Kubrick and Wells in Second Life

The Kubrick Rooms

I was recently alerted to a couple of small exhibitions in Second Life with could be of interest to lovers of film and of science fiction: The Kubrick Rooms and the Wells Exhibit.

The Kubrick Rooms are the work of Rumpledink Robbiani. As the name suggests, this is something of a homage to legendary film-maker Stanley Kubrick. First opened in 2008 and available to visitors for a year thereafter, the rooms have been in limbo since then. However, Rumpledink’s friends encouraged him to bring them back in-world and he notes that this time, he hopes the money received in donations and from sales will help keep it around for longer.

Rooms is neatly designed around three of Kubrick’s most notable films: The Shining, 2001 A Space Odyssey and A Clockwork Orange, with The Shining taking overall centre stage by providing the setting. Visitors arrive at a small anteroom where instructions are offered (set the viewer’s time to midday), together with a single door. Step through this, and a familiar – to anyone who has seen The Shining – hallway from the Overlook Hotel opens up, complete with child’s tricycle.

The Kubrick Rooms

As one would expect of a hotel, the hallway is lined in either side with room doors, some of which have their keys in the locks. They offer access to sets from The Shining – a lounge, the restrooms, the bathroom – as well as to the main rotating hallway of Space Station 5 from 2001 A Space Odyssey, where Doctor Heyward Floyd stops-over en route to the Moon and TMA-1, and another featuring A Clockwork Orange.

Within some of the rooms there are videos which delve into The Shining and 2001 – just ensure media is enabled on your viewer and click the screens as you come across them. A small cinema at one end of the hallway offers the 2014 documentary Kubrick Remembered, looking back on the great man’s life. At almost 90 minutes long, this is more than worth watching, presenting a fascinating retrospective on the man. Alongside of this is a small gift shop.

Wells Exhibit

The Wells Exhibit can be found on the floor above Netera’s Coffee Lounge in Snug Harbour, and is curated by the lounge’s owner, Netera Landar. Use the teleport door set into the wall of the lounge, the disk on the floor, or the outdoor staircase to reach it. Examining the life and works of Herbert George Wells, the English writer, this is a somewhat more modest affair than The Kubrick Rooms, designed to fit within the space provided by the upper floor of the coffee lounge.

Information boards provide biographical information on H.G. Wells while the walls are home to archive photographs of him and a note card giver listing his publications. However, the majority of the exhibit focuses on Wells’ science fiction works. There are posters celebrating The Island of Dr. Moreau (1896), The Invisible Man (1897) and The Sleeper Awakes (1910), together with small pictures dedicated to A Modern Utopia (1905) and The Shape of Things to Come (1933).  Two slightly larger displays touch upon what might be his most well-known novels: The Time Machine (1895) and The War of the Worlds (1897).

Wells Exhibit

Information on Wells’ writing is actually a little light and could perhaps benefit from two or three additional information boards. However, the Wells Exhibit still makes for an easy-going visit for those with an interest in his work. For those looking for a more unusual outing, it and The Kubrick Rooms might be just the ticket.  

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Summer’s colours and sensual moods in Second Life

DiXmiX Gallery: Lam Erin – Colours of the Summer

Now open at DixMix Gallery are two new exhibitions which, although not in any way intentionally paired, offer studies in the two most popular forms of Second Life photography: landscapes and avatar studies. Between them, they feature the work of Lam Erin and Tintin Tuxing.

For Colours of the Summer, Lam Erin presents ten images of landscapes within Second Life, the majority of which have been tinted / enhanced with colours associated with summer – notably gold, yellow and green – but which should not be taken to be simple photographs of summer scenes. Rather, these are studied pieces, carefully processed to present a range of responses and perhaps suggest certain ideas for narratives behind them.

DiXmiX Gallery: Lam Erin – Colours of the Summer

In particular, each of the pieces is marked by a broiling, active cloudscape; a dramatic, even foreboding, cast to the skies which even in the more restful images among the ten (such as Autumn Trace and Italian Countryside) adds an edge to the picture. They serve to make us reconsider each image after we’ve first cast our eyes over them, drawing us into the narrative behind the scene presented. Sometimes this can be direct – such as the brooding sense of a rising storm in Neverfar, through to a more subtle reminder that the ship lying calmly at anchor in Bal Harbour can have a capricious mistress with the seas on which she sails.

All told, a marvellously evocative set.

