The Photo Game in Second Life: Proph and a Pey

The Photo Game: Proph, as selected by me

In February 2017 I wrote about The Photo Game, an intimate exhibition of art hosted at Boudicca Amat’s An Uncertain Destiny (which you can read about here). It formed the in-world continuation of an idea Boudicca and fellow artist Ricco Saenz started on Flickr in the latter part of 2016, where they would each choose two on one another’s compositions and comment on them.

In-world, The Photo Game has expanded to three images apiece for each pair of invited artists, and for the inaugural February event, Bou and Ricco took to the stage. For March / April, the spotlight has shifted to two more artist / photographers, one of whom has the last name of “Pey” …

The Photo Game: me, as selected by Proph

To be honest I was thrilled, surprised and apprehensive about things when the invitation arrived – and apprehension turned to a feeling akin to panic when Bou revealed I have been paired with Proph (burningprophets); a man with a talent for weaving a tale with his images, and an eye for composition and framing which far surpasses my own.

I was instantly drawn to the three pieces I’ve selected from Proph’s portfolio both because I was instantly attracted to them and because they all encapsulate his skills so beautifully. The three are: Never Hide Your Heart, Wasn’t Tomorrow Wonderful and If You Miss the Train I’m On. I’m not going to comment further on them here, as I have already written a fair essay on each, but all three are genuinely remarkable pieces, and well worth contemplating – so I do encourage you to go along as see them for yourself.

The Photo Game: “If You Miss the Train I’m On” by Proph – a brooding, dynamic, piece expressing an entire novella in a single image

Speaking as someone still finding my way with images, photographs and illustrations – I see my work far more as illustrations for this blog than as being in any way “art” – I’d like to thank Proph for his feedback on the pieces he chose; hearing another frame one’s own work in words and  reflect the few nuances within a piece that were intentional, was reassuring and a boost to confidence that I’m actually starting to understand the medium I’m dabbling in.

My thank, as well to Bou and Ricco for the invitation to participate so early on in the Game, I loom forward to reading thoughts and feeling from other on all six of the pieces on display at An Uncertain Destiny.

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An intangible field of dreams in Second Life

Field of Dreams; Inara Pey, March 2017, on FlickrField of Dreams / L’intangible – click any image for full size

Update: Field of Dreams  / L’intangible have closed. SLurls have therefore been removed from this article.

“I love creating landscapes and dreaming inside,” Iska (sablina) says of herself. Anyone who has visited one of her creations will know that her love of landscaping and her dreaming give rise to some incredible environments in Second Life.

Take Field of Dreams, her homestead region for example, which Caitlyn and I recently visited. It is nothing short of stepping into a dream of yesteryear and visiting a place rooted in years gone by. Not centuries ago, but a time just a few decades ago, the world seemed much smaller, simpler, friendlier; when power and telephony wires were carried overhead by stout wooden poles marching along the sides of roads and tracks, when farming and cultivating the land was a way of life, not an industry.

Field of Dreams; Inara Pey, March 2017, on FlickrField of Dreams / L’intangible

Presenting an eclectic mix of housing styles, Field of Dreams – together with its southern neighbour, L’intangible (held by Sighvatr Crowbone (Worthaboutapig), but also designed by Iska) – presents a marvellously rural environment filled with rustic charm, which could exist almost anywhere in the world. For me, and no doubt aided by the sim surround bordering the two regions,  I was put in minds of Scotland, the Mediterranean aspects of the villas sitting in L’intangible notwithstanding.

Both regions should be explored, rather than described, so rather than offer a travelogue style piece, I’ll endeavour to give you a flavour of things. From the landing point on the northern extreme of Field of Dreams, visitors have a choice of dirt tracks to follow, offering routes around and though the land, passing the slopes of hills held back by high stone walls, passing between land and sea, and pointing the way to houses and shops.

L'intangible, Reve; Inara Pey, March 2017, on FlickrField of Dreams / L’intangible

What appears to be a private abode also sits on a headland to the north of the region, otherwise everything appears open to visitors. At one point, steps lead up the side of a hill and past terraced grape vines to an old farm-house, in another, herons patrol the water between the shore and a little summer-house topped island. Further south, a stone-built house sits between a boulangerie and an empty store, windows covered by paper. All three face the river dividing Field of Dreams from L’intangible over a rough cobbled terrace.

