A double helping of Soul to Soul in Second Life

Soul2Soul River; Inara Pey, February 2018, on FlickrSoul2Soul River – click any image for full size

In January, MiaRiche Resident dropped me a line inviting Caitlyn and I to visit Soul2Soul River, a public / private homestead region designed and operated by Minnie Blanco (Minnie Atlass). It’s actually one of two Homestead regions Minnie has landscaped and offers for both public visits and private rentals, the other being Soul2Soul Bay.  Both are inspired by part of Minnie’s native England – and as such, have a particular attraction for Caitlyn and I.

Minnie describes Soul2Soul River as a reflection of the Thames River – although those unfamiliar with the full length of Old Father Thames may not recognise this at first glance, the Thames being popularly associated with London more than anywhere else. However, as the longest river rising and flowing entirely through England, it has many faces, its youngest being in Cotswolds district of Gloucestershire where the Thames rises – and it is this which forms the inspiration for Soul2Soul River.

Soul2Soul River; Inara Pey, February 2018, on FlickrSoul2Soul River

Given that Second Life regions are relatively small, representing a decent stretch of a river running through them isn’t easy without introducing a lot of twists and turns – and potentially reducing the width of the river itself, making it less of a focus. Minnie has sought to avoid this by dividing the region into four parts split by water. This way, when exploring, one can get the feeling of looking and walking along three stretches of a single river.

A visit starts at a small village landing point which might be referred to as “classically Cotswold”. Thatched cottages sit alongside a countryside pub, overlooking a stretch of river guarded by willows and bordered by reeds and flowers. A bridge spans the water to where a footpath runs around the south side of the land, offering a riverbank walk which loops back to a path cutting over the hill to the far side, and another bridge linking to the western side of the region – which is home to one of the rental properties, so please keep privacy in mind if you cross the bridge.

Soul2Soul River; Inara Pey, February 2018, on FlickrSoul2Soul River

A second path runs along the riverbank on the far side of the river to the village, offering views back towards the bridge and pub. It’s open to the public, but be aware that again it does run around to rental properties. Further retails are scattered along river banks, all positioned so that they can enjoy a degree of privacy from one another, and with enough room between them to offer space to explore.

Soul2Soul Bay takes its inspiration from the Cornish coastline, offering a little beach bay and a village – which again forms the landing point, complete with old chapel on the hill. A track runs down the hill from the village to the beach front and the sweeping curve of the bay’s C. The sand here offers a route around the region, passing the scattered rental properties.

Soul2Soul River; Inara Pey, February 2018, on FlickrSoul2Soul Bay

Getting around on foot is easy, but for those who prefer, there is a bicycle rezzer opposite the post office (rentals office) allowing visitors to take a ride around the region’s public areas. There are also several places to sit and rest from walking or riding, including on a number of rowing boats moored in the bay and deck chairs in the sand.

Visiting both Soul2Soul regions, I admit to being a little more attracted to Soul2Soul River – but this is primarily because I have an affinity for the Cotswolds, and really enjoyed the views along the river.  The truth is both Soul2SoulRiver and Soul2Soul Bay are picturesque and make for a relaxing visit. Those looking for a home within themed regions might also find them well worth a visit, while photographers will find both regions attractive to their cameras.

Soul2Soul River; Inara Pey, February 2018, on FlickrSoul2Soul Bay

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A Little Sanctuary in Second Life

Sanctuary; Inara Pey, February 2018, on FlickrSanctuary – click any image for full size

I don’t often get the chance to write about the mainland – a fault that is mine; so I was delighted when we had the opportunity to explore Sanctuary, a beautifully presented stretch of coastline in the continent of Satori, designed by Roxi Firanelli with help from her best friend (and Second Life photographer),  Darth Kline (ropedick). Spanning a stretch of land across two regions –  Afanasyev and Rideau – it is a photographer’s delight and a place rich in detail for explorers.

In looks, a good portion of Sanctuary has the feel of a careworn coastal town, possibly along America’s gulf coast. The buildings are old, slightly run-down, the roads unpaved and overlooking a bay dotted with sandbanks, one of which has the wreck of a coaster aground on it; a wreck so old, nature is gradually having its way.

