Akijima August 2024: Eta Mae: t’s All Blinn-Phong to Me!It’s All Blinn-Phong to Me! is a new and relatively light-hearted art exhibition by EtaMae (Etamae) and being hosted at Akiko Kinoshi (A Kiko) at her Akijima arts region with her Akipelago chain of Islands.
For those who may not be familiar with the term, Blinn-Phong is a reflection / shading model which, in terms of Second Life has been the mechanism by which materials and their reflectivity worked exclusively prior to the arrival of glTF / PBR in SL (and indeed, still work – they haven’t gone away with the arrival of PBR).
Akijima August 2024: Eta Mae: t’s All Blinn-Phong to Me!
While Blinn-Phong is the correct name for this type of shading / reflection model, the fact is that for many, it is another odd term being ushered in alongside a tonne of others as glTF makes its presence felt in Second Life. There’s glTF and PBR themselves, together with metallic roughness, base colour, emissive, transmission, index of reflection, and so on. All of which can start to sound like a foreign language and seem quite frightening when really all they signify is an effort to bring SL graphically and technologically in line with modern rendering engines and the toolsets and standards used in content creation.
And that’s something of the “message” behind this art exhibition: don’t worry about all the terms; they are either just new ways of expressing what you’ve been doing all this time, or indicating there are new ways of doing things you’re always done, whilst offering new little tweaks you can make to things.
Akijima August 2024: Eta Mae: t’s All Blinn-Phong to Me!
On offer are a series of beautifully abstract pieces by Eta, 15 in a larger format, created using Blinn-Phong materials and seven smaller pieces (including the one at one of the entrances to the gallery space) created using PBR materials. Each set incorporates subtle animations, and both look very similar – emphasising the fact that whether you call them Blinn-Phong, PBR or just “materials”, nothing has changed in terms of what the finished results can be – or might be; we can still build and create and display – and have a few new treats to boot, such as the mirror elements Eta has added to her PBR art (and which could have been as easily built using Blinn-Phong materials).
It’s an elegant, simple statement; as Eta notes: it’s not profound, it’s not deep – but it it is illustrative. Just because the terms are new and the technology is changing, there’s no need to be frightened or object to what’s going on. SL is still a place where we can express ourselves (physically and artfully). So just chill, have fun – and enjoy!
Akijima August 2024: Eta Mae: t’s All Blinn-Phong to Me!
Xanadu, August 2024 – click any image for full size
Following the lead of Susann DeCuir, I dropped into Xanadu, a quarter Full region held and designed by Xan Dark (Xan Darkheart) and presenting a (primarily, but not exclusively) Sino-Japanese fusion of ideas wrapped within an Adult-rated environment in which adult / sexual activities are allowed; as such, I’ll say up front that the setting may not appeal to everyone in terms of its function, but it is nevertheless visually engaging and photogenic – and during the time of my visit, it was quiet and friendly.
The landing point sits within a Zen garden located more-or-less in the middle of the setting and to which it might said – that in the manner of ancient Rome – all roads (or in this case, paths) lead; or at least depart, given it is the landing point. Watched over by a Zen master, the garden offers visitors a choice of routes to take.
Xanadu, August 2024
To the north, the path crosses a zig-zagging walkway of modern design as it passes over an oval body of water served by waterfalls, to reach a coastal pavilion; south to where a stone bridge guarded by a Torii gate and a pair of Kirin crosses another body of water before the path climbs up to a temple in which Buddha listens to the prayers and chants of monks; west to pass a bamboo garden with it bed-enclosing tea house and onwards to where a Tibetan structure sits as a bathhouse come personal retreat.
Off to the east, the path skirts the waters crossed by the stone bridge to where a hollowed tree trunk provides the way up to another little house for adult pastimes, and then on to where a sauna hides amidst an enchanted wood before reaching ruins that would not look out of place in Medieval Europe.
Xanadu, August 2024
And that’s just the start of things. There are in fact two pavilions looing out over the waters to the north and west of the region and the off-region mountains guarding the waters. Both provide a view across the turquoise waters to where a giant octopus ravages the wreck of a sailing ship. Or, if you turn to the right on crossing the zig-zag bridge, the trail will lead you to a wooden bridge as it reaches out to a boat-like island in the middle of the lake. Here, slung below the bough of a Sakura tree is a swing, with other places to sit and cuddle along the bank of the lake nearby. Whilst sitting at any of these, you might get a sense of being watched. If so, look up at the waterfalls that feed the lake here and you might find the reason 🙂 – and another place to have a little fun.
