The Ruins of Deepmarsh in Second Life

Ruins of Deepmarsh; Inara Pey, March 2018, on FlickrRuins of Deepmarsh – click any image for full size

Update: Ruins of Deepmarsh has closed, SLurls have therefore been removed from this article.

The Ruins of Deepmarsh is a Homestead region designed by River (Moya McCallen) as “a tranquil haven for those looking for an out-of-the-way place to hide for a while, especially with someone special. ”  It’s an open, rather eclectic region in looks, mixing the outdoors with art, places to relax and little curios to discover.

A visit begins at the landing point, a little isle in the midst of a group of islands. A telephone kiosk stands on this little piece of land, watched over by a greyhound and bunny. It forms a teleport system – but only for those who are part of a private group based on the region; for casual visitors, it is the surrounding islands that are open to the public.

Ruins of Deepmarsh; Inara Pey, March 2018, on FlickrRuins of Deepmarsh

These are linked together, for the most part, by a network of bridges which offer a way – at least in part – to explore the landscape. Three radiate out from the landing point itself, and which you take is entirely up to you. To the north sits one of the larger islands. Broad and flat, it is home to a wooden deck built around an oak tree. More bridges link this island with its smaller siblings sitting on the north side of the region, while an old ruins sits atop an off-sim island, watching over all of them.

Curling around to the west, and then running south, the large island breaks into a series of headlands or is inset with little coves, each with its own feature waiting to be discovered. All of them are dominated by the bulk of a large Moon literally rising from the sea; on the headland before it a window frame floats serenely above the ground at the end of bridge (careful when crossing the latter!), offering a pose point from which to take pictures (at midnight, perhaps?) with the moon as a backdrop.

Ruins of Deepmarsh; Inara Pey, March 2018, on FlickrRuins of Deepmarsh

South of the Moon and the old watchtower facing it, the weather becomes wetter. Thunder grumbles and lightning flashes, while an old rowing boat is suspended from telegraph poles rising from the turbulent waters, offering another place to sit, cuddle and / or take photos.

To the east, the weather is fairer, while the islands offer more places for sitting and cuddling, be they on a beach, inside an old cabin build up against a grassy dune, within a cavern reached by yet another bridge, or simply atop a dune. Several are watched over by sculptures by Mistero Hifeng. Elsewhere there are swings and benches upturned boats wedged in place and with cushions and blankets beneath, while gulls pass overhead, critters run through the grass and herons stand like butlers awaiting a summons.

Ruins of Deepmarsh; Inara Pey, March 2018, on FlickrRuins of Deepmarsh

The majority of the landscape is open to the sky, the trees few and scattered, some with backs bent from long years in the wind. However, one of the islands is crowned by a copse of oak tree through which a sandy path leads to another piece of art, a secluded swing next to it.

The eclectic nature of the region comes from things like the telegraph poles and their suspended rowing boat seat, a bridge held above the water by a trio of hot air balloons, the biplane alongside the deck near the landing point, the single island with its touches of Buddhist mysticism – even the landing point’s telephone booth. These also at first seem a little out-of-place among this nesting of islands – but so to do they feel a part of it, adding to the personality of the region.

Ruins of Deepmarsh; Inara Pey, March 2018, on FlickrRuins of Deepmarsh

The Ruins of Deepmarsh – as the description suggests – offers an excellent getaway for those looking for somewhere quiet in which to relax or to hide for a while. Photography is welcome, and the region has a Flickr group for those wishing to submit their images. Should you enjoy your visit, as we did, please consider making a donation towards the region’s upkeep at the landing point.

SLurl Details

  • The Ruins of Deepmarsh (Beck, rated Moderate)

Another trip on Route 66 in Second Life

Motorheadz Café / Route6; Inara Pey, March 2018, on FlickrMotorheadz Café / Route66 – click any image for full size

Route 66 has been a popular subject for region designs in Second Life over the years, and one of the more recent is called Motorheadz Café / Route66, which Shakespeare alerted me to recently. Designed by ROCKET (Rocket Biedermann), this Homestead region immediately put me in mind of  Mother Road, which Caitlyn and I visited in September 2017 (see here for more). Such is the similarity between the two, one might easily be the neighbour to the other.

