Land, Water, Sky in Second Life

National Museum of Caledon: Phrynne

Opening on Wednesday, September 5th, 2018 at the National Museum of Caledon, is an exhibition of the physical world photography of Phrynne, Dean of Commons at Caledon Oxbridge. Entitled Land, Water Sky, Phrynne describes the exhibition as a record of some of the places in North America she has visited and loves.

The upper floor and the centre in the lower floor contain photos of the Genesee River Gorge as the river flows through Letchworth State Park [the] oldest state park in New York … Also on the upper floor are photos taken on Oahu of sea and sky and wildlife. Downstairs are photos from Vermont, West Virginia, Ohio, Maryland and Minnesota, landscapes both wild and tame.

– Phrynne, describing Land, Water, Sky

National Museum of Caledon: Phrynne

The resultant images in the exhibition are dramatic in tone and scope; particularly those of the Genesee River Gorge, which is presented in loving detail – although as Phrynne notes, the falls within the gorge are not easy to capture in a single frame, except at distance.

The Oahu images are admittedly a little more mixed in the impressions, the leave, but are more than compensated for by the images captured in Vermont, Maryland, etc. These are again rich in composition, and offer both intriguing views and a little humour – as witness by Grasshopper Observer and What Do You See?

National Museum of Caledon: Phrynne

In all, some 34 images are offered in the exhibition – all of which are for sale -, which makes for a further eye-catching  display of art at the museum, which will remain open through September. Should you enjoy your visit, do leave a comment in the guest book; while an offering towards the continued upkeep of the museum would also doubtless be appreciated by Star (astarynite), the museum’s curator.

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Destiny Gardens in Second Life

Destiny Gardens; Inara Pey, September 2018, August 2018, on FlickrDestiny Gardens – click any image for full size

Update: Destiny Gardens has closed. SLurls have therefore been removed from this article.

Destiny Gardens is a fully region island primarily landscaped by Adalynne Romano (AdalynneReed) and held by Destiny Milos. Making use of the additional 10K land capacity available to full region owners (to give a total capacity of 30K), Destiny Gardens is a veritable temperate summer paradise – but visits to it may come at a cost to some.

This is a place that, from the landing point in the south-west through to all three other corners, is awash with colour from trees, shrubs and flowers. The landscape, raised to the south and low-lying to the north, is cut by waterways and pools, some of the latter quite large, the channels themselves crossed by a variety of bridges, all of which make for interesting rambles along trail, through grass and across shady glades.

Destiny Gardens; Inara Pey, September 2018, August 2018, on FlickrDestiny Gardens

The landing point, in the shape of a paved terrace atop the raised landscape to the south-west, offers gazebos in which to sit, together with outdoor seating, opportunities to play chess, and the first hints of the art to be found scattered across parts of the landscape in the form of a sculpture by Mistero Hifeng. It is also a place where bicycles can be obtained for those wishing to take a ride – but I’d suggest the great part of the region really doesn’t naturally support bike riding. Take the way down from the landing point, for example: this is marked by steps cut into the grassy banks and slopes, and also by wooden suspension bridges that can end in some precipitous slopes, while some of the log bridges down in the lower areas don’t naturally lend themselves to being ridden over 🙂 .

To the northern side of the island sit two little cottages built to identical lines, each within its own garden, their wooden roofs overlaid with turf. Cosily furnished by Destiny, these both appear to be open to the public. Also to the north side of the island is a topiary garden and shaded sitting area for visitors to enjoy. Meanwhile, south and east, the trees give way to more open land surrounding a large body of water in which merhorses swim, the banks of the pool again rich in flowering plants while water tumbles from the neighbouring upland of the landing point.

Destiny Gardens; Inara Pey, September 2018, August 2018, on FlickrDestiny Gardens

This only scratches at the surface of the region’s delightful colour; the use of flowers throughout the region is among the most extensive I’ve seen recently. There are additional places to sit and enjoy the scenery, be it in waterside gazebos or pergolas on a stone patio or bridges strung between tees and bowing over streams. It is also true to say not everything in Destiny Gardens is above ground. Search carefully, and you may find the entrance to a network of tunnels  – but be warned; not all of them are entirely dry!

It’s not quite all plain sailing – or walking – however. There can be cost for some visitors, as I mentioned towards the top of this article. The volume of plants  – even when repeated across the region – means there is a lot of texture handling to be done as you explore or cam. There’s also a lot of alpha meshes used in the creation of things like drifting dust clouds, all of which additionally keeps the viewer busy in rendering. For me, these combined to drop my frame rate to single digits and forced me to disable shadow rendering when not taking photos.