Then there is the lake between the landing point and the temple. Not only is it home to Koi carp and swans and herons and more, it is home to a floating deck reached by crossing a stone dragon bridge. And still this is only scratching the surface of all that might be found within Xanadu. There are dozen of little touches to be found, from the little playground for pandas to the more obvious table-top games – and I couldn’t help but smile at the sight of a ninja-like figure clearly up to nefarious mischief. There’s also the hidden theatre awaiting discovery and the hot tub deck, both of which add their own modern twists to what might otherwise be a ageless setting.
Xanadu, August 2024
Nor – outside of the Kirin – had I mentioned the fantasy touches apparent throughout. Fairies await visitors wander the paths, a goblin keeps watch, whilst a wall of giant basalt columns separate the setting from the neighbouring parcels like a rocky version of G.R.R. Martin’s Wall separating Westeros from the North. Not – I hasten to add, having recently been chastised for offering personal impressions in describing another region, that this setting in anyway contains anything to do with Martin’s mythology; it’s simply what comes to mind when exploring.
As might be gathered from all of the above, Xanadu packs a lot into a quarter region – and quite beautifully so; the flora is rich and verdant, the paths set out in such a way as to give the impression one is wandering a location far larger than its 14,368 sq metres. Thus, throughout all of it there is never a sense of being overcrowded, just of being in another land where inspiration come from many sources, those from Asia reaching beyond Japan and China, and the fantasy elements offering a nice twist.
Xanadu, August 2024
Yes, sexual activities, D/s and BDSM do form part and parcel of the overall setting, so discretion is advised for those not into these particular activities as noted; but also as noted, I didn’t encounter anything off-putting during my visit and found a delight in the overall design and my explorations.
Kudos to Xan for such a richly diverse and detailed location, and my thanks to Susann for the pointer!
Nitroglobus Roof Gallery, August 2024: Scylla Rhiadra – Swerve
August 5th, 2024, saw the opening of Swerve, a themed exhibition by Scylla Rhiadra, hosted by Dido Haas at her Nitroglobus Roof Gallery.
Scylla is, quite frankly one of the most gifted communicators in Second Life; her ability to to use art to convey ideas, feelings, realities and truths, and/or to expose concepts and ideas and encourage the grey stuff between the ears to start firing on all available cylinders, is second to none. This is especially true with Swerve, which takes as its subject matter, a visualisation of the essence of De rerumnatura, (“On the nature of things”), a six-part (and potentially unfinished) poem by the 1first century BCE Roman poet and Epicurean philosopher, Titus Lucretius Carus.
It is also, again quite frankly, an exhibition I’ve found exceptionally difficult to write about. This is partially due to the fact that Scylla lays out out the inspiration and ideas for the exhibition quite wonderfully through both a poster on the wall close the gallery’s main landing point and through the notecard that can be obtained by touching said poster. As such, anything I might further say on in this regard is rendered somewhat superfluous.
Nitroglobus Roof Gallery, August 2024: Scylla Rhiadra – Swerve
“Swerve” is the most usual translation of the Latin term clinamen, a key word and concept in De Rerum Natura, a 1st-century BCE philosophical poem by Titus Lucretius Carus. Lucretius was the great populariser of Epicureanism, and his poem is a long and detailed explication of the ancient understanding of atomism, and of its implications for human life. It is also, in an important sense, the inspiration for this exhibition.
Lucretius tells us that nothing that is not “matter,” composed of atomic particles, exists in the universe. We swim through a torrential downpour of plummeting atoms that crowd the void of space, and these fall naturally in a straight line. Vitally, however, they also sometimes swerve from their straight, downward course and, colliding with others, cohere into new clumps of matter or ricochet off each other in unpredictable ways. “Swerve” is thus the foundation of all existing things, and, as importantly, of all change. The idiosyncratic motion of these swerving atoms is also, Lucretius asserts, the origin of human free will, for we too “swerve” from our natural course according to the dictates of our appetites and passions.
Scylla Rhiadra, introducing Swerve
There’s also the fact that by pure happenstance, I’ve not long since finished reading Greenblatt’s The Swerve: How the World Became Modern, the story of how the last known remaining copy of De rerum natura was rescued from certain loss in the early 15th century, helping to kick-start our modern understanding of modern physics an physical sciences.