Bracketed to the east and west by mountains, the region is dissected by the titular road, alongside of which sits the landing point. Take care on arriving – it’s easy to step out on the road, and as you’ll find out, this actually has traffic passing along it periodically – cars, pick-up trucks, police cars – even trucks towing semi-trailers.

Motorheadz Café / Route6; Inara Pey, March 2018, on FlickrMotorheadz Café / Route66 – click any image for full size

The road is straddled by a small township that seems to have grown up here as a result of pharmaceutical plant that apparently started operations in 1886. The security guard at the gate suggests it is still in use, but perhaps it is now more of a storage facility than anything (and part of it is off-limits to visitors).

This might explain why the rest of the town is looking somewhat run-down; without a place of work, many of the local inhabitants may well have moved on to pastures new; what’s left is a handful of roadside business – an auto shop, the titular Motorheadz Café, a couple of stores, a doughnut shop offering competition to the café, and a run-down motel which hardly lives up to its name: Miami.

Motorheadz Café / Route6; Inara Pey, March 2018, on FlickrMotorheadz Café / Route66 – click any image for full size

Behind these, again on either side of the road, lay a scattering of houses and shacks. all of them looking more than a little run-down – but going on the cars parked outside of them, several are still considered home by the locals.

What makes this region a little different is the work that’s been put into making it appear to be “alive”. There are the aforementioned vehicles zapping along the main road, while scattered around the region are posed dummies. There’s nothing new in this – such characters often turn up in many regions; but rather than having such dummies individually placed – at market stalls, behind counters, etc., Rocket has brought them together in series of vignettes.

Motorheadz Café / Route6; Inara Pey, March 2018, on FlickrMotorheadz Café / Route66 – click any image for full size

There’s the couple outside of the auto shop, for example, apparently waiting for the car to be fixed; while outside the motel, certain negotiations appear to be under way. Further afield, the local motorbike gang are gathering at their club-house, and so on – but check inside the café for the best example of bringing these characters together to form a little story. Cats are also much in evidence, doing the things cats do – including perching themselves in locations that are unexpected – but typically cat-like.

Motorheadz Café / Route66 may not appeal to everyone, but I admit to finding it with its own charm. With rezzing open (5-minute auto-return), it makes an ideal environment for photographers looking for a more unusual backdrop, particularly if “extras” are needed. There’s also opportunities for photos in other parts of the region: alongside the train tracks, out in the fields, etc.

Motorheadz Café / Route6; Inara Pey, March 2018, on FlickrMotorheadz Café / Route66 – click any image for full size

SLurl Details

Eidola: reality and perception in Second Life

Eidola

Eidola (a phantom; an apparition; an ideal) is a new installation by Livio Korobase, which opened on March 16th, 2018. It’s a daring, imposing – and possibly overwhelming – build; seeking to explore the eye and the idea; how vision has helped form our perceptions and understanding of the world around us.

It’s an ambitious subject, one that dates back at least to the time of Pythagoras, as is indicated in the installation’s liner notes. He believed that we could see because the eye emits rays of light, and that these rays gave a person information about colour and shape. From this idea through Democritus to Johannes Kepler by way of Da Vinci, and with a mention of gestaltism along the way, the liner notes provide a framework for understanding the installation, including the fact it uses, as a means of both presenting ideas and navigating it, the five chapters of Ruggero Pierantoni’s  1981 book, The eye and the idea. Physiology and history of vision.

Eidola

Visitors arrive at a near central arrival point, which offers significant reading – including an excerpt from Wassily Kandinsky’s ruminations on the geometrical elements which make up every painting, and the basic plane, the material surface on which the artist draws or paints. This sits alongside extracts discussing the nature of visible light and the brain’s reaction to light entering the eye.

From here, visitors are invited to make their way through six vast houses, most of which are elevated in varying manners – on the backs of great statues, atop basalt columns, up in the branches of trees. The first five houses reflect the chapters of Pierantoni’s book, and the sixth something of a conclusion.  These are linked one to another by raised ladders on top of scaffolds laid out as horizontal walkways. The first of these can be reached via a short walk over the landscape, or a teleport board is available for those short of time, or returning for a further visit and wish to resume where they left off.