Destiny Gardens; Inara Pey, September 2018, August 2018, on FlickrDestiny Gardens

However, this does not detract from the sheer natural beauty of the region, or its photogenic qualities. In terms of the latter, a contest is running through until September 10th, with a L$6500 prize pool. Images should be posted to the region’s Flickr group, which can also be joined at the landing point, where full rules of entry for the contest can be found. Photos not intended for the competition are also welcome in the Flickr group.

Destiny Gardens makes for a fun, colourful visit. There’s a lot to see and find, and there is a grace about the design that makes it instantly welcoming. Our thanks, once again, to Shakespeare and Max for the pointer!

Destiny Gardens; Inara Pey, September 2018, August 2018, on FlickrDestiny Gardens

SLurl Details

  • Destiny Gardens (Destiny, rated: Moderate)

Through the Gates of Oria in Second Life

Gates of Oria

Now open through until the end of the year is Tah’s (Tahiti Rae’s) latest full region installation, Gates of Oria.  Tahiti has a reputation of building immersive, often deeply expressive installations in Second Life. I first visited one of her installations, 4077 MASH, a homage to the television series and a commentary on war, in 2014 (read here for more), and then was totally captivated by her Love, Henry installation from 2015 (read here for more) and by EVRE in 2016 (read here), her evocative, complex examination of consciousness, connectedness and time.

Gates of Oria does, in many ways, share the same roots as both Love, Henry and EVRE. As with both of those installations, it is very much a journey; one that, like Love, Henry, is intended to stir the emotions, tripping them into play by engaging our imaginations. At the same time, and like EVRE, it takes us on a physical journey through numerous worlds, the very triggers for engaging our imaginations and teasing our emotions, which vary in their themes from light to dark, reflecting the fact that fantasies come in many shades.

Gates of Oria

They say it takes 300 years for an oak tree to grow; 300 years for it to live; And 300 years for it to die. Perhaps our fantasy love took 300 years to grow; An eternity to live; And never dies. Maybe .. it’s real.

– Tahiti Rae, Gates of Oria

This is an installation designed to visually, aurally and musically connect with visitors, as is explained at the landing point. Along with the viewer’s Advanced Lighting Model, enabling local sounds and the music stream for the installation is strongly recommended. I’d also suggest setting draw distance to around 300 metres, so the fullness of the larger spaces can be more easily seen without interruption. As the landing point also notes, proportions can be a little off in places, so when travelling a little playing with ALT-click camera movement and the use of the mouse wheel (or using the CTRL-8 / CTRL-9 / CTRL-0 combinations) can be required, particularly in the spaces where the backdrops appear intended to blend with the build.

Gates of Oria

Exploring the installation can be achieved in one of two ways: by teleporting to the ground and then travelling to the Gates themselves (additional telelport points within statues), and returning to the ground after each visit to make the next. Or, for those short on time, a note card listing the landmarks for all ten worlds can be used to hope directly from one to the next. The former of these approaches again echoes EVRE, except here there is no need to seek out the teleport points, they are found within groupings of statues. As such, and while the statues offer text to set the scene for the world to which that connect, there is no reason the note card LMs cannot be used to move between the different worlds once an initial visit to ground level has taken place.

Fantasy … can be such a risk; such a deep mystery; and profoundly the strongest certainty ever known.

– Tahiti Rae, Gates of Oria

I’m not going to run through all of the worlds; they are for you to experience for yourself. Suffice it to say all are very individual in tone and design, although some motifs can be found in more than one. Some openly demand exploration and can be extensive – such as Labrinto, which is perhaps the set piece of the installation; others are not quite as straightforward as might first appear to be the case, requiring equally considered exploration as there can be many details so easily missed in a quick walk / cam through. Deathless, for example, holds a certain Game of Thrones echo awaiting discovery. Still others are more open in nature, settings designed to allow the imagination to simply take flight – as with 4 Suns.

Gates of Oria

Within several of the worlds, art by CybeleMoon (Hanna Hoobinoo) can be found. Always fantastic in scope, these images give further flight to the imagination. Emotions are also stirred by the audio stream which, although occasionally interrupted by the briefest of adverts, offers music Tah states she has selected specifically for the installation.  Drawing heavily from the world of film (and where else, given the installation is about fantasy and imagination?), the music does add further depth to Gates of Oria – although I admit that I’m perhaps a little biased here in my response, as the stream features pieces by some of my own preferred composers  / arrangers, from the likes of M83, Taro Iwashiro, Bear McCreary, and the amazing Ramin Djawadi, through to several of the established greats of cinematic soundtracks: Morricone, Williams, Horner, Eidelman, Arnold, and more.

