Category: Reviews

Working my way to the nineteenth

Posted on by Inara Pey

Aero Golf Club, Lavender, February 2014AERO Golf Club, Lavender, February 2014

Golf really isn’t my forte, inasmuch as I’ve always sided with Mark Twain – or at least what he is attributed to have said: that golf is a good walk spoiled. However, Second Life gives us opportunities to try things we can’t or wouldn’t try in real life.  In my case, that means things like taking wing in a Spitfire (which I’d actually love to do in real life), scuba diving, and skydiving. And now, thanks to Jeff Goodnight, I’ve actually tried my keyboard at golf – and I like it.

But, before I wibble on about SL golfing, if you’ve not come across Jeff Goodnight before, you really should check out his Flickr stream and his blog. I did, and had to gather my jaw off the floor after seeing images like this one.

Aero Golf Club, Lavender, February 2014AERO Golf Club, Lavender, February 2014

In his blog, Jeff provides an entry for the AERO Golf Club, a region-wide 18-hole golf course, complete with club house and places to simply sit and relax. Intrigued, I set off to have a look.

Surrounded by the mountains of a sim  extender, the region is beautifully landscaped and very photogenic, so even if you’re not into golf, it’s worth taking the time to visit. Just make sure you keep an eye open for golfers and avoid trundling across the greens and fairways when any are in use!

Aero Golf Club, Lavender, February 2014AERO Golf Club, Lavender, February 2014

If you do fancy a round yourself, you’ll need to join the club, a simple matter of signing-up in the clubhouse by joining the group associated with the region. Once you’ve done that, and with the group active, walk through the back of the clubhouse to the rear terrace, where you can collect your clubs and HUD (which is optional when playing, but cuts-down on using a menu). These are free, but for the keen golfer, a scorecard can be purchased for L$250, which is a lot easier than trying to remember things. There’s also a map showing the best way to play the holes.

The course has been carefully arranged to make full use of the region, with the first tee directly off of the rear terrace of the clubhouse, and the 18th hole to one side of it, making it an easy walk to the 19th for a drink.

Play instructions are clear, concise and easy-to-grasp, so I won’t bore you with those. Suffice it to say, you have a choice of three clubs, have sand traps, water and trees to negotiate and the wind to contend with. One thing I will say is that if you use an over-the-shoulder camera offset (as I do), you might want to centre your camera up when playing a round.

Aero Golf Club, Lavender, February 2014AERO Golf Club, Lavender, February 2014

Along the way there are places to sit down, take a break and enjoy the view. If you prefer to forget the walking bit, there are golf buggies you can use to drive around in, but I found the terrain a little too much for the one I tried. Besides, the scenery is much too pretty to simply roll right past it, and you might even miss seeing the tiger …

If you don’t fancy a slurp at the bar after playing a round, there’s a pool and spa area off to one side of the region as well.

The work of Kaja Ashland / Kaja Lurra, AERO Golf club is beautifully conceived and executed and well worth a visit. If you do, show the little donation buckets a little love along the way. for those who might be interested, I have a few more snaps on my Flickr stream.

Aero Golf Club, Lavender, February 2014AERO Golf Club, Lavender, February 2014

What was that? Oh, my score? Umm… well I ended-up nine over par after things went a bit wonky after the 7th …

Related Links

OBR in SL 2014: a belated look back from the sidelines

Posted on by Inara Pey
One Billion Rising, 2014
One Billion Rising, 2014

Once again RL and other things conspired against me, and the time I could spend at One Billion Rising (OBR) in Second Life 2014 wasn’t what I had hoped would be the case. Since then, other things have also conspired to keep this post on hold, so my apologies for the fact it is a little on the late side.

Last year, as it was the first official OBR year, there was something of a long lead-up to the event. It was new territory, a team had to be put together, musicians, DJs and artists contacted and a generally awareness campaign launched.

One Billion Rising, 2014
One Billion Rising, 2014

This year the timetable was  – in terms of publicity at least – somewhat shorter (although those involved in the organisation had obviously been working away quietly for some time before word started spreading through blogs, forums and word of mouth).

