To slip the surly bonds of Earth …

A Dream, the wings to fly
A Dream, the wings to fly

Opening on Wednesday May 21st at 13:30 SLT is a new 3D art sculpture by London Junkers entitled A Dream, the Wings to Fly, located at the torno Kohime Foundation’s 3D Art Gallery and jointly sponsored by the torno Kohime Foundation and Tanalois Art.

It’s a beautifully intricate piece, celebrating the history of aviation and flight.  The central element of the sculpture is a jet turbine engine, the blades of which form the two main levels of the piece, connected by a stairway. On the upper section sits an exquisite build which richly encapsulates the dream and reality of flight.

This starts with a sculpture of a bird in flight, the gentle arc of its wings reflected and exaggerated in the arc of the wings of the structure it flies before, and which themselves echo the long history of the dream of flight, when men sought to mimic the shape of a bird’s wing that they might also fly.

A Dream, the Wings to Fly
A Dream, the Wings to Fly

At the base of this structure sits the simplest flying machine anyone can make: a paper aeroplane, while above it, continuing the jet aviation theme rises the central spindle of the turbine, passing through another set of turbine blades to support two Spitfire-like aircraft.

But look again, because there is more to be seen here than might at first be apparent. See how the turbine blades are exaggerated in form, twisted into cloudy wisps. Look again at the central turbine spindle rising into the sky, note its shape and the four fin-like supports at its base; here sits not a spindle, but a rocket, pointing to the stars.

And there, at the centre of it all, lies a small, glass Earth, richly symbolic in its placement. It is both the only home we have, a place which aviation and spaceflight have helped us to explore and map and understand as never before. The place our yearning to continue our voyages of discovery longs to one day slip.

A Dream, the Wings to Fly
A Dream, the Wings to Fly

There are powerful echoes here: Da Vinci,  du Temple, the Wright brothers, Whittle, Tsiolkovsky, Goddard and others; echoes perhaps best summed-up, giving the Spitfire motif, in the words of John Gillespie Magee, Jr.

Oh! I have slipped the surly bonds of Earth
And danced the skies on laughter-silvered wings;
Sunward I’ve climbed, and joined the tumbling mirth
of sun-split clouds, — and done a hundred things
You have not dreamed of — wheeled and soared and swung
High in the sunlit silence. Hov’ring there,
I’ve chased the shouting wind along, and flung
My eager craft through footless halls of air….

Up, up the long, delirious, burning blue
I’ve topped the wind-swept heights with easy grace.
Where never lark, or even eagle flew —
And, while with silent, lifting mind I’ve trod
The high untrespassed sanctity of space,
– Put out my hand, and touched the face of God.

A Dream, the Wings to Fly
A Dream, the Wings to Fly

Lizzie Gudkov, London’s SL partner tells me that London hopes the piece will encourage people who visit it to try their hand at flying in SL; that’s not an inappropriate aim. It matches both the aviation theme of the piece and reminds us that Second Life, with all its rich and varied opportunities, allows imagination to truly take to wing, allowing us all to slip the surly bonds of Earth.

A simply beautiful piece, highly recommended to anyone who is either a lover of aviation or whose dreams encompass the freedoms we’re offered through SL.

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Themes of solitude, industry, landscape and more

Melusina Parkin: Themes
Melusina Parkin: Themes (click any image for full size)

Melusina Parkin’s Themes is now open at the The Nite’s Place Red Line Exposition Area. Curated by Simonh Sandial, Themes features 42 photographs selected by Melusina in and exhibition space which allows them to be displayed in 6 groups of seven photographs apiece on the themes of “solitudes”, “landscapes”, “industry”, “details”, “urban” and “minimal”.

The selected images are striking in nature, each one displayed large enough to draw the eye into it, making the observer almost a part of the scene itself. What is particularly noticeable about many of the images is the fact that they appear so very life-like; so much so that on first look, it’s actually hard to tell whether they were taken in-world or in real-life. It is only on closer examination, or when the eye is drawn to certain clues, that the fact the photo was taken within SL becomes apparent.

Melusina Parkin: Themes
Melusina Parkin: Themes

Take the two images above (put side-by-side for comparison purposes): the one on the left (“Loneliness 1”) gives every impression of having been taken in RL, while in the second (“Loneliness 3”), it is only when one sees the while glow surrounding the nearer of the two sets of lamps that its SL origins are revealed.

This RL / SL “crossover” is intentional on Melusina’s art, as she informed Ziki Questi, who reviewed this exhibition earlier in May. “The aims of my photographer’s work are always the same: showing how fantasy and skills of SL residents made a world that reflects the main features of the natural or human environment’s common imagery,” Ziki quotes Melusina as saying of the pieces on display here.