A series of events are planned throughout Gates of Oria’s run, details of which can be received by subscribing to Tah’s group at the landing point.

Gates of Oria

There are some minor niggles we encountered – falling through apparent solid objects in a couple of places, while the Eagles in Labrinto steadfastly refused to work for me (I simply right-clicked them for the guide description in the build floater); some of the guidance given was also a little confusing (“Exit far right corner” rather than “Exit to your right”). However, Gates of Oria is nevertheless evocative, imaginative, fully deserving of the time needed to explore and appreciate it.

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Eclectica: A New Dawn in Second Life

[Eclectica] A New Dawn; Inara Pey, August 2018, on Flickr[Eclectica] A New Dawn – click any image for full size

Update: [Eclectica] A New Dawn has closed. SLurl details have therefore been removed from this article.

Maddy  (Nibby Riddler) has a eye for region design; she has shown this through at least two iterations of her region designs carrying the name of Eclectica (about which you can read more here and here). So it was with delight we received an invitation from her to visit the latest incarnation of her work: [Eclectica] A New Dawn – and we weren’t disappointed by all that we found.

For this iteration, Eclectica has returned to the ground, the last time we visited, it was a skyborne archipelago. It forms two large islands separated by a narrow ribbon of water splitting the land between east and west. Both islands are richly wooded, the trees giving rise to a lush landscape, within which are hidden Maddy’s trademark skills in presenting an environment that is rooted in both the natural and the fantastical, both intertwined to present a magical environment in which it is easy to relax and lose oneself.

[Eclectica] A New Dawn; Inara Pey, August 2018, on Flickr[Eclectica] A New Dawn

From the landing point on the southern tip of the eastern island, surrounded by the vibrant colours of summer, a grassy path leads forth through iron gates, then branches to the left as well as running northwards.

The former path leads to a waterside gazebo presenting a view out towards a marvellous vignette encompassing Maddy’s love of the fantastical: a giant hand reaching down from the sky, a carousel caught within long fingers, the cups of the ride falling into the waters below, surrounding the legs of a woman forced to dive from the ride as the carousel is swept upwards, as if snatched from the grassy shore. It’s a marvellous scene, unexpected, a scene capturing both fantasy and offering a nod and a wink of humour. It is also one of several vignettes scattered through the trees.

[Eclectica] A New Dawn; Inara Pey, August 2018, on Flickr[Eclectica] A New Dawn

The path north along the edge of the eastern sea is marked by pools of flowers floating mist-like above the grass. It leads the way to a gabled set of gates. Beyond these, a covered bridge reveals this eastern island is not one, but two: its northern “headland” in fact a small isle topped by an elven arched circle, a place to dance amidst the bloom of trees, flowers and vines.

Between the southern landing point and northern isle are numerous points that offer places to sit and enjoy time alone or with a friend / lover. these range from individual seats, hammocks and beds, through a fenced garden with little hints of Asia, a pool and folly, to a conservatory looking north over the waters – and more to be discovered beyond.

[Eclectica] A New Dawn; Inara Pey, August 2018, on Flickr[Eclectica] A New Dawn

The garden, surrounded by a ring of trees and shrubs, feels like it has been lifted from the comfort of a childhood story and set down within the middle of the island to offer a place of peace and sanctuary. This is a place where time can be passed in reflection. Not even the motorbike and side-car parked within it really look out-of-place, but more another echo of a memory.

The conservatory, meanwhile, looking north across the waters of a small bay, flowers clinging to rocks, has a more open, social feel to it. This is a place for sitting and chatting, relaxing and just being in the moment. Chairs and sofas can be found indoors and out, a deck extending out over the water offering a place to watch swans on the water, the little ice cream carriage adding a sense of easy relaxation to the setting.

[Eclectica] A New Dawn; Inara Pey, August 2018, on Flickr[Eclectica] A New Dawn

Beyond the conservatory familiar pools of flowers in the grass point to two paths. The more eastern runs to a little glade-like setting atop a shoulder of rock, a place with further touches of Asia mix with a little soupçon of fantasy in the glass-like flowers and gently floating spheres. The second path leads by way of trees arched as if to form a gate, to a Romany caravan hidden within its own encircling glade. With its gaily coloured tents pitched in the grassy clearing, benches and little beds of flowers, this has all the feeling of being a home, and place of warm safety, familiar in its bric-a-brac, where cares and worries can again be put aside.

To the west, the second island – reached by a single log bridge spanning the channel between them – is very much a place of two halves. More rugged in nature, it is initially a lush, temperate woodland , cut by a single path climbing west to where temperate gives way to tropical, the trunks of great palm trees rising skyward, while the grass gives way to sand, descending to the broad, shallow sweep of a beach.