Sanctuary; Inara Pey, February 2018, on FlickrSanctuary

There’s no set landing point for visitors, so I’ve arbitrarily selected the parking lot above the bay. From here, visitors can look down on an old board walk which has clearly seen better days and is home to three old houseboats, one of which has been converted to a eatery, and another is now home to a bar.  Across the road from the parking lot sit a little huddle a businesses, all of which have seen better days, the largest of which is a used car lot and auto repair centre.

These businesses are filled with detail which help to further bring sanctuary to life. Going by the car being repaired at the auto centre and bicycles outside the cafe, they still seem to be drawing in business as well.  However, they are bookended – if not overshadowed – by the two structures which perhaps best encompass  the broader status of this little corner of the world: a boarded-up motel, and a tumble-down, overgrown funfair and public swimming pool. These clearly speak to the place which has perhaps seen better times.

Sanctuary; Inara Pey, February 2018, on FlickrSanctuary

Across the water sits a small, rugged island, home to a working dock and wharf on its north and island-facing side (the southern side of the island appear to be privately owned) with trawlers tied-up alongside. The channel running between the island and the mainland looks to have once been swampland; there’s evidence of old tree having been cut down to clear the water, although some swamp cypress still grow on either side of the slowly-passing water while signs give notice of snakes and alligators. For the most part, these may not be easy to spot – with one exception: a cheerful (and whimsical) ‘gator is more content with standing on an ageing wooden pier playing a banjo than with floating log-like in the water. If you spot him, do consider leaving him a tip for his efforts!

Follow the old road up towards the abandoned motel and you’ll find a choice of routes to take: a grassy track down between the motel and its sign, leading to where the board walk below the rod comes to an end; or you can stick to the old road and following it as it switchbacks inland, offering an walk that eventually loops back towards to the coast; or you can turn off the road just past the old motel and take the aged stone steps climbing up into the hills behind Sanctuary’s southern waterfront.

Sanctuary; Inara Pey, February 2018, on FlickrSanctuary

All three route can bring you by turn, gorge and bridge to an abandoned farm sitting above the motel, buildings long deserted, equipment left behind, unwanted. However, take the grassy trail down from the road to where the broad walk ends, and as well as the path leading up to the farm, you’ll discover a stony trail curled past the old, converted machinery house sitting on its own pontoon. This trail will- for the keen-eyed – offer a way to where a set of steps are cut into the rock which offer a path north into Sanctuary’s northern end, in the region or Rideau.

“Roxi decided we needed a change there,” Darth informed me during our visit. “So please excuse the untidiness!”

In turn, the rebuilding work barely intrudes on a visit – but it was worthwhile knowing it was going on, as it definitely marked Sanctuary as a place to be revisited soon. As it is, the northern half of the build couldn’t be be more different to the southern end. Climb up through the rocks and follow the path through the narrow clefts and you’ll be brought to a place which – for me at least – brought out strong memories of Sri Lanka.

Sanctuary; Inara Pey, February 2018, on FlickrSanctuary

Down on the waterfront sits a copy of Eliza Wierwright’s Patron house: a open-sided villa which powerfully echoes Sri Lankan resorts designs in look and layout. Up the hill, behind this villa, tiered walls hide stairs that lead up into the high rocks, to where more clefts and steps cut and climb – the entire walk up from the beach putting me in mind of the Boulder Garden Hotel, Kalawana, Sri Lanka. The upper end of this walk is were work is being carried out, so I’m not going to reference more of it here – but will be back to see what Roxi and Darth produce there.

I genuinely cannot praise Sanctuary enough; it’s an outstanding design, rich in detail and full of contrasts, with the southern end of the landscape suggestive of America’s gulf coastal regions, as noted, but also containing little twists and touches  – such as the tuk-tuk vans – which might place it elsewhere. The tuk-tuks also provide a nice hook to the more tropical / Indo-Asian feel of the northern end of the land.