Two bridges and a set of stepping-stones span the river. However, we would advise the use of the stepping-stones or taking a short flight over the water to reach L’intangible; both of the bridges appear to be phantom and result in getting dunked if used. Once in L’intangible, the windlight changes to something perhaps a little more Mediterranean in feel, framing the Tuscan styled villas sitting alongside the river, but there is no mistaking the region is paired with Field of Dreams.

L'intangible, Reve; Inara Pey, March 2017, on FlickrField of Dreams / L’intangible

From the front of the villas, a dirt track winds through the farmlands to a decidedly odd little pub sharing one of the three fingers of land forming the western and southern edges of the region with a lighthouse. Sheep and goats gaze outside of the pub, while out on the water a fishing boat chugs its way towards a stone quay sitting below the lighthouse.

The middle of these three fingers, reach by another dirt track leading away from the villas and between tended fields, is home to an astonishing trailer house which could well be every child’s dreams of the ideal home. Before the track reaches a path leading up to the trailer house, it is intercepted by a set of stone steps cutting through a  stone retaining wall. These present a route up to the last of the three fingers of land: a massive rocky plateau, stepping its way into the sky.

L'intangible, Reve; Inara Pey, March 2017, on FlickrField of Dreams / L’intangible

A Path winds its way around the tallest part of this great upthrust, which rises sharply our of the water on one side, but forms broad grassy steps descending to a beach on the other. Never reaching the summit, the path offers those following it an exercising walk, but the views it offers across both regions more than the effort worthwhile.

Finished with a subtle, natural soundscape, this is a remarkable pairing of two regions to create one of the more unique vistas to be found in Second Life. Field of Dreams and L’inangible have been beautifully intertwined in the landscape they present, giving a very real sense that you are really on an island amidst islands. A must-see destination.

Field of Dreams; Inara Pey, March 2017, on FlickrField of Dreams / L’intangible

Art Is… Rhythm in Second Life

Art Is … Rhythm – Nessuno Myoo

Art is… Rhythm is a collaborative arts installation now open in Second Life. Led by Dunt Gant, it involves Daco Monday, Kicca Igaly, Nessuno Myoo and Paola Mills, with a concert series presented by Ahnue Heartlight.

“Rhythm is a progressive succession in the order of things,” Dunt says. “In this installation, rhythm works as a subtle link between poetry (Daco Monday), dance (Kicca Igaly), and music (Nessuno Myoo), as shown by the three artists as 3D constructions. Paola Mills presents her vision of these three art forms by completing the 3D installation with her 2D photographs. As for myself, I tried to accompany these works with my presentation: a large 3D charcoal drawing, white and black, light and shadows.”

Art Is … Rhythm – Paola Mills

On arrival, visitors are asked to adjust their viewer settings as per a board on one wall of the arrival area. Note this has a slight error, referencing “basic shadows” rather than “basic shaders”. The 512m minimum draw distance also seems excessive, given the installation is enclosed; 260m-270m is really sufficient and less taxing on a system.

A teleport platform from the landing point carries people down into the installation proper, which I believe will also be the locations of the planned concerts. This is a space in which light and shadow accent monochrome walls and floors, the ivory teeth of a piano keyboard undulating around the walls. The space is actually split into two, the upper level largely covered by transparent prims, offering a view down to the lower, on which sit two of the artist’s pieces: Kicca’s Dance with Me and Nessuno’s Before the Silence. To one side of this level, poala’s photography floats as pages in a book of music, or is held aloft by the outlined figures of dancers.

Art Is… Rhythm – Kicca Igaly

Two ramps descend from the photo area to the lower floor (also reached via TP), where Daco Monday’s piece rises to pass through the transparent upper level. This level also houses an interactive ballet barre by Kicca. The concert season for the installation will launch on Sunday March 19th, celebrating Before the Silence with Ultraviolet Alter will performing live. Additional events will likely be posted on the installation’s web page.

“I always used memories from my RL life as a source of inspiration for my SL artwork. The collages I do, my travels, the sea, my pictures, my artistic preferences, etc,” Dunt says of the design for the space.

Art Is … Rhythm – Daco Monday

“For the sim rendering, I got inspired by my conté pencil and charcoal drawings on paper. A 2D in which lights and shadows are seeking the volume this medium do not have. I therefore used flat prims as brush strokes.  Shadows provide volume to the flat medium, allowing all my artwork to become 3D.”