[Eclectica] A New Dawn; Inara Pey, August 2018, on Flickr[Eclectica] A New Dawn

Dominating the view is a play on classical mythology: a great figure rises from the waters, supporting a great cup on his shoulders, the Moon lying within its bowl. While it may well be the Moon he holds aloft, rather than the celestial sphere, the allusion to the fate of Atlas could not be clearer – or more romantically phrased: just as Atlas was confined to the western extreme of Gaia, so to does this figure, rise from the western extremes of this world. It’s title meanwhile, I Will Bring You The Moon, offers its romantic touch.

It’s a most unusual sight to behold from the beach and yet, within this setting, does not remain in any way incongruous. Rather, it adds a sense of mystery to the beach, one perhaps coupled by the remnants of a submarine caught in the southern rocks. Facing this across the sweep of sand, a board walk points the way around the northern headland to where a beach hut guards the estuary of the region’s stream, perched on the back of a rocky islet: the perfect end-of-day location.

[Eclectica] A New Dawn; Inara Pey, August 2018, on Flickr[Eclectica] A New Dawn

With scrupulous attention to detail, rounded off with a matching sound scape and – for those who like music to accompany their explorations – a gentle audio stream, [Eclectica] A New Dawn is, simply, a delight.

SLurl Details

  • [Eclectica] A New Dawn (Kymor, rated: Moderate)

A quirky Peace of Mind in Second Life

Peace of Mind; Inara Pey, August 2018, on FlickrPeace of Mind – click any image for full size

Peace of Mind is a Mainland parcel a little over a quarter region in size, held and landscaped by Talacious (Talacious Tigerpaw).  It’s a quirky design that offers as much vertically as it does horizontally for the willing explorer, so a stout pair of walking boots might be recommended!

The About Land description offers a warm invitation to arrival to explore, relax and have a little fun, with Talacious noting she has a passion for landscaping, design and art, and hopes that people find a little peace and tranquillity when visiting.

Peace of Mind; Inara Pey, August 2018, on FlickrPeace of Mind

Visitors arrive on the beach, a narrow sliver of sand sitting between high craggy shoulders of rock that reach back inland. Water tumbles – a little erratically in places – from one of these high mesas, eventually finding its way down to the beach where it rolls over the sand and into the sea.

Three opportunities for initial exploration are offered from the beach: a short climb up stone steps to a caravan, oddly perched on a shelf of rock and now so much a part of the landscape, nature is taking up residence on the outside as much as someone ins living on the inside. More stone steps run up alongside the caravan and to the conservatory sitting above and behind it, while a wooden bridge spans the water in its rush to the sea, offering the way to one of several routes up into the high cliffs and rocks surrounding the setting.

Peace of Mind; Inara Pey, August 2018, on FlickrPeace of Mind

Those climbing to the conservatory will find it is home to a warm-looking bathing pool, while the path branches left and right – offering a further choice in routes of exploration. While you take is entirely up to you; suffice it to say both – and the path winding upwards from the log bridge down by the beach – offer routes of discovery.

Trails wind between the trunks of tall pines and other trees and slide between tall cliffs and hunched rocky outcrops, leading the traveller past local wildlife, over pond and root and through the occasional shower of rain, before inevitably winding upwards. As they do so, the paths climbing the cliffs may change from bare rock to tiled step (or back again) or from grassy trails to dirt tracks, all of which twist and climb – sometimes very steeply – up to the high plateaus above.

Peace of Mind; Inara Pey, August 2018, on FlickrPeace of Mind

These high tables are home to more curios awaiting discovery – a pair of trees houses here, with the remains of an old van that must have had a bugger of a time climbing up the steep trail; a house cut into a hill there, surrounded by sunflowers that reach down into a little box canyon where yet another cottages sits, roof covered in grass and more sunflowers growing above it bay windows. Just below the house-in-a-hill sits a Tuscan villa, a paved set of steps reaching up from it to a narrow promontory on which sits a further tree house, even as hollow logs offer a bridge to a large house standing on the headland, and the destination of the rocky path winding upwards from the beach. This last appears to be the house of Talacious; however, like the other buildings sitting both high and low, it appears to be open to the public.

With the many different paths and bridges connecting them, finding one’s way around and between the houses is something of an adventure, and reveals some of the more quirky elements of the parcel – such a  set of stone steps supported on nothing more than a wish, leading the way to vine-arched bridge spanning the gap between one plateau and another. Meanwhile, the path winding down from from the garden of the twinned tree housesoffers a way past a cavern, also awaiting exploration.