Sanctuary; Inara Pey, February 2018, on FlickrSanctuary

Undoubtedly well worth visiting and taking the time to explore carefully. My thanks to both Roxi and Darth for taking the time to chat, as well. Do keep an eye out for the more … unusual .. details of setting as well, which I’ve pointed not mentioned here, but which add a little edge to the scene.

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From the Worlds to the World in Second Life

From Worlds to the World – Giovanna Cerise

From the Worlds to the World is a new installation by Giovanna Cerise at the R&D Gallery, Diotima, in Second Life. Occupying the entire gallery space, this is a complex installation to unravel, incorporating as it does elements of post-modernism, philosophy, logical progression, nature, geometry – whilst also, perhaps, promoting a discussion on what is the role of past and present in influencing the future.

Produced entirely in black-and-white, this is perhaps a stark piece, but there is a natural symmetry to it. Set against a black surround, the white forms within the installation are made up of geometric elements denoted by fine black lines – geometry being both a basic expression of both nature and intelligence. In all, the installation comprises three parts, perhaps analogous to the concepts of past, present and future, and which represent the evolution of intelligence.

From the Worlds to the World – Giovanna Cerise

“The first part of the installation can be seen as an archetype of nature, now incorporated and reduced to its geometries,” Giovanna states in introducing the work. Given the overall framework of the installation, I’d venture the opinion that in this instance archetype is being used to reference Jungian archetypes – universal, archaic patterns and images from the collective unconscious which form inherited potentials, which are transformed once they enter consciousness and are given particular expression by individuals and their cultures – and the idea that as universal patterns within the collective unconscious, they exist as a kind of primordial suspension, without individual structure and form.

Thus, in this first second of the installation, we are confronted with a chaotic form, uneven, broken, but with its geometry holding the promise of potential, of becoming individually / culturally and collectivity more.

From the Worlds to the World – Giovanna Cerise

From this the installation progresses through and initial shape and patterns in which human forms can be seen – a reference, it would seem to the rise of intelligence and self. A time when we shape and drive the world around us, while being both apart from it (humanity over nature?), yet wholly constrained by it – as evidenced by the shapes rising and folding out of, so to speak, the same geometric forms as seen in the initial part of the installation.

Beyond these lies the future: a place where individually no longer exists per se, and the identical reigns. A point at which intelligence has homogenised, There is no need for bodies nor the baser needs of humanity. Life has again become unified, archetypes woven together through their universality. A time has been reached where individuality or culture are no longer required. Nor is there need for dialectical discussion or reasoning; all that is required is uniformity and experiential growth and perfection of the whole.

From the Worlds to the World – Giovanna Cerise

As a representation discussion of the evolution of intelligence, From the Worlds to the World (“worlds” and “world” perhaps again a reference from separate cultural environments and attitudes to the single, homogeneous “whole”) is – as noted – a complex piece. While it may well point to a time where dialectical discourse is no longer required, it nevertheless encourages it, just as it also promotes more philosophical consideration of our own development and growth. Are we really to rise from the “primordial” homogeneity of initial instinctual intelligence to a point where the potential of the individual (be it person or cultural) is to be only a span of time before we are once again absorbed into a single whole once again, uniform of thought and goal?

These latter elements: the opportunity for considered thought and discussion make  – for those willing to dwell on interpreting the installation – From the Worlds to the World an ideal opportunity for a shared visit.

Realm of Light in Second Life

Realm Of Light; Inara Pey, February 2018, on Flickr Realm Of Light – click any image for full size

Annie Brightstar led us to take a visit to Realm Of Light, a Full region designed by Varielle and Tai (Taionia). Described as a “medieval/fantasy sim”, I’d definitely place it as the latter more than the former; it has a delightfully elven / fae feel to it with more than enough fantasy touches to mark it in that direction rather than medieval.

The landing point immediately evokes the fantasy feel, offering a faery circle, trees with windowed trunks lit from within and clearly the homes of the little folk dancing around the landing point on gossamer wings. Four paths offer routes of departure from the ring – three meandering through the tall trees, the third a bridge over one of the region’s rivers. Which you take is entirely up to you – and guaranteed, if I might paraphrase Tolkien, to bring you a place to which you may not have been going, but where your presence is welcomed.