Eidola

Each of the houses is packed with information on its specific topic: Myths of Vision; Space, Inside and Outside; Light, inside and Outside; Proportions, Symmetries and Alphabets; and Illusion and Pleasure. Some of the walkways are on a single level, some are there to be climbed in order to see the contents in a house, and one includes a teleport. Outside of the houses, the walkways offer views across the surrounding landscape. This is filled with what might at first appear to be curios watched over by gigantic humans – but they are all in some way related to the overall theme of the installation.

At the end of the elevated walkways, beyond the sixth house, is the frame of a house. Approach and enter this, and the frame is revealed at an animated work of art built in reflection of the themes from the rest of the installation: perception, perspective, line, point, and more.

Eidola

Trying to quantify this installation is not easy; it is one that needs to be personally experienced. The amount of information it contains can be overwhelming if trying to take everything in during a single visit. But there is a lot of food for thought to be found in the houses for those interested in science, philosophy, psychology, history or art; therefore more than one visit might be the best order of business.

SLurl Details

  • Eidola (LEA 24, rated: Moderate)

Sundarban in Second Life

Sundarban; Inara Pey, March 2018, on FlickrSundarban – click any image for full size

Update: This location has closed, the SLurl have therefore been removed from this article.

“Sundarbans is a vast mangrove forest located between India and Bangladesh, well-known for being the habitat of the Bengal tiger,” Gabrian Lascelles (gothicgaylord) writes in his introduction to his new Homestead region, Sundarban. “It’s my vision of India,” he informed me in passing an invitation to Caitlyn and I to visit. “And as I’m from Sweden, it’s been a lot of research for me, but if I’ve managed to catch just a breath of India, I’m happy!”

Gabrian is perhaps best know for designing and building Costa Blanco (see here for more), and as a landscaper at Amazon River. We both thoroughly enjoyed Costa Blanco, so with Gabrian’s invitation in hand, we hopped over to Sundarban to have a look around.

Sundarban; Inara Pey, March 2018, on FlickrSundarban

The physical world Sundabarans lies in the vast delta formed by the by the super confluence of the Ganges, Hooghly, Padma, Brahmaputra and Meghna rivers as they empty into the Bay of Bengal, straddling India to the west and Bangladesh to the east. It is a huge ecosystem encapsulating both freshwater swamps and the world’s largest area coastal mangroves, around 10,000 square kilometres (6,250 sq mi). As Gabrian notes, the area is the home of the endangered Bengal Tiger, but it is also home to other endangered species besides, such as the estuarine (or saltwater) crocodile, the northern river terrapin, the South Asian river dolphin (freshwater dolphin), barasingha swamp deer, as well as more widespread breeds of mammals, bird, fish and reptiles.

For his build, Gabrian presents a coastal area made up of low-lying muddy / sandy islands, some linked by bridges, others by zip lines, while little motor boats provide the means of puttering around the waters to reach all of them. The landing point sits on an island on the north side of the region, where sits a little shanty store. Elephants are bathing in the water close by – although they are of African, rather than Indian, origin (don’t blame Gabrian for this, African elephants in natural poses are a lot more popular with creators than their Indian cousins).

Sundarban; Inara Pey, March 2018, on FlickrSundarban

East from here, over a low wooden bridge, is a second island. This is home to an old corrugated iron shack, a small shrine, and a path leading up to the wooden jetty on the north side of the island where the motor boats can be obtained. For the adventurous, a set of zip lines have been set up behind the old shack, providing a way for people to travel to / from the island to the south without the need for a boat or getting their feet wet.

This island is probably the largest by visible landmass in the group. It arcs to the south and east, a slender ribbon of grassy dunes sitting under the shade of trees reflecting the physical world’s Sundarbans freshwater forests, before ending in a finger of rock pointing up at the sky. An ancient ruin can be found here, converted into a rest spot complete with canopied massage table looks towards the eastern islands in the group, and another pair of zip lines link it with the nearest of them. Before riding one of them, however, it’s worth walking down to that finger of rock I mentioned – you’ll pass more of the local wildlife along the way and find a most unusual perch up in the rock itself.