Peace of Mind; Inara Pey, August 2018, on FlickrPeace of Mind

However, said cavern is not the “secret caves” referred to in the About Land description. This requires a little discovery. Clues are provided, and I don’t want to spoil the fun. Suffice it to say: look for the “arrowed” paths  in the grounds of one of the houses, or the sign board watched over by rabbits (then touch the rock behind it). And when you do find your way into the caves, be sure to follow the paths all the way down and to give the wall below a certain sign concerning life a tap …

Peace of Mind is, as I’ve mentioned, a quirky place. It is rich in detail, albeit with a few rough edges that could do with a little attention (waters falling into grass and vanishing, or floating above the beach as it flows to the sea, for example, while the odd tree floats rootless above the ground). But these are not sufficiently problematic as to spoil the overall effect, and it’s clear that Talacious has poured a lot of her own personality into the parcel’s look and feel, together with her sense of fun.

Peace of Mind; Inara Pey, August 2018, on FlickrPeace of Mind

So if you are looking for something just that little bit different to explore, Peace of Mind might be for you.

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A sense of Confinement in Second Life

DaphneArts: Confinement

Confinement is a complex installation located at DaphneArts, featuring a concept and art by Mi (Kissmi), with the physical space and overall presentation of the elements making up the installation by DaphneArts curators Angelika Corral and Sheldon Bergman (SheldonBR).

Mi says of the piece:

Confinement is our lot – from the beginning, in the womb, and even before, as soon as the idea of our conception germinates in the minds of our parents, enclosing us.

In other words, how we might grow as individuals is subject to a series of constraints which encompass us from the moment of conception through until death. Mi sees these constraints as falling into four main categories: geographical, mental, physical and social, and the visitor is invited to consider each of these both visually and aurally.

DaphneArts: Confinement

To fully achieve this, it is necessary to ensure your are correctly set-up to experience Confinement. This means ensuring you have Advanced Lighting Model enabled within your viewer (Preferences > Graphics > check the Advanced Lighting Model check box), you accept the local Windlight setting on arrival (automatic if you are using Firestorm; if you are using any other viewer, the preferred Windlight is Phototools – No Light by William Weaver. Should you not have this available with your viewer, try opting for Midnight or a similarly dark setting). Most importantly, you must accept the local HUD when offered and allow this to attach – without it, you will miss the greater part of the installation. Once attached, the HUD will display introductory text, which can be clicked away once read and the instructions followed. You are then ready to proceed.

This involves walking along a walkway constructed of massive cubes, while walls of these great cubes dominate the view left and right, separated from the walkway by deep chasms.  As one progresses, each of the four categories of confinement are revealed in turn, starting with Geographical. Images by Mi are illuminated, and the HUD presents visitors with the opportunity to hear a reading in French by Mi intended to encompass the symbolism of the confinement – and to read the words, presented in both French and English (note that due to the limitations of SL, the words may lag behind the reading; this is unavoidable).

DaphneArts: Confinement

For Geographical, the reading is taken from the lyrics to né quelque part (“born somewhere”), first recorded by Maxime Le Forestier in 1987; for Mental Confinement, we are presented with Un grand sommeil noir (A big black sheep), by the 19th Century poet Paul-Marie Verlaine; for Physical Confinement and Social Confinement, Mi presents two poems by Jacques Prévert: First Day and Familiale, respectively.

Each of these reading is accompanied by a series of images by Mi, also designed to be representative of the confinement they represent. Like the readings (including né quelque part, when the lyrics are separated from the music), these are stark pieces; abstract in nature, are designed not so much to illustrate, but to encourage, along with the spoken words, our deeper contemplation on the nature of each type of confinement we live within: those born – no pun intended – by the place and time of our birth; the confinement we face in terms of mental development – both our own capability and the opportunities society gives to us;  and the constraints we have to face within both life itself and in society’s expectations of the roles we will ultimately play.

DaphneArts: Confinement

Beyond the fourth confinement, the way leads down to a lower level, stairs lit by the naked flames of candles cupped in stone hands as the darkness closes around. In descending these steps, it is easy to feel as if one is descending into a sepulchre; or that the descent marks the passing from life to death. In echo of this, the hands towards the bottom of the stairs become more grasping in nature, as if trying to reach out from the walls and grasp the life from those passing.

Finally, the path leads by candlelight to a last figure:  a woman caught between death (the hand at her throat) and life (the candle emerging from her midriff). And thus the circle is closed; our ultimate confinement lies within the unknown: we emerge from it in birth, and descend back into it in death.

One since June 2018, Confinement is a layered installation deserving of time and consideration when visiting.

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