DiXmiX Gallery: Tintin Tuxing – Sensual Moods

In the nine images she presents for Senusual Moods, Tintin Tuxing (Alexandrea Barbosa) takes visitors in another direction entirely: towards that of the sensuous and sensual.  Beautifully presented in monochrome (for the most part), these pictures draw us into a personal world of sensuality edged with a touch of the erotic in places.

The majority of the pieces focus on a single subject, and are both evocatively titled and posed. Six of the nine powerfully convey mood through the model’s expression alone, with one using a simple splash of colour to give draw us closer to it. These are marvellous studies which captivate the eye. Of the remaining three, I confess to finding one seemingly slightly out-of-place in that it features a couple and is posed such that a bicycle in the foreground draws and hold the attention more than the scene being played out. Perhaps intentional, it did for me break the mood evoked by the rest of the pieces. In difference to it, The Lonely Cello drew me the other way; the only one of the pieces fully  – if mutedly – in colour, it is a captivating study.

DiXmiX Gallery: Tintin Tuxing – Sensual Moods

Both Colours of The Summer and Sensual Moods are Small exhibitions in turns of the number of images displayed, but each is an engrossing display. My only grumble, which is towards the gallery, not the artists, is once again, no liner notes / biographical information is provided on the artists – or a means for them to offer their own information / thoughts on the works they are presenting.  Such notes may not be vital to an appreciation of the art on display, but can help present a clearer picture of the artists, and – as I’ve mentioned before – are hardly difficult to produce / have produced for presentation to interested visitors to the gallery.

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A return to The Mill in Second Life

The Mill, Pale Moonlight; Inara Pey, May 2017, on Flickr The Mill, Pale Moonlight – click any image for full size

Just as in the physical world, there are certain places in Second Life we’re drawn back to again and again. This might be because the place has special significance, or because it is held by friends or offers a opportunities or photography or simple enjoyment, or because it is like the seasons – constantly changing and renewing.

For me, The Mill encompasses all of the things, and so is a natural choice for semi-regular revisits. Designed by friends Max (Maxie Daviau) and Shakespeare (SkinnyNilla), it is an ever-evolving place, always marvellously landscaped and presented, beautifully photogenic and delightfully restful.

The Mill, Pale Moonlight; Inara Pey, May 2017, on Flickr The Mill, Pale Moonlight

Celebrating spring and summer, this version of The Mill takes us to what might be the Apennine Mountains – perhaps, going on the style of buildings here, the Tuscan–Emilian Apennines. Surrounded by tall, rugged peaks, the rocky dome of a hill (or if you prefer, an island) rises from the waters of (again, depending on your point of view) either a lake within the mountains, or the confluences of rivers running through them.

The majority of this island hill is given over to a farm where grapes and sunflowers are being cultivated. The farmhouse sits at the top of the hill, surrounded by woodland trees, wild grass and the nearest field of sunflowers. It is reached by a meandering track that slowly winds its way up the hill, passing further rows of regimented sunflowers and flat-topped outcrops of rock, content in taking its time to reach the farm, its wandering course encouraging visitors to do the same.

The Mill, Pale Moonlight; Inara Pey, May 2017, on Flickr The Mill, Pale Moonlight

Few of the rocky tables pushing their way clear of the hill’s slope and grass are bare, Instead, each offers a point of interest – a folly, an artist’s studio, a swing beneath an aged, bent tree exerting a tenacious grip on the rock under it. Thus, each becomes a destination in its own right, filled with detail, enticing people to tarry, rather than hurrying onwards.

The track, which runs alongside the landing point, offers a fork which leads around the east shoulder of the hill to a steep slope falling away to the waters below. Here tall beech trees watch over a parade of vines already heavy with ripening grapes while a small summer-house sits close by, atop another outcrop and offering views both inland and out over the water.  On the north side of the land, the grassy slopes roll gently down towards the water’s edge, pointing to a café sitting atop a square promontory. Bracketing this and forming the shoreline, is a sandy beach to one side, and a grassy, gravelled bank on the other, connected to the track above by a terraced board walk.

The Mill, Pale Moonlight; Inara Pey, May 2017, on Flickr The Mill, Pale Moonlight

One of the things that repeatedly attracts me to The Mill is the way the landscapes designed by Shakespeare and Max are always beautifully natural. In this design, the blending of grassy slopes, woodland copses, the mix of gentle slopes and rocky outcrops and the way in which the natural contours of the hill are used for buildings and tracks, etc., is a perfect reflection of how such a place would appear in the physical world. Fenced grazing for horses is provided in a natural step in the hill, sheep wander the slopes as they wish; everything is as nature (and human needs) would intend.

