A journey into Sapiens in Second Life

Gem Preiz: Sapiens

Sapiens is the title of a new region-wide installation by fractal artist Gem Preiz, which has an official opening at 13:00 SLT on Wednesday, January 10th, 2018.

This is – quite literally – a huge installation. It starts at ground level, on a walkway where visitors can find information givers on the installation and how best to view it. Camming out from this will reveal a large floating cube shape, formed by a 3x3x3 matrix of smaller cubes, which is something of a motif for the installation:  can also be found at the end of the catwalk, where a smaller version acts as a teleport which will deliver visitors to the installation proper.

Gem Preiz: Sapiens

The build takes the form of a giant “labyrinth” very industrial in looks (something heightened by the stream venting at various points throughout). More raised catwalks form a grid around huge towers rising from the floor, catwalks and towers alike enclosed by massive walls. The walkways are further enclosed under high ceilings. At various points around this grid of catwalks – such as where they intersect with one another or in the corners of the grid – are platforms, some of which  have square holes at their centres. Above these rise huge shafts, further platforms visible at their tops, and from which square sections may periodically descend to fill the open spaces in a platform below, becoming elevators visitors can stand on top be carried between the levels of this vast complex.

Throughout each level – all of which have a slightly oppressive feel about them due to the repeated fractal designs of floors, walls and ceilings which imparts a feeling of unending sameness – Gem has variously put pieces of his fractal art, forty in all. These are intended to represent four themes: technology, mazes, darkness and confinement. Some many only appear once, others may be repeated; all are meticulous in their design and presentation and are visually captivating. They are not images one sees as one is drawn into them. Most reflect the environment in which they are set: enclosed and confined, limited; other suggest broader horizons and the promise of places we might yet discover.

Gem Preiz: Sapiens

There is more here to be seen than may be at first apparent. For a start, depending on which elevators you use, you may find the build seems to have 3 levels – but if you use others, you’ll find it actually has four (I’ll let you decide which lead where…). Also, triangular windows in the corners of the central towers hint at a world beyond the confines of the tunnels and catwalks. This can be seen by flycamming through the walls or by – on two of the levels of the build at least – finding the door marked EXIT, which can be opened with a touch (but do not step through without flying!).

Beyond the doors the labyrinthine effect of the installation is greatly enhanced: great shafts and tunnels seeming to run outward to infinity, standing like great tower blocks interlinked by giant enclosed bridges and walkways, all stretching off into the distance, spherical shuttles scooting along them or rising and descending through them. It’s a giddying display, particularly if you just cam out over the lip of the doorways and cam up / down and around.

Gem Preiz: Sapiens

So what is to be made of all this? Gem offers an explanation in the notes accompanying the installation, which might be summarised as an expression of growth, of overcoming limitations and the shadows of primal (and other fears) we individually and as a race have and do confront. Just as this is a maze of walkways and elevators, so to is the human mind a maze of thought processes which run this way and that, sometimes intersecting, sometimes looping back on themselves, sometimes offering glimpses of what might be. And some lift us a step at a time towards greater understanding, greater abilities, even as we are shadowed by fears (these in the form of the black hands stretching out towards / over some of the catwalks); until finally, we’re ready to break free of the shadows and fears and achieve.

This latter point is beautifully presented on the upper level of the installation’s catwalks, where a golden figure sits, cowering beneath the outstretched hand of primal and other fears – but which offers the way for us to become human, to become reasoned thinkers and creators – as indicated in the final scene of this installation (which also contains for catalogues of the fractal images used within / which inspired the build a teleport cube for returning to the landing point).

Gem Preiz: Sapiens

Complex and challenging, Sapiens offers a commentary on human growth and understanding. It is a theme, Gem informs me, which will be expanded upon in a second build Demiurge, which should open in late February / March time. I’m already curious to see if it will embrace either the Platonic of the Gnostic views of the word – or perhaps combine them both.

Note: fellow blogger Diomita Maurer offers her thoughts on Sapiens, and kindly makes mention of me.