While there is much that is perhaps questionable within The Swerve (particularly around Greenblatt’s propensity to interject his own view on religion together with a blurring of historical lines), I have nevertheless found it hard to divorce my thoughts on the fundamental story of the rescuing of the poem and how it potentially influenced modern thinking as outlined in Greenblatt’s book, from Scylla’s far more focused and elegant examination of her opening question posed when introducing her exhibition:
What does it mean to live in a godless, materialist universe ruled by the laws of physics and propelled by the endless fall and collision of atoms in apparently chaotic order?
Scylla Rhiadra, introducing Swerve
This is not in any way to fault Scylla; the fault is mine alone; I have lacked the mental discipline to keep my mind focused purely on Scylla’s work.
However, in trying to keep that focus, what I can say is this. The images Scylla present within Swerve are – as always – of a nature that allows each of them to stand on its own as an engaging piece of art while also offering a depth of reflection and / or enunciation of ideas either posited by Lucretius or to which we might be led in considering of his explanations of life, the nature of the mind and the soul, the driving forces behind our own actions and reactions to the cosmos – and others – around is, and most particularly by our own inner passions and desires, which can both aid and foil us.
Nitroglobus Roof Gallery, August 2024: Scylla Rhiadra – Swerve
In this there is much subtext to be found within many of these pieces – be it the placement of an icon on the wall or the juxtaposition of a woman’s body behind the bloom of a flower. Some of this again stand quite independently of Lucretius’ writing – but at the same time, understanding his outlook and the Epicurean view of the cosmos and humanity greatly enhances how these pictures might be viewed – an they, aided by Scylla’s words, tickle the desire to know more about this almost-lost didactic poem.
There are perhaps small aspects of Scylla commentary that might give cause for disagreement. Her use of the word godless might be seen as inaccurate, as neither Epicurus nor Lucretius posited a universe without deities; rather they held that such was the natural, elemental nature of an atomic universe, ordered by simple rules and interactions (such as clinamen), there was simply no need for any gods to involve themselves in the affairs of mortals; they could simply get on with enjoying absolute peace for all eternity. However, I would respond by saying that in a wider context – that of the “modern” world – Scylla’s use of godless is well-founded; while we have no evidence throughout De rerum natura that Lucretius was an atheist, in its denial of divine intervention and its repudiation of the immortal soul, the poem was (and sometimes still is) seen as “anti-Christian” and “dangerous”.
Nitroglobus Roof Gallery, August 2024: Scylla Rhiadra – Swerve
There is so much more I could say – but (thankfully for you) I won’t, other than do go as see this exhibition – read Scylla notes and then view her work; allow it to inhabit your thoughts and whisper to you with the voice of history.
Goblins Knob, August 2024 – click any image for full size
Tolla Crisp’s Frogmore expanded recently with the arrival of Goblins Knob, a Homestead region by Tolia and her frequent region design partner, Dandy Warhlol (terry Fotherington). I always enjoy trips to Tolia’s regions as the settings they present are so often inspired by physical world locations whilst taking their ideas in directions totally set aside from any real world location rather than merely reflecting it. In this, Goblin’s Knob immediately captured my interest just from the description Tolla has bestowed upon it:
Goblins Knob is inspired by 1666 Pudding Lane, London, before the great fire, with the added magic of Diagon Alley. Early dawn of quiet hush, fog descends with a gentle brush. Veiling the world in a silent shroud, nature’s whisper not too loud. The Spiderwick comes at the break of dawn, Bogarts and Goblins, and dark Pixie Yarns.
Goblin Knob’s Destination Guide description
Goblins Knob, August 2024
Now, I’ll be honest, the Diagon Alley reference went right over my head – although Wilhelmina, my companion for the visit, immediately caught it. In my defence I will say that my ignorance is borne of the fact that I am probably one of the few people in the world never to have had the desire to read the Harry Potter books (despite loving fantasy in general) or watch the films. That said, the reference to DiTerlizzi’s and Black’s series of books (and subsequent TV series and film) was all too clear; and that and the idea of mixing 17th century London with elements of steampunk very much whetted my appetite for the unusual and the eye-catching.
This is a place which should be visited using the looks environment settings (World Environment → Used Shared → Environment). It is also a region where PBR materials are much in evidence, including on the terrain (one of Alex Bader’s PBR materials sets looks to have been used – I’ve been using within my home island as well). I have no idea if texture and Blinn-Phong fallbacks are provided where the PBR has been used, but if you drop in on a non-PBR viewer and find expanses of grey or white or similar, this will likely be the reason why. You’ll also want local sounds on whilst visiting as well.