Sundarban; Inara Pey, March 2018, on FlickrSundarban

Those seeking the tigers will need a motor boat, as they are on a small island to the north-west, separated from the rest by water. Just heed the sign as you approach the island’s little bay, or you might find yourself on the menu – as seems to have been the case with the last couple of visitors, porcine and human!

Sundarban is Gabrian’s personal vision of an exotic part of India, and a place that’s easy to explore and easy on the eye. Throughout the islands are numerous places to sit and cuddle (although be aware some do have distinctly adult poses in them!), and plenty of opportunity to take pictures. Should you enjoy your visit, please consider a donation towards the region’s upkeep – just look for the beggar / trader near the path to the motor boat jetty.

Sundarban; Inara Pey, March 2018, on FlickrSundarban

SLurl Details

  • Sundarban (Enchanted World, rated: Adult)

UWA Art of the Artists machinima challenge winners

Poster by Eliza Wierwright

On March 26th, 2018, the winners of the UWA Art of Artists machinima challenge, launched in July 2017, were announced. Initially sponsored by LaPiscean Liberty of SLArtist and Singh Albatros and The Writers Centre, Singapore, the challenge opened with a prize pool of L$350,00 which, thanks to additional sponsors such as Pooky Amsterdam of Pookymedia, topped-out at L$430,000 by the time the challenge closed to entries on December 31st, 2017.

Challenge entrants were asked to produce a machinima film focused on any of the art exhibits located on the UWA regions in Second Life. They were allowed to choose individual pieces of art or a collection around which to weave a story. However, the art had to be a relatively significant part of the story, and not merely something glimpsed in passing, and films to be considered for any of the prizes could not exceed 8 minutes in length (although longer films could be submitted if desired.

The award ceremony was held at the historic Winthrop Hall in the UWA virtual campus in Second Life. As well as a celebration of the competition and its winners, the event also marked an end of an era. “It’s a farewell from me,” Jayjay Zifanwe, who has been the powerhouse behind the UWA’s presence in Second Life and its patronage of digital arts, informed me ahead of the ceremony.

He continued, “Farewell in a sense that it’s the last of my major events, and the last speech in will do within SL.” During his opening address at the awards ceremony, Jayjay took time to thank all of those – especially Freewee Ling, curator of the UWA’s art exhibits, and to all those who have done so much to make the UWA’s presence in SL so rewarding for him. In doing so, he also paid tribute to artist Alizarin Goldflake, who passed away recently after a long illness.

The Awards

All of the entries can be viewed on the Slartist website.

Art of the Artists Awards

Sponsored by LaPiscean Liberty and Slartist.

Award Awarded To
Film title / link
1st – L$75,000 Glasz Decuir Adaptive Resonance Theory (ART) and Intrusion Detection System(IDS)
2nd – L$50,000 Tutsy Navarathna Serendipity
3rd – L$40,000 Natascha Randt & Karmia Hoisan The River of Forgetting
4th –  L$30,000 Isabelle Cheren Before the World was Made
5th – Award L$20,000 Bryn Oh Cerulean
Craft Awards (L$7,000 each)
Suzie Anderton; Amelie Marcoud; Diana Rose; Elle Thorkveld; Tantra Sangha & M1nn0taur; Veyot; Gerhard Helmut & Lila~R; Iono Allen; Joseph Nussbaum; Secret Rage; Lampithaler

 

The Pookymedia Awards

Sponsored by Pooky Amsterdam and Pookymedia.

Award Awarded To
Film title / link
1st – L$25,000 Bryn Oh Cerulean
2nd –  L$15,000 Tutsy Navarathna Serendipity
3rd –  L$10,000 Suzie Anderton Never Say Never
Honourable Mentions (L$1,000 each)
Amelie Marcoud; Iono Allen; Lampithaler; Isabelle Cheren; Chic Aeon

 

UWA Art of the Artists Special Awards

Totalling L$51,000, awarded by Jayjay Zifanwe on behalf of the University of Western Australia.