SLurl Details

  • Sapiens (LEA 29, rated: Moderate)

Cica’s Bird People

Cica Ghost: Bird People

Bird People is Cica Ghost’s latest region-wide installation, and it presents something of a conundrum. In a largely denuded landscape, the ground of which has been partially and neatly divided into a black-on-white grid, sit giant, ornate metalworks. Some stand alone, others support great cages – or form cage-like structures, equally huge, while block-like towers, apparently made of stacked cubes also rise from the ground here and there. It’s a strange environment – and one, frankly, difficult to see when using the default landscape and following the viewing instructions (ALM enabled and Shadows set to Sun/Moon + Projectors).

Throughout the landscape, stairways rise, curl and undulate, some supported by metal structures, some starting from the blocky forms.  All of them twist and turn, and run by rise and fall to connect the ground – or at least their foundation blocks – offering people climbs up to dizzying heights and the giant cages waiting there. Some of these cages, but many are occupied by strange creatures with the bodies of bird and the heads of men. Most of these creatures sit within their cages individually or in pairs, facing open doors or sides to their enclosures almost apprehensively, as if fearing stepping out into the world beyond.

Cica Ghost: Bird People

What are we to make of this? The clue, perhaps, lies in the quote Cica has offered with the piece: We are all living in cages with the door wide open. It’s a quote from Star Wars creator George Lucas about creativity and imagination. It references the idea that we can all be creative, we can all soar far and wide on the wings of imagination, if we are only willing to just let go; So does the installation perhaps stand as a metaphor for this idea?

Certainly, there is a strong contrast between the expressions worn by the creatures who have stepped out of their cages and are variously gathered or dotted across the open spaces beneath their former prisons, and those who have yet to venture forth. The former – for the most part – appear happy, chatty, curious and even playfully (although there are one or two looking slightly wary). Those still within their cages look through open doorways with a mix of confusion, apprehension and uncertainty – or even close their eyes on their potential route to freedom. This contrast plays strongly into the idea that stepping beyond the confines of our personal cages – our comfort zones – if you will, and embracing the imagination can be a liberating, positive influence on us.

Cica Ghost: Bird People

For me, and in keeping with the broader theme offered by Lucas’ quote, the installation stands as the embodiment of a piece written be Debbie Hampton , the blogger and writer behind The Best Brain Possible. In 2015 She used the quote as the title for an essay about overcoming personal fear and the apparent “comforts” we can have in allowing ourselves to become caged by a “normal” life; we become, in effect, our own jailers.

I’ve lived most of my life like a bird in a cage with the door wide open. At any time, I could have hopped on over to the opening, taken flight and soared to new heights. All along, I’ve known how to fly. No one clipped my wings.

So, what kept me in the cage? My own fear and self-imposed limitations held me there. I was my own prison guard. I think we are all born knowing how to fly, but life happens and beats us down little-by-little until we forget that we ever had this valuable skill.

– Debbie Hampton, In A Cage With the Door Wide Open

Cica Ghost: Bird People

I must also, and in passing, admit that Cica’s human-headed birds put me in mind of something else – something entirely unintended by Cica (I know this because I asked her!), so I’m not going to draw any parallels between the two. I’ll simply state that in looking at these creatures, I couldn’t help but be put in mind of the Brontitallians from Douglas Adams’ Hitch-Hiker’s Guide to the Galaxy – and while it may have been unintentional, it was also quite delightful.

A conundrum it may first be upon first arriving within it, Bird People is worth exploring and thinking about – although I do perhaps suggest you try a Midnight windlight setting rather than the default; it doesn’t detract that much from the experience (just ensure you do have LM enabled and Shadows set to Sun/Moon + Projectors), and it can certainly make navigation a lot easier when climbing the various stairways and reduces the risk of falling off them somewhat.

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Winter at La Vie in Second Life

La Vie; Inara Pey, January 2018, on FlickrLa Vie – click on any image for full size

Reader and fellow grid traveller Diomita Maurer (her blog is here) dropped me a line about the winter look at La Vie, the homestead by Krys Vita and Arol Lightfoot we’ve visited twice before (see here and here for more), suggesting Caitlyn and I  pay it a further visit before the snow melts. So, we headed over for a look.

As with the autumn build, which we visited in October, the winter design is built around a central body of water. However, almost everything else within the region has been completely redesigned and covered in a soft blanket of snow – with more falling from the sky – although it does retain the same use of muted colours and soft tones.