Goblins Knob, August 2024
Visits begin on the east side of the region, on a small wooden pier sitting just above the surface of the water. The fog is heavy and the night dark, but two great fingers of rock loom out of the water whilst the shadowy form of a tall building rises tower-like a short distance from the pier. The latter is illuminated by the tall form of a floodlamp tower topped by the gapping mouths of klaxon horns. This marks the first coming together of the strange mix of influences. With thick heavy cables clearly visible, the floodlamps would appear to be electrically powered, setting them a little at odds with the idea of 1600s London; another little twist comes in the form of two strange flying vehicles “moored” (inasmuch as they are serenely hovering above it) at the pier – although they do have the steampunkian element.
Further mystery is added by the long shafts of spears protruding from the water as if thrown in an attempt to ward off a sea creature of some kind. To one side of the pier, the high wall backing it gives way to a west-point channel cutting into the region, on the other, step rise up from the water’s edge to provide access to the cobbled street above ad it runs along the edge of the deep walled canal, a peculiar mix of lit buildings somewhat crammed together whilst separated by archways and cobbles alleyways.
Goblins Knob, August 2024Three primary bridges span the canal, with a slightly rickety looking boardwalk forming a fourth crossing, this above the short tunnel leading out to the waters by the landing point pier, providing access to a heap of buildings cut off from the rest of those to be found on the canal’s north side by another deep-walled channel. Steps on the far side of this boardwalk rise up to the flat rooftop where a cannon ominously points its snout up the line of the canal, rather than out to sea, as if awaiting something nasty to come down through the waters. from further inside the town.
It is on the north side of the canal and along the cobbled street there that many of the more wizardly (or perhaps magical might be a better term) elements for the region might be found, both within shops (or a shop) and at the roadside vendors. Further to the west and across another bridge, this one spanning a channel feeding water into the main canal from a rocky waterfall, lay more hints (others being in the form of posters in doors and walls of buildings already passed, for those keen of eye) that the circus is in town. Indeed, a trip down a short alley arched with roses will bring you to where a path winds through the local woods to the rather forlorn circus itself.
Goblins Knob, August 2024Meanwhile, in the waters of the main canal just below where the circus wagons sit on the town’s street, a possible reason for the inward looking cannon might be found as it menaces a ship trying to make passage through the narrow waters. At its western end, the canal opens out into the sea once, high stone walls continuing to keep the streets high above the murky waters. But where, on the south side, the wall marks the limit’s of the town’s extent save for piping of unknown use, to the north the town continues along what might have once have been a substantial wharf, but which is now the foundations for a ramshackle building looking almost like the grandfather of all motels and lit an eerie green.
Nor is the canal merely a source of navigation for watercraft; overhead, a procession of balloons and dirigibles appear to be following to whole-knows where. Among these, but not a part of their number, given it is firmly anchored to the ground, is a balloon from which a zipline ride might be taken at a very sedate pace.
Goblins Knob, August 2024
Most – but not all – of the building here are façades, and I admit, outside of the higgley-piggledy cramming of the buildings, I’m unclear as to the reference to the London of 1666 and the Great Fire. However, none of this detracts from a setting that is very heavy in atmosphere and rich in detail, particularly when it comes to the steampunk elements. Even the otherwise incongruous elements such as flood lamps and 20th century English telephone boxes just work, and I particularly liked the tavern’s wall of framed pictures and the little jokes nested within the images.
Very different from other Frogmore venues, but engaging and photogenic, Goblins Knob is a fascinating curio of a region.
August brings with it – for those of us in the northern hemisphere – the latter part of summer and the promise that autumn is about to get out out of bed and start looking in our direction. But before it arrives there is still time for those who wish to grab the opportunity and have some summer fun – be it a vacation or simply a little time at the seaside.
It is the latter – a trip to the seaside – that Cica Ghost celebrates in her August 2024 installation Summer Camp. While it many not have anything to do with the more formalised affairs families in various countries pack their kids off to for a part of summer, Cica’s setting does have much to offer the kid residing in all of us: sand castles, friendly dinosaurs, happy-go-lucky snakes, fishy cars to sit on, opportunities to dance.
Cica Ghost, August 2024: Summer CampAs is usual with Cica, the installation is framed by a quote, this one from a poem by the American poet, writer and physician, William Carlos Williams.
In summer the song sings itself
– William Carlos Williams, The Botticellian Trees
Williams’ work is a fascinating trove; most closely associated with the modernism and imagism movements, both in word and art, his poetry drew on multiple inspirations whiles often centres of related imagery – such as trees.
