cabin, by Alex Bader. Facing this across the southern bay is the peninsula mindful of the real Isle of May’s Rona headland.
This build also expands on the rich diversity of Isle of May’s wildlife. As well as the birds, the region includes otters, goats and wild rabbits, together with orca and dolphin out in the waters. The latter might be hard to see through the snow, but all are fully in keeping with the real island’s creatures. A couple of liberties have been taken, however, as Serene notes:
As always with Serene and Jade’s design, the region is rounded-out by a superb sound scape, one that should not be missed during a visit, as great care has been taken to incorporate he sounds of the actual wildlife found on the island (as well as mixing in the plaintive cries of both orca and wolves).
Rounded-out by off-sim islands, and a now moving fishing boat, the new Isle of May is a masterpiece of design – but I would add a small comment of my own: it is a very busy region, both in terms of visitors during this, its opening week, and as a result of things like the heavy snow falling. As such, it can take a toll on systems when visiting – so do be patient, and if you’re used to running with shadows enabled, you might want to turn them off except when taking photos – which can be shared through the region’s Flickr group.
In September, I wrote about Frog Hollow, a parcel designed by Stella Mahogany. Since then, Stella has moved on, and now offers a Homestead region for people to visit and enjoy. Called Winter’s Hollow, it is, as the About Land description notes:
Welcome to the winter version of ‘Frog Hollow’ Please enjoy your stay, take photos, ice skate or sit a while in the coffee shop but please pick up your items when you are done. Private residences are out-of-bounds.
Given the title, it should come as no surprise that this is a snowy, winter’s setting. As the description notes, there are some private residences on the region, but on the whole, it is open to exploration, and offers places for photography, but it is perhaps a little low on places to simply sit and cuddle and enjoy passing the time.
Which is not to say it is unpleasant – quite the reverse. Skating, dancing and sledging can be enjoyed, and the region does offer a highly picturesque setting, particularly as rezzing is open to props, etc.
The coffee shop mentioned in the description sits in the north-west. Seating is available inside and out, although the latter has largely been claimed by the local squirrels. A road lies close by, running along the north side and down the west, each branch leading the way to one of the private residences on the region – so do take care approaching them.
The western road also turns to run along the south side of the region a short distance, ending alongside a cabin. However, it was not clear at the time of my visit whether or not this is also private or public.
The promised ice skating can be found inland, a little to the north of the region’s centre – just look for the penguins having a little fun. Couples wishing to enjoy something a little less strenuous, a pavilion on the south side of the region offers dancing. Cuddle spots can be found in the form of a couple of old cable cars, long since removed from their lines. One offers sheltered views back across the region, while the second sits just off the loop of one of the roads, a place where a couple can be watched as they let their young son play on the local swings.
Winter’s Hollow makes for a pleasant visit, one where care has been taken not to overload the scene with too much scenery, an important factor given the use of mesh snow. Nevertheless and as mentioned, the opportunities for photography can be found throughout.
In July 2015, I wrote at length about Pfaffenthal 1867, a 5-region role-play environment and historical project accurately recreating the City of Luxembourg, circa 1867, and founded by Second Life resident Hauptmann Weydert (Weydert), also known as Pit Vinandy in the physical world.
At the time of my 2015 article, Weydert / Pit and his team were very much focused on the immersive opportunities presented by their environment. Thanks to the fledging work Linden Lab carried out in trying to bring Oculus Rift compatibility to Second Life, Pfaffenthal 1867 was at that time featured as an exhibit hosted by the Luxembourg City History Museum, which gave visitors the opportunity to visit and explore the virtual recreation of Luxembourg using the Oculus Rift or via desktop.
In this, the exhibition was part of a broader outreach by the group, with Pit also hosting workshops on virtual environments involving the general public and schools, in association with the Fortress Museum in Luxembourg and the Luxembourg National Museum of History and Art.
I mention all of this because at the start of November, 2018, I dropped into a new experience in Sansar. Called simply 1867, it is the work of Pit and his team, working under the VR Creative banner, presenting both the next step in Pfaffenthal 1867’s development and an opportunity to renew and further the work in presenting immersive, educational historical recreations to the public.
It’s an ambitious project – possibly the most ambitious experience yet attempted on Sansar. The aim is to make full use of Sansar’s massive 4km on a side virtual space and offer a fully immersive historical environment for both social and educational use, with high-resolution topographical maps being used to build-out the experience in stages.
Despite being in the early stages of development – many of the buildings that have been placed are little more than blocks awaiting surface detail (or complete replacement) – 1867 is already being promoted to the people of Luxembourg.
Since the start of November, for example, the project has been the focus of a series of weekday sessions at the Forum Geesseknäppchen, a campus occupied by a number of academic institutions in Luxembourg City. As reported by one of the city’s daily newspapers, the Lëtzebuerger Journal, the sessions are intended to encourage local interest in, and potential involvement with, the project, and will continue through until December 14th, 2018.
“We clearly see this as a collaborative project that is about to gradually create this world of 1867,” Vinandy emphasises. Therefore, he expects a strong participation as soon as the project is publicly available. In addition, he hopes for a lively participation of home owners and companies who want to see their part of the city represented.
In this, 1867 doesn’t sound that different from the public outreach undertaken with Pfaffenthal 1867, however, the opportunity to present richer, more immersive educational opportunities as well as a social VR experience is very much the driving force behind the Sansar development, again as the Lëtzebuerger Journal notes:
Vinandy sees particular interest for students, students and historians who can fully immerse themselves in the past “For example, we want to specifically invite teaching staff to take their school classes on a journey through time,” he says.
– Virtual Time Travel, Lëtzebuerger Journal, November 2nd, 2018
In order to focus on the project – and as revealed by Jo Yardley in a tweet while I was working on an earlier draft of this article (one pending an opportunity to chat directly with Pit about both 1867 in Sansar and the wider work of VR Creative) – Pfaffenthal 1867 is to be shut down in its entirety from Monday, November 26th, 2018.
This news has been greeted with some surprise, given that Sansar itself has yet to gain lot of capabilities needed for it to become a more rounded immersive experience – such as richly interactive non-player characters or working forms of transport such as trains, horses that can be ridden and boats, all of which would certainly enrich a setting like 1867. However, these will come in time, and it is going to take time to properly build-out 1867. As such, I doubt the lack of such capabilities or the lack of period clothing are really issues for the project’s development – although the lack of them could initially discourage Second Life users who have engaged in Pfaffenthal 1867 from dipping more than a toe into Sansar and 1867.
What might be of greater concern is how well such a vast setting loads at the client end as it starts to be fleshed-out to the level of detail found in Pfaffenthal 1867 in Second Life. With some quite modest experiences in Sansar already being quite hefty in download size and load time, something on the scale of 4km on a side could prove to be a significant challenge unless Linden Lab have some clever means of more pro-active steaming and loading / caching still to come.
But, time will tell on that. In the meantime, if you have enjoyed previous visits to Pfaffenthal 1867 and would like to say farewell before it vanishes, can do so between now and Monday, November 26th, 2018. For those in the Second Life 1867 group, and who missed the in-world announcement, there will be a farewell party on Saturday, November 24th, starting at 10:00 SLT, at Café Neuen.
I’ll also hopefully have more on the 1867 project in Sansar as the work progresses, including the outcome of that conversation with Pit.
Inara Pey: Living in a Modemworld 