La Vie; Inara Pey, January 2018, on FlickrLa Vie

Visitors arrive on a track running along the bank of this water, the snow finding it hard to gain a purchase on the rutted earth. Set back from this track sits a large house, aged both inside and out, warmly furnished and decorated for Christmas. In the ground behind the house sits a raised deck with a small gazebo and swing, a hot tub sitting out under the falling snow, its heat countering the colder air. The deck offers a view out over the frigid waters surround the land, a view which likely makes the water in the hot tub all that more inviting as a means of avoiding the cold.

The reason the snow is having a hard time finding purchase on the track is revealed further around the central pond: a tracked snow plough is paused mid-way through its work of clearing the worst of the snow. It sits parked near the towers of an old ski lift, a rezzing point for sledges at the best of one of the towers. Nor is this the only rezzer in the region:  a closer look at the pond will reveal signboards offering skates for those who ice a little dancing on ice.

La Vie; Inara Pey, January 2018, on FlickrLa Vie

Follow the track in the opposite direction to the snow plough, and it will loop you around the pond to another house, a small shack selling fir trees beside it. The track ends just beyond this, but travellers can continue across the rough terrain, to where a fence marks the boundary of another house, sitting in the south-west corner of the land. A rugged, curve ridge rises westward of this house, climbing in steps to a flat table of rock topped by an old church – although there doesn’t appear to be a way to easily climb the rocks and reach it.

Across this landscape sit cars and tucks with fir trees strapped to roofs, in the flat beds or poking out of the sunroof. There are also numerous places to sit – from sleighs pulled by a horse or reindeer to park benches to swings – as well as in the houses. These  combine to make La Vie’s winter setting very pleasing to see and photograph and in which to spend time sitting, talking and just passing the time.

La Vie; Inara Pey, January 2018, on FlickrLa Vie

We once again enjoyed our time visiting, and will doubtless return to see further seasonal changes at La Vie.

SLurl Details

  • La Vie (La Vie, rated; Moderate)

Celebrating music, films and dance in Second Life

The Listening Room

Second Life offers plenty of opportunities to enjoy music, films, dancing and dance troupes in Second Life; however, R. Crap Mariner and Marx Dudek bring all of these together deep inside the bowels of Mount Edloe, on Crap’s home region of Edloe.

It is here, either reached via the road winding up the mountain from the lands beneath, or via direct teleport, visitors can find three interconnected venues: The Listening Room, The Screening Room and the Bad Luck Steak Gallery.

“The Listening Room (or TLR for short),” Marx explains, “Began as a private place for me to lure friends out of my IM box and into a common space where I could chat with them all at once – with the promise of music. I try to play a set every Wednesday night from 6-8pm SLT. Feel free to stop by!”

Bad Luck Streak Gallery

TLR is the largest space (by volume) in the mountain, offering something of an industrial chic environment of high brick walls, shipping containers, pipes and metal catwalks and stairs. The shipping containers form the backdrop to a DJ’s booth, with pallets and trolleys topped with mattresses, bolsters and cushions offering a cosy sitting area close by, alongside an impressive collection of vinyl records. Billy Bragg, Bowie, the Goons and more look down from posters on the walls, while HMV is celebrated via graffiti on one wall.

Opening off of The Listening Room, but connected to it over all four levels, the Bad Luck Streak Gallery is curated by Crap and is a showcase of dance troupes from across SL, (and also of Crap’s own photography). Each level of the gallery space has a number of framed slide shows on display – each representing the work of a specific dance troupe in Second Life. Click an image on any frame for a dialogue box of options, including paging back / forward through the slides and receiving a copy of any individual images you like. Push pins in front of each of the frames provide a landmark to the specific dance troupe’s theatre / home region, and may also offer a note card of information.

Bad Luck Streak Gallery

Crap notes of the gallery, “There are a lot more dance troupes out there in Second Life. My friend Sho Kyong got me into Dance Performance in Second Life. She kept inviting me to Guerilla Burlesque performances, and I finally made the time to see for myself. Now, I roam from performance to performance, trying to capture a moment of motion and emotion. I did my best to display as many groups as possible here, but I only have so much wall space and prims to work with. And I don’t know about every dance group in Second Life.” Personally, I think this is a superb resource for anyone wishing to discover, with almost 40 troupes represented, and Crap unsells the emotions caught in the images.