I found Art Is… Rhythm is a curious installation. Artistically, there is n doubting the creativity and expression presented within it; but emotionally – for me at least, over two visits (and a brief stop-over at the opening) – it didn’t resonate. Perhaps this is because, as a space intended to support visual and aural art, seeing it sans any concert robbed it of its voice.  As the installation is open through until the end of June, I may well have to return for a third visit to find out.

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A Spring Spirit in Second Life

Spring Spirit, Dalaran; Inara Pey, March 2017, on FlickrSpring Spirit – click any image for full size

Spring Spirit is a homestead region designed by xxStanxx (xxStanilasxx) and Soffy Ronwood. Offered to bloggers, photographers and lovers of nature as a place to visit and enjoy, it is another true delight.

Visitors arrive on a small grassy area bordered on one side by the imposing bulk of a gallery accessed via a small courtyard, and hemmed on two sides by steep-sided hills. Cats and dogs roam this  open space before the gallery’s walls, the cats in particular fascinated by two tanks of koi carp. A series of large square flagstones form a broad path leading away from the entrance to the gallery, inviting visitors to follow.

Spring Spirit, Dalaran; Inara Pey, March 2017, on FlickrSpring Spirit

Passing between an aged Japanese maple and a smaller but equally bent cheery blossom tree – both of which give the first hint of the region’s far eastern influence – the path take you down to the water’s edge and under a natural arch of rock, to reveal Spring Spirit’s secret in all it beauty, a bench seat beside the path allowing you to sit down and take it all in.

A ring of hills surrounds a flooded basin, a narrow neck on the west side providing access to the sea, guarded by the bulk of an ancient Chinese junk. Within the basin, which is fed by waterfalls tumbling down the rocky lower slopes of the surrounding hills, sit three Ikoi (“rest”) houses, each occupying a wooden pontoon. Between them, and linking them to the north and south shores of the basin is a pattern of wooden walkways. These in turn surround the square of a zen garden, complete with a pond, bridge, and a bench for contemplation, all guarded by a magnificent stone dragon.

Spring Spirit, Dalaran; Inara Pey, March 2017, on FlickrSpring Spirit

Each of the Ikoi houses offers a place of rest and refreshment – be it food, comfortable cushions or a massage. A fourth house sits at the water’s edge, the round tub of a ofuro inside, lily petals floating in its water. This little bathhouse is reached by turning off the path from the gallery at the point where it meets the wooden board walk leading out to the other three houses and slipping under the drooping arms of a weeping willow.

As well as giving access to the bathhouse, this route also offers a way up to the broad grassy ridge running around the hollow of the basin. Here a path winds its way past pond, over bridges spanning water channels fed and ending in waterfalls, and under the shade of trees. Arcing around the curve of this great bowl, the path along this ridge provides access to lookout points, places to sit or dance, and a way back down to the water’s edge on the north side of the region. Here, more steps pass under a Torri gate and point the way back up onto the surrounding hills, where there is more to be discovered, while a wooden board walk allows you to return to the Ikoi houses if you prefer.

Spring Spirit, Dalaran; Inara Pey, March 2017, on FlickrSpring Spirit

Spring Spirit is a beautiful design, perfectly drawing on Japanese and Chinese influences to create a balanced whole. It also mirrors something of an oriental aesthetic in its overall layout. From the circular form of the basin, through the to placement of the Ikoi houses and the pattern of wooden walkways connecting them, to the central positioning of the zen garden, there is an elegant harmony about the entire design.

There is a lot to see and enjoy, from time spent in the Ikoi houses, through dancing or spotting all of the wildlife scattered across both land and water – we particularly enjoyed spotting the herons scattered around strategic points like sentinels keeping a watchful eye on things – to simply sitting and relaxing. For those who enjoy photography, spring Spirit is very photogenic and has a dedicated Flickr pool, complete with the opportunity to have images posted there displayed in the region’s gallery.

Spring Spirit, Dalaran; Inara Pey, March 2017, on FlickrSpring Spirit

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A Wild Lost Line in Second Life

MetaLES: Wild Lost Line

Wild Lost Line, now open at MetaLES, curated by Ux Hax and Romy Nayar, is a new art / sound installation by artist and musician Morlita Quan, a physical world artist hailing from Spain and working under the name. Her artistic expression covers 2D and 3D art and music, and all three are very much reflected in her Second Life presence.