Melusina Parkin: Themes
Melusina Parkin: Themes

Not only this, but the selected images beautifully – even hauntingly – reflect their intended themes. In this, several of the pictures in the “solitudes” section were particularly evocative for me, while “industry 1” (see on the left in the topmost image in this article) give rise to images of the romantic age of steam and the stirrings of time long past, together with the feeling of a story waiting to be told.

As noted at the top of this piece, this is a striking exhibition, and for those with a love of SL photography, definitely not one to be missed.

Melusina Parkin: Themes
Melusina Parkin: Themes

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A Goodnight dream

Goodnight Photography, Berlengas; Inara Pey, May 2014, on FlickrGoodnight Photography, Berlengas (Flickr – click any image for full size)

Jeff Goodnight is an SL photographer who has a well-deserved reputation for taking some incredible pictures in SL, as both his blog and his Flickr stream reflect.  So when I discovered he’s completed his own region and was inviting people to visit, I knew I had to hop over and take a look.

Jeff describes Goodnight Photography as a, “labour of love and has been 5 weeks in the making.  After a couple of starts and restarts, I finally decided on the look I was going for and this is the result.  I wanted a tropical sim but I also wanted to infuse some color and warmth into it as well and this is what I eventually ended up with.” It’s fair to say that he’s achieved all that and more.

Goodnight Photography, Berlengas; Inara Pey, May 2014, on FlickrGoodnight Photography, Berlengas (Flickr)

On arrival one is presented with a tropical paradise, a beautiful island within a small archipelago, on which he’s built a stone house, its colour blending perfectly with a setting  which offers some wonderful opportunities for photography.

Given the surrounding islands, it is easy to imagine the island sitting within the caldera of some long-submerged volcano, perhaps amidst the Indonesian or Philippines islands. Indeed, looking out at the peaks surrounding the place, vents from the old volcano would still appear to be somewhat active!

Goodnight Photography, Berlengas; Inara Pey, May 2014, on FlickrGoodnight Photography, Berlengas (Flickr)

The design here is that of elegant simplicity, suggestive of an island which has been “tamed” just enough to provide a comfortable home, but which has not been unduly spoiled in doing so.  There are trails, low-lying beaches, high cliffs, grassy meadows where horses roam, places to lie in the sun or the shade, boats anchored just offshore, streams cutting through the rocks and around the house, rich colour and opportunities galore for photography. So much so, that it’s hard to point to a single aspect of the island as particularly photogenic – everything works so perfectly.

Goodnight Photography, Berlengas; Inara Pey, May 2014, on FlickrGoodnight Photography, Berlengas (Flickr)

On the subject of photography, Jeff has this to say about the island:

Not only do I want people to visit, enjoy, and photograph it, but I also want to use this as my launch into avatar photography.  Besides the setting on the ground, I have other photographic items set up to accommodate many requests.  If you would be interested in having your pictures done, either for profile pics or something more personal, please do not hesitate to contact me.  I would be more than happy to discuss them with you.

In the case of the former – people taking their own photos, rezzing is allowed on the island; just do please remember to clear-up again should you choose to put out a prop or two. In the case of the latter, should you have something in mind photo-wise, be it individual portraiture, group shots or something else, please do give Jeff a call in-world. If he’s not on-lin when you do, he’ll certainly get back to you.

Goodnight Photography, Berlengas; Inara Pey, May 2014, on FlickrGoodnight Photography, Berlengas (Flickr)

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An unorthodox challenge

Cyber Orthodox
Cyber Orthodox

Igor Ballyhoo’s Cyber Orthodox  opened on Sunday May 11th, the first installation in the 4th round of the Linden Endowment for the Arts Full Sim Art series.

Born of the artist’s fascination with the amount of time and energy humans spend trying to convince the world at large that their way is the “right” way, hence the “orthodox” of the title, and his overall response to such attempts: that perhaps we cannot know, and that as such, it is better to keep an open mind to all possibilities, rather than in trying to constrain thinking.

Cyber Orthodox
Cyber Orthodox

The term “orthodox” implies religion; and there’s certainly there is much in the installation which does poke at religious dogma. However, it would not be fair to classify cyber Orthodox as “anti-religion”. While the symbolism in places is clear, there is much else commented upon here than may at first be apparent to the eye.

The setting for the installation is somewhat industrial; great steel scaffolds stand on two sides of the flooded region, supporting two mammoth curved walls made up of overlapping metal plates. At the base of these are piled the kind of concrete forms sometimes seen in parts of sea defences, designed to break-up the force of incoming waves.

To the north side of the region stand four large concrete piers, towers rising from their northern ends. Sculptures stand both at the ends of these piers and atop their towers, while steel frames supported thick glass form bridges between them, alternately connecting tower with tower, pier with pier, and thus to a further walkway at the foot of the high wall which forms a route around the installation.