 

One Billion Rising, 2014
One Billion Rising, 2014

 

Even so, the turn-out was good, and the four regions sponsored for the event were amazing, with Victor1 Mornignton’s magnificent four-region stage a wonder to behold. Around it, along all four regions, artists from around the world had contributed some fabulous pieces which encouraged visitors to explore and avail themselves of the kiosks providing information on real-world groups and organisations providing support for victims of violence.

Of course, there were familiar voices raised against the event in the SL Feeds, rolling-out the same, hollow excuse in order to engage in a passive/aggressive attempt to disparage the event on the grounds that it “ignores violence against men”; an argument which to me is akin to saying it is better to do nothing with regards to violence against children as it “ignores” violence against adults.

One Billion Rising, 2014
One Billion Rising, 2014

For my part, and while I didn’t get to spend quite the amount of time at the event as I’d hoped, I would like to pass on my thanks to the organisers, sponsors, artists, musicians and DJs who gave time, effort and commitment to making it happen. Kudos, as well, to all of those – of either gender – who attended (and thank you, to all of you who IM’d me with hellos!).

In the meantime. I tried my hand at another video …

Of monsters and B-movies

Posted on by Inara Pey
Creature from the Black Lagoon
Creature from the Black Lagoon

While poking at Flickr, I was caught by an image posted by Livio Korobase. An Artist In Residence for the 5th round of that programme, Livio really caught my eye with his Musiclandia installation, so knowing he’d received a region from the LEA as a part of AIR round 6, I was intrigued to find out more, particularly as the image included a SLurl.

Creature from the Black Lagoon is very different from his earlier work, and yet at the same time somewhat similar in that there is strong subtext here, if one is willing (or familiar enough) with the imagery to see it.

Creature from the Black Lagoon
Creature from the Black Lagoon

This is gorgeous homage to the B-movies of old, focused primarily on the 1954 Bill Arnold monster movie from which the piece takes its name.  The choice of the film is actually clever on a number of levels – including the fact it was originally a 3D production using polarised light projection (so that audiences used glasses similar to those us use in cinemas today rather than those of the anaglyph 3D type), so seeing the creature rendered in 3D in-world fits very much with the original format of the film.

It’s also a somewhat whimsical piece as well. In the midst of giant monsters from the deep, cards commemorating some of the great (and not so great!) B-movies of old and oversized animals, floor polishers motor themselves industriously back and forth across the beautiful, reflective floor of the piece. The whimsy in their presence is not only that they are there, but in that you can ride them … However, they also have a place in the larger scheme of things; how often have we watched a film in which, late at night, the hero (or more usually the heroine) passes a lone worker busily polishing a floor, only for the machine to suddenly stop and / or the worker to vanish from behind them? It’s a signature scene telling audiences to get ready to jump as Something Is About To Happen.

Creature from the Black Lagoon
Creature from the Black Lagoon

Similarly, the installation includes the familiar – dare I say clichéd – indicators beloved of B-movie directors to identify the scientific mind in their story: the horn-rimmed glasses and briar pipe. There is something of a romance here as well; although it’s not necessarily centred on any hero and his heroine; rather it seems as though our creature may have romantic inclinations towards his leading lady …

For those wishing to immerse themselves in the genre, there’s a movie theatre where you can climb the ladder and watch scenes from the movie; you can grab a packet of popcorn from the vendor amidst the cards. However, I feel I must advise those of a particularly nervous disposition that unfortunately there is no sofa to hide behind during the scarier moments … 😉

Creature from the Black Lagoon
Creature from the Black Lagoon

The installation is still something of a work-in-progress, although Livio is happy to receive visitors there. When you do  visit, please use the region windlights; they are quite striking and provide wonderful additional texture to the piece.

Related Links

Upon reaching a singularity

Posted on by Inara Pey

The Singularity of Kumiko, February 2014The Singularity of Kumiko – Click to see all images full size

Bryn Oh opened her latest immersive piece The Singularity of Kumiko on Friday February 14th – and believe me when I tell you, it is something you are really not going to want to miss.