Connected to The Listening Room via the stars climbing the various catwalks (and a passage in the mountain) or via the ornate Maxivator elevator, The Screening Room sits atop both The Listening Room and the Bad Luck Streak Gallery (and so in the first venue to be reached as visitors enter the mountain’s tunnel after climb the road up from the rest of the region. With a foyer area offering an eclectic mix of movie posters and where refreshments might be had, a red carpet lead the way to the screening room proper.

The Screening Room

“A long time SL dream of mine realised,” Marx says of it. “I finally have a movie theatre! I will be showing films every Wednesday, and other nights as well. Foreign films, classic films, B-movies, documentaries, music movies, and more!” At the time of my visit, the film on offer was 2007’s Fears of the Dark, scheduled for a Thursday – although I confess, I’m not sure which Thursday.

Hidden within Edloe mountain, all three offer a great set of venues, although both The Listening Room and The Screening Room are best suited to smaller numbers. Those wishing to be kept appraised of events at both can join The Listening Room group via the group joining in TLR.

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Return to Brand New Colony in Second Life

Brand New Colony; Inara Pey, January 2018, on FlickrBrand New Colony – click on any image for full size

Brand New Colony is closed. SLurl have been removed from this article as a result.

In September 2017, we visited Brand New Colony, a homestead designed by Bunny Blessed (Svelte Blessed) and Mimara Blessed (Mimara), and we very much enjoyed our explorations. So when Miro Collas sent me a message to say the region had relocated and in the process had been rebuilt, we decided to jump to the new location and take a look.

Still in the hands of the Blessed family, and designed once again by Bunny and Mimara, with assistance from Seren La Croix (torturedstar), the region in its new location carries on some of the themes from the September 2017 design whilst presenting a wholly new look that touches on fantasy in an eye-catching and imaginative way.

Brand New Colony; Inara Pey, January 2018, on FlickrBrand New Colony

As with the September design, a core aspect of this new build is islands. Surrounded by tall, grass-covered peaks, Brand New Island presents six islands – although three are not what you might expect. The largest of these islands is a rugged affair, thrusting up from foamy waters, its flat top home to a large villa which echoes part of the look from the September 2017 design. Furnished indoors and within its courtyard, the villa shares this table of rock with an outdoor terrace located closer to the water, sitting on a low shoulder of rock reached via a stone stairway. With plenty of room to sit around the fireplace, this terrace ends at a small jetty against which a Loonetta 31 is moored.

The terrace also offers a fine view across the water to two more islands – these so closely linked, they at first appear to be a single body of land rising gently from the surrounding waters. It is only while exploring that the narrow channel dividing them becomes apparent, stone and wood bridges spanning it to link these two richly wooded islands. Much is to be found on them, be it the red-roofed chapel or the little Romany encampment or, a little further afield and more secluded, various points where couples can sit and cuddle under the shade of trees or by rounded pools of quiet water.

Brand New Colony; Inara Pey, January 2018, on FlickrBrand New Colony

But how does one get from the villa island to its neighbours? The answer to that question isn’t hard to find, lying as it does within the unique presentation of the three remaining islands, one of which forms the landing point for visitors, and is home to a gazebo those who visited the September 2017 design will likely find familiar.

Rather than being surrounded by the region’s foamy waters, these three islands are floating – rising, even – above them. It is as if gravity has forgotten them, so they have cut loose from their foundations to start a slow rise into the sky, setting smaller boulders and rocks tumbling and spinning in the air in defiance of gravity in the process. But they have not been allowed to escape entirely: great chains anchor the larger two of these floating islands to their cousins below, the chains massive and rusted, forming iron bridges visitors can use to travel between those below and those in the air.

Brand New Colony; Inara Pey, January 2018, on FlickrBrand New Colony

Two of these islands seem content with their lot, firmly anchored in place to those below. The third, however, linked to the landing point island, appears more wayward. Canted at a slight angle, it seems to resent the massive chain impeding its upward progress and is still attempting to ascend, the great trees on its grassy top seeming to grasp the grassy rock in their roots, grimly determined to hang on.

With chains connecting it to both the villa island and one of the wooded islands, the landing point offers a natural connection between the two, while to the south-east, and linked only to the villa island, the last of those floating in the area offers its flat top to a garden setting. Focused on a large gazebo, this features statues, fountains, a rich variety of unusual flower planters – including an old grand piano and a garden swing to an overgrown tea party attended by stone sculptures, presenting a wonderfully fanciful scene.