Cyber Orthodox
Cyber Orthodox

The sculptures on the piers range from a piece called The Processing of Splitting Things, through Icarus, the all-seeing eye (with it’s religious and cult related meanings), the cross, a stylised mosquito, to the remnants of a great model of Titan. What do they mean? And what of the ornate cube, suspended between four great concrete piles between two of the piers, within which sits a strand of the double helix?

Out on the water are four more pieces. There’s another gigantic scaffold, the upper parts of which resemble the masts of the ship. This shares the space with a cross of transparent cubes, within which sits a chariot, as if surrounded by clouds, a pair of stylised winged horses, flames rising from them, the entire piece, at first suggestive of Apollo riding his chariot across the sky. Not far from this is an apple floating in the centre of an Esher-like staircase, and a group of slowly rotating minarets floating among clouds. Meaning here is layered.

Cyber Orthodox
Cyber Orthodox

To take one of these pieces, the apple within the Esher staircase, for example. At first look, it might be taken as a comment upon how the strictures of religious belief (represented by the apple and its association with humanity’s fall from grace). The adherence to the orthodox dogma of a religion can ultimately be circular in nature, appearing to go somewhere whilst ultimately going nowhere.

However, closer examination of the apple reveals it to be etched with a grid work of lines, suggestive of some form of digital mapping, perhaps indicative of the creation of the perfect apple. So is the apple perhaps a metaphor for our hunt for perfection (as modern society perhaps tries to impress upon us through advertising, etc.) in looks and form? The comment again being on the circular nature of such pursuits?

Cyber Orthodox
Cyber Orthodox

Thus, the various pieces within the installation appear open to more than one interpretation, something which itself underlines the central theme of the piece, that insistence upon orthodoxy is a negative presumption on our part which, in the face of all that surrounds us, tends to limit our understanding more than it gives us growth?

In this, three of the pieces might be seen as particularly poignant: Icarus, the sailing-ship like scaffold and that of chariot lifted aloft by winged horses. These seem to be encouraging us all to keep an open mind, to spread our wings and set our thinking free as we voyage the sea of infinite possibilities, considering all and rejecting none.

Cyber Orthodox
Cyber Orthodox

Which brings me back to The Process of Splitting Things and the cube housing the DNA strand. Both might be seen as reflections on the reality of life and how it has over the eons, through the simple act of division  – the process of splitting things – gone from the most basic of single-celled organisms to the very richness and diversity of life as we know it today, as exemplified by the DNA strand.

Here, perhaps, stands another message which can be addressed to those seeking to impose the confines of their own orthodoxy on us all, a message perhaps best summarised in a quote from Rad Bradbury: Life was its own answer. Life was the propagation of more life and the living of as good a life as possible.

Cyber Orthodox will be open through until the end of May 2014.

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Afternoon tea in Second Life

Rico's Tea House, Isle of Flux, May 2014; Inara Pey on FlickrRico’s Tea House, Isle of Flux, May 2014 (click any photo for full size)

Afternoon tea is a very English tradition, and something I enjoy. I’m fortunate enough to live a pleasant drive away from a country house hotel occupying a former stately home, and which opens its doors during the summer weekends for those wishing to indulge themselves in a very formal (and filling!) afternoon tea.

I mention all of this because browsing the Destination Guide, I came across an entry for Rico’s Tea House, and was immediately put in mind of that hotel, and decided to hop over an investigate.

Rico's Tea House, Isle of Flux, May 2014; Inara Pey on FlickrRico’s Tea House, Isle of Flux, May 2014

Located on the east side of the Isle of Flux, Rico’s Tea House forms a part of the Clairty-Flux  (of LTD fame) estate, with the private home of Editorial and Rico occupying the neighbouring region. The tea house sits opposite the entrance to a bay which offers mooring for up to four yachts, and which is in turn bordered on one side by woodland and the other by a meadow and a lawned garden with a gazebo and covered walk.

Designed by Kaya Angel, Rico’s Tea House is of a style which fits-in well with the stately look of Editorial’s and Rico’s home, suggesting it is a part of the estate which has been specially converted for its current purpose and opened to the public. Inside, and under the two ornate glass domes of the roof, it is divided into two. On the one side is a luxurious lounge area and on the other, a dining area serving afternoon tea, complete with cake stands sitting on white-clothed tables.

Rico's Tea House, Isle of Flux, May 2014; Inara Pey on FlickrRico’s Tea House, Isle of Flux, May 2014

For those who prefer to sit outside, the terrace to the front of the tea house offers elegant rattan chairs and low wooden tables where guests can sit and look out over the bay, while on the terrace to the rear offers two gazebos, each presenting visitors with comfortable and shady seating, both of them surrounded on three sides by fruit-bearing citrus trees which give things a touch of the Mediterranean.