There is also an attention to detail here that is exquisite, be it the inclusion of livestock and wildlife, or little touches such as the shaded beehives, the sprinkler feeding the sunflowers and all the little signs of habitation that bring the farm to life, and the little knick-knacks to be found inside the studio, folly and so on. All of this further brings The Mill wonderfully to life.

The Mill, Pale Moonlight; Inara Pey, May 2017, on Flickr The Mill, Pale Moonlight

With plenty of opportunities to simply sit and admire the landscape and enjoy the accompanying sound scape, or to wander through the long grass and between the trunks of beech, oak, pine and birch, The Mill continues to offer something for every lover of nature and much to please the eye and lens of any photographer.

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  • The Mill (Pale Moonlight, rated Moderate)

Dathúil: Me_You – Moon Edenbaum

Moon Edenbaum, Me_You – Dathúil Gallery

Open now at Dathúil Gallery, curated and operated by Max Butoh and Lυcy (LucyDiam0nd), is Me_You, the first in a two-part exhibition by Moon Edenbaum and Hillany Scofield.

The focus of the two exhibitions is the relationship between a man and woman, whose story arc runs from initial meeting through getting to know one another and intimacy, to separation. In this part of the exhibition, Moon Edenbaum presents his / the man’s perspective on the relationship through 13 large format pieces.

Moon Edenbaum, Me_You – Dathúil Gallery

These broadly encapsulate the core elements of the story, some with obvious clarity, others are more subtle in their approach, suggesting, rather than informing. Take the two images against the ground floor wall to the left of the gallery entrance, for example. These clearly portray an early meeting between the couple towards the start of their affair. However, the image placed in front of them offers a beautifully subtle view of their eventual separation, the cropping that cuts through her face and the complete obscuring of his speaking to them being a couple unknown to one another.

To me, what is interesting in this entire tableau is the use of language within the narrative and how the is reflected in the images. Nowhere is it stated the couple actually fall in love, rather “they become lovers”. The distinction here is important, suggesting as it does their relationship is born of little more than a physical attraction. Hence, perhaps, why the more intimate moments between them are shown purely in sexual terms.

Moon Edenbaum, Me_You – Dathúil Gallery

On the one hand, this lifts the images to an almost tragic level: the unfolding story of a relationship doomed from the outset, the players within it unable to avoid their eventual fate of separation. But on the other, it brings forth questions of perception within the relationship.  This is, after all, the relationship seen through the male eyes; so could they indicate an unwillingness on his part to engage beyond the physical? But what of the image of her with another woman? Might this indicate that it is she  – regardless of who suggested / initiated the encounter –  who is less engaged as he, and this scene has served to open his eyes to this fact?

Depending on how one views things, this particular image lifts the lid on a plethora of questions which range well beyond the simple narrative given as the exposition of the exhibit. It feeds directly into how we might interpret some of the other images in the set. For example: those of her in a white jumper, apparently trying to once again attract his attention. Are they because she earnestly wants to recover whatever intimacy they once had in the hope of taking it deeper? Or is it an attempt to overcome the growing gulf between them for what he sees as her “betrayal”?

Moon Edenbaum, Me_You – Dathúil Gallery

It will be interesting to see how the lines of thinking play out when Hillany presents her take on the relationship. This will be in June, with Moon’s interpretation of the story remaining on show through until the end of May.

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Cica’s Fade Away in Second Life

Cica Ghost – Fade Away

Fade Away is the name of Cica Ghost’s latest region-wide installation, which opened on May 5th, 2017. The title is drawn from a quote by Bob Dylan, “Some people seem to fade away but then when they are truly gone, it’s like they didn’t fade away at all.” It’s a quote from his 2004 memoirs, Chronicles 1,  which ostensibly looks back on his arrival in New York and immersion into Greenwich Village life.

It’s a quote which has tended to be used as a reflection of mortality, the passage of time and / or the sometimes transient nature of relationships. It is a fitting foundation for this installation, which is a deeply personal piece for Cica, for reasons those who know her are aware, and which I’m not about to reveal here without her permission. Suffice it to say, the meaning behind it is something with which we all identify at certain points in our lives.