Realm Of Light; Inara Pey, February 2018, on Flickr Realm Of Light

Travel east along one of the paths, and you’ll quickly come to another stream, bridged by interlocking tree trunks, the greensward beyond offering a place to sit and relax – or float- among exotic and colourful plants and fungi. South of this, and sitting on a tiny island separated from the rest of the region by narrow channels, is a great tree supporting a wooden platform on which is built the most marvellous windmill-come-house. At ground level and in the shade of the tree, is a smaller cottage – but be warned! The dragon guarding both is not there purely for show; this little island is a private residence, so please be respectful and avoid trespassing.

Take the path to the north, and it will take you – by way of another bridge – to a garden and elven pavilion. The garden a place of fountains, cuddle spots, a teleport to a floating meditation island. It is dominated by a great mallorn-like tree, a passage cut through its trunk, great lanterns hanging from its boughs and a platformed house held within its crown.

Realm Of Light; Inara Pey, February 2018, on Flickr Realm Of Light

Go south from the landing point, and the path will branch and fork, bringing you to a number of places – what might be an alchemist’s retreat, an ancient walled garden, a mystical tree cave and another greensward ending at a fae waystone circle.

A stone bridge near to the waystone circle offers a way across a narrow river gorge to where elven tree houses sit within the woods, stone paths and steps running between them, the grasses in their shade home to deer and rabbits. The tree houses are connected by bridges spanning the gaps between their ornate platforms, allowing easy passage from one to the next and back without the need to descend to ground level. North-west of the tree houses sits another island, reached by two bridges; again be aware that the properties here are available for rent and may be occupied – so please resist the temptation to enter them.

Realm Of Light; Inara Pey, February 2018, on Flickr Realm Of Light

All of this is just scratching the surface of this region. Along the rivers – and overhead – one might find more dragons; to the north-east lies ship wrecks and a mermaid cove with places underwater to explore. Unicorns are to be found among the trees, while translucent butterflies flutter over plants and toadstools. Keep an eye out for the tiny houses and towers scattered around, and the fae folk who flutter about or are engaged in different activities.

Realm Of Light could perhaps benefit from a more appealing windlight, but as most photographers tend to use their own, this isn’t a drawback – but I do encourage experimenting with options when visiting; this is a place which really comes into its own under many sunlight settings. As it is, Realm Of Light makes for an engaging visit and offers plenty of opportunities for photography and exploration.

Realm Of Light; Inara Pey, February 2018, on Flickr Realm Of Light

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Je n’aime pas in Second Life

DaphneArt: Je n’aime pas

Je n’aime pas (“I do not like”), is the name of a collaborative art installation by Hern Worsley and Nur Moo which opened on Friday, February 9th, 2018 (with a second opening event planned for Saturday, February 10th, 2018 from 16:00 SLT) at DaphneArts, curated by Angelika Corral and Sheldon B.

Described as a conceptual piece, the installation features a build over three levels by musician, builder and artist Hern, within which a series of images by photographer Nur Moo are displayed. Mur is described as having returned to Second Life in the notes accompanying the installation, and I gather Je n’aime pas is something of a celebration of this fact.

DaphneArt: Je n’aime pas

Visits begin inside a building within the installation, on its lowest level. Before proceeding, make sure to observe the viewing instructions displayed in the dialogue box in the top right corner of your screen. In particular, make sure you have your viewer’s Advanced Lighting Model (ALM) enabled via Preferences > Graphics or you risk missing details. There is art on the walls inside the building – but frankly, I’m not sure if the photography is Nur’s or Hern’s or someone else’s.

A set of white arrows line the floor outside, encouraging people to step out into the larger structure. This exudes a modern approach to architecture: great steel beams, arms pentagonal floor sections, and great glass panels. Some are designed by Hern, some are from other creators he has used in building the installation. Central to this is a huge mesh vase, while from the walls hang panels with animated images.