The meadow, rich with flowers and with a fountain at its centre is home for a couple of dairy cows and a horse, but also offers places for couple to sit and cuddle. Those who fancy a walk can do so along the upper path, which leads to a small orchard and the square lawn and its surrounding flowerbeds beyond, or they can descend down to the paths which sit either side of the bay, and wander along these to the entrance of the bay.

Rico's Tea House, Isle of Flux, May 2014; Inara Pey on FlickrRico’s Tea House, Isle of Flux, May 2014

Rico’s Tea House is open to the public, and is billed as a place to meet and make friends. It’s a delight place to visit and offers some great opportunities to the SL photographer. All told, it is a lovely setting to visit.

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Ghosts on the grid; echoes in the metaverse

Ghosts of the Internet
Ghosts of the Internet

There are ghosts
and
they inhabit other grids.

They are the souls of avatars lost to us,
like echos from other dimensions,
it is said,
though no one knows for sure.

What we do know is
A weakness in the structure of metaverse
has opened
and they now
wander.

So opens the description of Glyph Graves’ Ghosts of the Internet, a fascinating installation which continues the artist’s reflections in virtual space. Fascinating, because it exists both in Second Life at LEA21 and in the Inworldz region of Translation – and those in one can see the “ghosts” of those in the other moving around, and can even converse with them.

Ghosts of the Internet
Ghosts of the Internet

The landing point at each installation provides instructions on how to get started, together with recommended graphics settings (using Firestorm as the example). There’s also a teleport to deliver you to ground level, which is more-or-less identical in both regions (Sasun Steinbeck provided a tool to help copy items between the two environments), comprising barren rock, partially flooded and surrounded by tall hills.

Within either landscape sit a series of semi-transparent otherworldly forms, with shifting colours within, which might be taken as alien crystal growths or exotic sculptures. Some of these are the “bridge” between Second Life and Inworldz, allowing communications between the two to take place. Others, spread around the borders of the landscape are the Pylons of Binding – move beyond them, and contact with “the other side” is no longer possible. Snails also roam each of these realms, and at least one is large enough to slide run over you if you’re not careful, although they are shy: touch one, and it will retreat into its shell for a few seconds.

Ghosts of the Internet - conversing with myself (SL to Inworldz)
Ghosts of the Internet – my Inworldz ghost floats before me in SL

But it is the ghosts which are really the focus here. These appear whenever someone on either side is within the boundaries set by the Pylons of Binding (although if there is no-one in the region on the other grid, no ghosts will be visible). In other words, the ghosts that appear represent avatars visiting the installation on the other grid.

Communications between world is initiated by touching a ghost (which will then become somewhat multi-hued) and then typing into open chat (you may have to wait for the “ghost” to respond to your initial touch first). Only one conversation with a ghost can be established at any given time, so if you touch a ghost already in a conversation, it will not respond to you. It is also not recommended that you touch several ghosts at once to initiate multiple conversations, as “bad things will happen” as a result (and it might get very confusing).

Be aware that whatever you say to the other person is also repeated in open chat at their end of the link, not in IM, and so will be heard by anyone else who is near them. Chat from any other avatars around you, however, is not transmitted. To terminate a conversation, or if you do not which to speak to someone on the other side who touches your “ghost” there, simply touch the appropriate ghost to terminate the connection.

Ghosts of the Internet (Inworldz) - conversing with myself (Inworldz to SL)
Ghosts of the Internet (Inworldz) – facing and conversing with my SL ghost as it appears on Inworldz

If you have accounts on both Inworldz and Second Life, Ghosts of the Internet brings a whole new level of meaning to the expression “talking to oneself”; nevertheless, it is an easy means of experiencing the installation should there otherwise be on-one else on the other side with whom you can converse. Alternatively, if your focus is solely on Second Life, you can enjoy something of the experience by having a friend hop over to Coppelia, and converse with them from the Ghosts of the Internet installation on LEA21.

As well as being a fascinating technical / artistic piece, Ghosts of the Internet carries with it echoes of the past. Remember the heady days of 2008, when a group of brave explorers set-out to move between dimensions, travelling from Second Life to OpenSim, and the promise therein? It is also – possibly – a hint of a potential future, given Ebbe Altberg’s comments on SL and the metaverse.

Both of these give the installation an added philosophical edge in terms of what might have been and what might yet be. I also found that when talking two myself between the two worlds, prompted thoughts of how the metaverse might be used as an expression or reflection of the multiverse, and our own multiple existences therein …

Ghosts of the Internet
Ghosts of the Internet

So, for a while at least, there are ghosts on the grid, and echoes in the metaverse. See them and hear them while you can. Recommended.

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