Cica Ghost – Fade Away

Within a ghostly, misted landscape sits a bedroom, part of an old house, where a gaunt figure has apparently just risen from bed. An alarm clock states the time is some ten minutes before six. As we watch another version of the figure fades into view, apparently departing the room, looking over his shoulder, and down along a path, more versions of the figure fade in and out of view, copies of the alarm clock still frozen at ten before six sit close by, until the figure reaches a pair of wooden gates set within a rickety fence.

Nor is this all; outside of the house, and along part of the route, ghoulish creatures appear to watch and mock the figure’s progress, while he also passes through groups of cloaked figures, apparently caught in their own world. One more of these hooded figures sits apart from the rest, before a table, two cats providing him with company. Another alarm clock sits close by, also showing the same time.

Cica Ghost – Fade Away

Symbolism here is heavy – but what does it all mean? Perhaps the answer lies with a lone figure of a woman standing to one side of these various tableaux. She stands separated from them by the rickety fence the lone figure appears to be making his way without ever actually arriving, watching his progress.

Is the fence perhaps a metaphor, the dividing like between the woman’s physical presence in the world, and her memories of someone no longer in her life? If so, this perhaps makes the various tableaux across the rest of the region memories of that loved one, and his passage through (her) life. If so, might the hooded figures perhaps be more distant remembrances of time spent with him, echoes from deep within memory? As Dylan also said, “I’ll let you be in my dreams, if I can be in yours.”

Cica Ghost – Fade Away

Life is transient; however we feel about ourselves and those around us, we – and they – are only mortal. This would seem to be the message within the ghoulish characters gathered around the house. But at the same time, there is more to each of us than our physical presence, although that is often the most missed.  Through memories, we can hold on to those dear to us, however they have moved on from their physical presence in our lives so that, to one again use Dylan’s words, “when they are truly gone, it’s like they didn’t fade away at all.”

Fade Away is a poignant, heartfelt piece, rich in symbolism and deep in personal meaning, deserving to be seen and contemplated.

Cica Ghost – Fade Away

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A Rustic Retreat in Second Life

Rustic Retreat – click on any image for full size

Rustic Retreat is a full region designed by Pred Fromund (Predator Ryba) and Bluey Porthos Fromund (Blue Whitefalcon). Described as ” an ideal place for photographers – or those that like to explore or just chill out”, it is a place of many facets: fantasy, whimsy, beauty, mystery – and a little darkness as well.

The fantasy element is made apparent at the landing point, alongside of which a Troll stands, whilst fairies play around a nearby fountain. The mystery is also evident to keen eyes, as strange plants can be seen further away along the fire-lit path, glowing and swaying in the breeze. Also not too far away, fantasy and mystery come together beyond a stone arch sitting alongside the trail.

Rustic Retreat

The default lighting for the region is night (although I opted to take most of my images in daylight), and I recommend exploring it; at least in part, as there are several areas which deserve to be seen in daylight, such is the attention lavished upon them. Torches and fires light the trails winding through parts of the region, and the glowing beauty of Elicio ember’s fabulous plants lend themselves perfectly to the night-time lighting.

Where you wander during a visit is entirely down to you; the trails will lead you to various places – one might lead to ancient ruins here, a little cuddle spot there, Another might take you to where a fork in the path gives you a choice of a climb up to a platform among waterfalls, or a  path through the skull of a dragon and thence to a basalt-ringed garden and pool with a coastal board walk beside gigantic mushrooms close by.

Rustic Retreat

This is a place where a Tree of life raises strong and tall into the sky, its base a place of elven-like power; where a lone tower rises from the surrounding woods, overlooking a wizard’s cottage on one side, and anther mystical glade on the other – albeit one also given to a touch of whimsy thanks to the characters to be found there.

Travel far enough and you’ll encounter more: coastal ruins, the gaiety or rabbits frolicking,  more whimsy in the form of pixie and fairy houses and gardens – and throughout all of it, places to sit and enjoy the sights and sounds. Meanwhile, the more adventurous can available themselves of network of teleport discs.

Rustic Retreat

These offer shortcuts to some of the ground-level locations, but it can also take you skyward, where the “darker” aspects of the region lie, such as a ghostly club where one gets the impression vampires and lycans might put aside their differences for a  while. Alongside of this is a post-apocalyptic setting where zombies and other creatures roam – and visitors are offered the protection of a free weapon. Elsewhere, you might find a small homage to Mary Shelley’s classic Gothic novel.

Picturesque by daylight, hauntingly mysterious by night, photogenic under any lighting conditions, Rustic Retreat offers an intriguing and eye-catching visit.

Rustic Retreat

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