Cica Ghost, August 2024: Summer Camp
The Botticellian Trees itself interweaves the theme of trees and reflection on art (or at least, an artist, hence in part the title), but it is perhaps best know for this pair of lines, fully capturing as they do all of the beauty, promise and feeling that summer can bring, regardless of our age. Here, it perfectly captures the essence of Summer Camp.
There’s really not too much else to say about this installation; it is very much something to be experiences rather than read about. The creatures and figures found throughout are offered for sale in Cica’s shop, storefronts for which are perched up on the cliffs overlooking this sandy realm. The fish cars may be static, but they still offer places to sit (and other can – as usual – be found throughout), with a touch of acrobatics / balancing thrown in as well. And then there are the sand castles to wander through and (in places) climb, while for those who’d like more of a bird’s eye view (or should that be crow’s eye view 🙂 ), there’s always the balloon floating serenely overhead.
NeverendingSL: Souru Sosaeti, August 2024 – click any image for full size
Since 2021, Jayden Mercury has been creating / writing stories involving settings he designs, sometimes on his own, sometimes with the assistance of others, and notecards which might be seen as chapter outlines or prompts, all under his Neverending banner.
While I have missed numerous segments, I did cover the start of the story when Jayden opened Adventures In Mad Wonderland in 2021 (see here for more). I then returned to it for Neverending – Sakura Tales (more here) and again for The Dark Tower (more here), after which I kind-of lost touch with things. I was therefore pleased to be recently able to visit the 13th chapter in the series NeverendingSL: Souru Sosaeti.
NeverendingSL: Souru Sosaeti, August 2024
Jayden’s settings often have a suggestion of pulling on the threads of literature and storytelling from times past in order to create a tale of its own. With Adventures In Mad Wonderland, for example, there was the obvious element of Dodgson’s stories as written under his pen name; with The Dark Tower there seemed to be multiple potential intertwining references: Stephen King, Robert Browning, Tolkien, and so on.
Here, the name of the setting appears to be taken from the Japanese term for Soul Society (aka “dead spirit world” or “spirit world”, Souru Sosaeti), where souls are said to reside whilst awaiting reincarnation.
NeverendingSL: Souru Sosaeti, August 2024
Whether the reference is meant literally or simply as a means of unfolding this chapter of Jayden’s story (or even as an oblique reference to the Japanime series BLEACH), I’ve no idea. Certainly, the introductory notecard gives the impression that there is a common thread linking this Soul Society with its namesake:
Souru Sosaeti, once bustling and lively, now lay shrouded in fog and surrounded by an eerie silence. The artist arrived in the harbour aboard his small boat, guided by his constant companion, the majestic phoenix. The bird of rebirth was more than just a symbol; it seemed to have a connection to this mysterious city, whose fate threatened to disappear into the mist.
– Introductory notecard for NeverendingSL: Souru Sosaeti
NeverendingSL: Souru Sosaeti, August 2024
Stranded, the artist has set-up home on the edge of the city, and among the tower of stacked trailer homes similar in nature (if on a smaller scale) to the one popularised by a certain E. Cline in his debut novel. And it is at his little retreat that the story opens, with an invite to sit and then explore the setting. As with previous iterations of the story, the setting is interactive, and visitors are encouraged to explore, take photos, discover – and to try to find the artist’s pen and paper in order to read on to see what happens next.
The story itself carries the sub-title The Artist and the Cards of Destiny. This appears to be a reference to a game within the setting which can be triggered by locating the local Experience and receiving the game HUD. The Experience trigger might take a little finding; all I’ll say is look for alley with the red lanterns and the gate at its far end. Locate it, and the Joker may have a challenge for you!
NeverendingSL: Souru Sosaeti, August 2024
Suddenly, the Joker appeared, emerging from nowhere with a diabolical grin and a theatrical voice that echoed through the deserted streets. ‘Ah, finally a curious wanderer,’ chuckled the Joker as he faced the artist. ‘Are you here to unravel the secrets of this city?
The artist stepped back, startled by the Joker’s sudden appearance. Gathering his composure, he met the Joker’s gaze. ‘Who are you? What do you know about the disappearances?’ he demanded …
The Joker smiled mysteriously and replied, ‘Ah, that is a question for those who seek the truth. The city has many faces, each with its own stories to tell. Perhaps you will find the answers you seek if you find the four king cards. Are you ready for the challenge?
I’ll say no more on the game here – you can discover it for yourself when you find the “Joker’s gate”, as it were. So why not pay a visit to NeverendingSL: Souru Sosaeti and see what you might find on the ground (and elsewhere!), both on foot and by way of theJoker’s challenge?
Inara Pey: Living in a Modemworld 