DaphneArt: Je n’aime pas

At the foot of the vase sculpture sits a teleport on an easel that leads up to the middle level. this is where having ALM becomes particularly important. Without it, none of the images projected onto the flat wall panels, the greeble boards, cubes and floor will not be visible. Two more teleport boards sit on easels in the centre of this floor: one up, one down. Go up, and you become part of the installation yourself, courtesy of a trampoline.

This is a difficult installation to quantify. In some ways it likely to be reflective of its name for some; for others it may well be a curious mystery. Conceptual art  is art in which the idea(s) involved in the work take precedence over any traditional aesthetic. As such, this is an installation that needs to be considered as a whole, and not so much as a sum of its parts. given this, how we consider  Je n’aime pas is down to individual interpretation – and I’ll leave this to you to determine.

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Kamigami, Pandora Resort in Second Life

Kamigami, Pandora Resort Town; Inara Pey, February 2018, on Flickr Kamigami, Pandora Resort

Note: this vision of Pandora Box of Dreams closed on August 1st, 2018, so the SLurl have been removed.

Lokhe Angel Verlack (Jackson Verlack) is a master in creating immersive environments, and I’ve covered a number of his region designs over the last few years – the most recent being Namaste, under their Pandora Resort/Pandora Box of Dreams banner (read here for more). Recently, he had his partner, Miza-Cupcake-Verlack (Mizaki) opened a new destination at Pandora Resort – Kamigami, a Japanese themed, down-town style environment with some nice little touches.

As with Namaste, a visit to Kamigami commences on the upper deck of an airliner zapping through the sky. Arrows on the floor direct passengers down to the lower deck and to teleport boards sit nestled in the cabin door lobby. One of these takes visitors to Namaste, the other to Kamigami, where they are delivered to the lower entrance to a metro station – the steps to street level offering the only way forward.

Kamigami, Pandora Resort Town; Inara Pey, February 2018, on Flickr Kamigami, Pandora Resort

Climbing the steps reveals this is not the better part of town; the red-bricked buildings are grimy with age, the streets – although apparently pristine tarmac, possibly washed clean by the falling rain – are lined with piles of rubbish, old oil cans and signs that some attempts are being made at renovation.The metro sign on the wall of the steps suggests we’re in Kyoto, in which case, this might be an older, more outlying part of that city.

More signs, neon and painted boards, hang from walls, extend from posts carrying overhead power lines and are mounted on overhead gantries. Some of these are typically Japanese while others offer a more Chinese lean, and some have a distinctly western look and feel; all of which gives the setting an eclectic look and feel.

Kamigami, Pandora Resort Town; Inara Pey, February 2018, on Flickr Kamigami, Pandora Resort

Most of the builds are admittedly shells, but part of the interest in a visit is finding your way around the streets separating them into blocks, taking in all the little details. I say “most”, because wander far enough and you will find places that are open to avatars to explore, such as the magic shop along one street and, most particularly, in the south-east of the build where a series of covered alleys offer little market stalls, eateries and curio shops.

The largest buildings in the setting are of distinctly European / western design. They sit within formal gardens positioned on the rugged table of rock that raises them above the surrounding town, an aloof position befitting their imposing looks. A narrow cutting in the rock,, marked by stone steps, presents the route up to these two manor-like buildings, both of which appear to be places of learning … or of dark acts.

Kamigami, Pandora Resort Town; Inara Pey, February 2018, on Flickr Kamigami, Pandora Resort

Keep an eye out, as well, for the town’s canal; not because of the water or for boats, but because of its unique display of fish that are literally flying along its course, rather and swimming. These can be seen from the road running alongside part of the canal, or from the old stone bridge spanning it.

As with all of  Lokhe ‘s builds – and as one might expect from my description of him at the top of this piece – Kamigami is eye-catching in its level of detail and touches.  Visually, it is as engaging as Namaste, down on the ground level below it – but in a very different way. There are opportunities for photography among the streets. As such, a visit is once again recommended.

Kamigami, Pandora Resort Town; Inara Pey, February 2018, on Flickr Kamigami, Pandora Resort