Brand New Colony; Inara Pey, January 2018, on FlickrBrand New Colony

For those who prefer not to chance the chains linking the islands together, a teleport system is supplied; look for the chalk signs boards found at or near each of the major locations and click on them for a list of destinations. Make sure you accept the local experience, and TPs will be automatic on selecting a destination thereafter.

At the time of our visit, some construction work still seemed to be in progress, so some things may well change over the coming days. However, that shouldn’t put visitors off. This latest iteration of Brand New Colony retains all the beauty of the former region, while offering something very new and fun to explore.  Our only word of warning is that it is rich in textures, some of which can take a little time to load.

Brand New Colony; Inara Pey, January 2018, on FlickrBrand New Colony

SLurl Details

  • Brand New Colony (Teasers, rated: Adult)

 

Once more to Whimberly

Whimberly; Inara Pey, December 2017, on FlickrWhimberly – click on any image for full size

Whimberly marked one of the first places we visited in Second Life at the start of 2017, when I remarked that the great beauty of the region lay within its simple elegance. In August, a return visit was made, after region holder Staubi (Engelsstaub) had given Whimberly a make-over, presenting a new look along the same elegant simplicity of presentation. So, when friend Miro Collas tipped me that a further make-over had been made to the region, it seemed a third visit would make a fitting end-of-year report on the region, balancing may January write-up.

This latest iteration of the region offers something of an echo of both the designs from mid-year and the start of 2017. As with August 2017, the landing point sits towards the north-east of the island, up on a rocky shoulder of a hill. Once again, this is home to a small summer-house – but in difference to August’s design, this one has been converted into a 50’s style diner inside, complete with jukebox, vinyl covered bench sitting and plenty of chrome. Also echoing the August design, a stone fountain sits outside of the diner, a parasolled seating area to one side, looking southwards across the water to a small island where a windmill stands, sails gently turning.

Whimberly; Inara Pey, December 2017, on FlickrWhimberly

A dirt track runs down the hill to the lower reaches of the island, which have something of a feel for the January design of the region. A wide-open, grassy scene dominates the central landscape beneath the cloud-laden sky, the track splitting before the tide of grass, one arm leading to another summer-house, this one sitting within ornate walls, but offering a strong reminder of a similar place found within the January 2017 build, complete with the deck looking out over northern waters.

To the south, the track curve past a second wooden deck, where little motor boats can be rezzed and used to reach the windmill island, before following the water’s edge westwards before forking again, offering route to a choice of local houses.

Whimberly; Inara Pey, December 2017, on FlickrWhimberly

The first of these has a distinctly Mediterranean look to it. With the old pick-up truck parked outside the front, the well and the cart wheels stacked against a wall, it might easily be taken for a farm-house. A look inside and a walk to the back of the house, with its terraced pool, reveal it to be anything but. An old stone jetty, broken and partially flooded – one of two to be found alongside the shoreline – sits close by, a place where an artist has been practising their skill with brush and paint.

The second house is much larger, and occupies the south-west spur of the island. Sitting among what might be oak trees and watched by a weeping willow, this has the feel of a family home – three pairs of Wellington boot in the hall, a meal for three set on a table, and so on. A car sits outside the garage, guarding the front door.

Whimberly; Inara Pey, December 2017, on FlickrWhimberly

The little motor boats available to puttering around on the water are, I have to say, quite nippy; also, getting out of them takes a little care as well – any double-click teleporting will carry you back to the landing point. However, the windmill offers a haven for Greedy, Greedy and On a Roll fans, while a picnic blanket is spread under the wind-bent back of an old tree close to the windmill’s doors.

Whimberly always has been a region of serene, natural beauty, and this iteration is no exception; the melding of ideas from earlier designs is sublime, and the entire look and feel of the region so perfectly executed with a wonderfully light touch. It’s the perfect setting for an end-of-year visit, and a reminder that while we are in the midst of winter in the northern hemisphere, spring is really not that far away. In other words, an ideal place to visit and escape the winter blues.

Whimberly; Inara Pey, December 2017, on FlickrWhimberly

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