The installation should be be viewed with the viewer’s Advanced Lighting Model enabled and local sounds turned on, with local time set to midnight. There is a recommendation to set Shadows to Sun/Moon + Projectors, but given the time-of-day setting and the fact that Shadows can result in a sizeable performance hit for some, I would suggest this isn’t so vital a requirement. I would, however, recommend using headphones to get the full stereo effect of the aural environment. Once you are set-up, touch the teleport board at the MetaLES landing point to jump to the installation.

MetaLES: Wild Lost Line

This comprises a path through a series of halls and rooms in which Mori’s art is displayed, the route through them indicated by black or white arrows on floors and walls. The art itself is offered on a huge scale, from drape-like hangings you must walk through, to pieces forming floors and ceilings, as well a those hanging on walls. They are, perhaps, a little too huge – but I’ll come back to that.

The final part of the exhibit takes you along the top of the walls separating the various rooms, allowing you another view of the art on display. at the end of this, a teleport drops you to a 3D element, a flower-like structure surrounded by floating cubes. Touch a white cube at the base of “stem” of this, and you’ll be seated within the “petals”, where touching the surrounding ring  of coloured triangles and the small spheres below them will allow you to play various notes and tones. From here, a ramp leads you back into the installation while a teleport board takes you back the MetaLES landing point.

MetaLES: Wild Lost Line

Quantifying Wild Lost Line is difficult. I find Mori’s work to be its most captivating when a piece can be seen in its entirety. This allows one to fully appreciate its complex beauty, the use of line, colour, shade and pattern to present something deeply organic yet also clearly geometrically defined. Such is the overwhelming size of the pieces present in Wild Lost Line, my deeper appreciation born of this appreciation of complexity and form was lost amidst the technicalities of camera juggling and an inability to easily encompass all of a single piece comfortably in my view. Thus, I found myself conflicted in touring the installation.

However, you may see things differently – so why not pay a visit?

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The Journey in Second Life

DaphneArts: The Journey

Now open as the ground level of DaphneArts is a new interactive installation by Angelika Corral and Sheldon B, The Journey, which builds on their recent work with mixed media, notably with January’s celebration of Edgar Allen Poe (see: A dream within a dream: celebrating Poe in Second Life).

“The Journey is an imaginary world, telling a fantastical story, using metaphor, analogy and fable,” Angelika and Sheldon say of the installation. “Perhaps a different story to each and everyone, according what the individual is searching to find out, about who and what they are throughout life, as they make choices based on their experiences, beliefs, and outlook. But the search for meaning in life is a Hydra; one question answered leads to many more to contemplate…”

DaphneArts: The Journey

Visitors start their journey on the upper level of a large, cube-like glass and steel structure where they will be asked to allow the attachment of a HUD – which they should allow, as it provides the means to experience the interactive elements of the installation. Instructions on how best to view the installation are provided via information boards, including setting the preferred windlight (if your viewer doesn’t adopt it automatically), and a short video introducing the piece.  Below this, on the main floor, sheep appear to be emerging from two large machines, pointing the way forward, to a snowy world outside the cube.

Core to the piece are three seats: one inside the cube, one out on the snow, the third on the water. sitting on them will trigger a recital of a poem, read by Angelika. All three poems offer reflections on life’s journey. Each of them –  Fire, by Dorothea MacKellar,  A Journey by Nikki Giovanni and Paul Laurence Dunbar’s We Wear The Mask –  provoke thinking through their use of metaphor, give us pause to consider our own outlook on life and the journey we are taking through it.

DaphneArts: The Journey

Metaphor is richly presented throughout the installation, from the poems themselves, to the guiding lines of sheep and fences (a reference to sleep, the gateway to our deepest imaginings, and thus to this imaginary world), to the crows with their reference to death, the inevitable destination of life’s journey, no matter how we attempt to dress it up – such as through a glowing ascent to the heavens. Even the snow falling thick and fast might be seen as a metaphor.

A journey is a fascinating piece, one which depends entirely upon our own experiences, outlook and desires  / hopes / fears in life. It is a piece which, as Sheldon as Angelika note, for every question asked and possibly answered, a dozen more raise their heads. Thus, interpreting  the installation is genuinely a subjective matter, driven by the questions we bring to it, and those which follow them.

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