Award Awarded To
Film title / link
L$17,000 Amelie Marcoud For Love and Art
L$17,000 Suzie Anderton Never Say Never
L$17,000 Chic Aeon The Amalgamation of Objects

The Merlion Special Prizes

Awarded by Singh Albatros and Kaylee West on behalf of The Writer’s Centre, Singapore to the films which best represent the The Merlion,  the national personification of Singapore, and featured at the Merlion Portal in Second Life.

Award Awarded To
Film title / link
L$16,666 Amelie Marcoud For Love and Art
L$16,666 Suzie Anderton Art and Transformation – a dialogue at intervals
L$17,000 Diana Rose A Journey From the Past: Singapore

 

 

Congratulations to all those who received an award, and thanks to Jayjay, FreeWee and all those involved in this challenge.

A summer’s twirl in Second Life

La Virevolte; Inara Pey, March 2018, on FlickrLa Virevolte – click any image for full size

“Twirling like a butterfly, fluttering in the sky, choosing the most fragrant flowers, regardless of the end of summer.” So reads the introduction to the latest incarnation of La Virevolte (The Twirl), the highly photogenic Homestead region designed by Iska (sablina). When last we visited, the region was in the grip of winter. With this incarnation, the region has a new look caught in the Sun – as the description says – of late summer.

A visit starts on a terrace outside of a little café. It sits in the corner of a little hamlet built alongside a channel-like canal running east-to-west through the region, splitting it in two. A house also occupies the terrace, a vintage Citroen van serving as a mobile fresh produce stall, sitting between the two. Facing them sits another house, the barn alongside seemingly in the process of being converted into a home. House and barn sit on an island of grass surrounded by a loop of road.

La Virevolte; Inara Pey, March 2018, on FlickrLa Virevolte

The western end of this loop touches on a headland ending in a promontory of rock on which is perched a lighthouse keeping watch on things. North of the hamlet, beyond the road’s loop, the land offers rugged grassland rising to a rocky bluff. This open, rugged land continues around the east of the region, grassy slopes rising within the shoulders of a high v-shaped plateau. The grass between the slopes and the café are divided in part by an ancient stone wall, cupping a wild garden between it and the hamlet’s buildings.

Across the channel – which is spanned by a stone bridge – a road runs south before curling to wind its way up the stepped landscape, ending among tall pines trees, where a track points east to where an old farmhouse sits atop a rocky shelf, the land between track and building also falling in gentle steps, some of which are – like the terraces below – retained by ancient drystone walls.

La Virevolte; Inara Pey, March 2018, on FlickrLa Virevolte

These terraces are in part cultivated, presumably by whoever lives up in the farm-house. The lowest one is given over to root and vine vegetables, while grapes are ready for harvesting on the next terrace up. They and the vegetables point to the late summer setting for the region. Stone steps climb the terraces, offering a shorter route up to the track leading to the farm-house for those who don’t feel like walking the road.

This is another marvellous design by Iska, one made particularly attractive by the way things like the building have been brought together. Take the house across the road from the café, for example; part of the original wall seems to have collapsed at some point, and an effort has been made to replace it with a red brick wall. Elsewhere sit the carcasses of an old a car and van, the former turned into a little garden, the latter now serving as a snuggle spot. These and the children’s toy and tricycle in the grounds of the houses, a broken flower-pot on a doorstep, all give the feeling that this is a home to unseen locals.

La Virevolte; Inara Pey, March 2018, on FlickrLa Virevolte

Walking through the region, it is very easy to picture you’re deep in rural France. I was immediately put in mind of parts of the Massif Central (the open water and lighthouse notwithstanding), given the general style of the houses. I mentioned this to Iska as we talked about the design. “The southern foothills of Massif Central, yes!” she replied. “[With] a lot of fountains and rivers, I love the sound of water everywhere.”

To say this is once again a photogenic design would be an understatement; it is a painting in and of itself, the selected windlight and sound scape both complementing it perfectly. Throughout the region are places to sit and admire / cuddle, such as the aforementioned old van, a picnic blanket out on the banks of the channel, the tables of the café and more. 

La Virevolte; Inara Pey, March 2018, on FlickrLa Virevolte

Altogether, another fabulous design, kudos to Iska in building it and offering it to people to visit. and thanks to Shakespeare for the nudge concerning the redesign.

SLurl Details