It’s an amazing piece, demonstrating the visual  and intellectual power evident in Second Life as a medium for expression, art, discussion on the nature of death and the potential to live beyond it, and for creating an immersive, involving narrative.

The essentials lie within in communications involving two people, Kumiko and Iktomi, who are an ocean apart. Some of these (from Iktomi) come solely in the form of messages in a bottle, while some of those from Kumiko take the form of the spoken word as well a bottled missives.

The Singularity of Kumiko, February 2014The Singularity of Kumiko

These have a strange dynamic which immediately draws one into the story, making one a part of it. The discussion revolves around loss (and being lost), the potential for immortality (of a kind) which Iktomi appears to have perhaps embraced and tried to have Kumiko to do likewise, perhaps almost desperately so, although how or why – or what has happened is something which must be pieced together.

I say “pieced together” because the narrative is entirely non-linear. The exchanges between the two are scattered across the region, and one must discover fragments through exploration and discovery of the bottles (and where present as well, the microphones), which are to be found in small vignettes and scenes through the region, some of which are almost connected by broken roads, while others are linked by narrow passageways or sit on open plains or within the house you’ll (eventually!) find.

The Singularity of Kumiko, February 2014The Singularity of Kumiko

This may sound easy; but trust me, it is not.  Bryn has created an environment that is very, very dark, and visitors are reliant upon a headlamp and points of local light. The result is that you almost have to feel your way around the installation, distant points of light drawing you forward until a scene appears in front of you, like a sudden flash of memory in the darkness or a connection with … something … In this way, Bryn powerfully draws you into Kumiko’s world and her condition – although precisely what her condition is may not be apparent. This is also intentional; you are on a journey of discovery, one in which you very much become a part of the story itself.

Be warned, however. This is also a dangerous place. Just as death, and survival beyond it, form a part of the exchanges between Kumiko and Iktomi, so to can you experience both in your travels. Damage is enabled, and “death” can be visited upon you by an aggressive rabbit called Mr. Zippers”.  Once a much-loved toy from Kumiko’s past, offering her protection (comfort), Mr Zippers is here transformed into something far more physically protective of her. Listen-out for the squeaking wheel in the darkness and get ready to run …

The Singularity of Kumiko, February 2014The Singularity of Kumiko – watch out for Mr. Zippers!

Imagery throughout the installation is incredibly powerful and multi-faceted. Not only is it in the extraordinary exchanges between Kumiko and Iktomi (some of which are beautifully brought to life through the voice of Jenna Stillman (Akonia Resident) as well as through Bryn’s writing) and the vignettes one encounters while exploring, it is also in the soundscape one experiences whilst exploring; there is even reference to Bryn’s earlier work, Imogen and the Pigeons. Together these help give one a sense of familiarity with Kumiko (through exposure to Imogen), whilst also immersing us further into Kumiko’s world and situation.  similarly, the title of the piece and the use of the term “singularity” suggests multiple approaches to the work, depending upon whether own looks at the word in terms of complex analysis, natural sciences, literary studies, technology or science-fiction.

To be enjoyed to the fullest, you’ll need to set-up your viewer in accordance with the instructions given at the arrival point. Note that having the Advanced Lighting Model option in Preferences > Graphics is preferred (although you don’t need to have shadows enabled as well). This may impact the performance of some low-end systems, but if you can manage it, your experience in seeing the various elements of the build will be greatly enhanced.

The Singularity of Kumiko, February 2014The Singularity of Kumiko

Bryn has done much to try to reduce lag within the region as much as possible, up to and including limiting the numbers allowed in at any given time to just 10-15, something which means you may not get a successful TP to the region at times, but which also further heightens the sense of immersion, as you’re less likely to bump into others.

Several people have helped Bryn bring this piece to life; they are listed in an acknowledgement posted in the arrival area. They should all feel justifiably proud of their input into this piece. Without wishing to overstate matters, it really is remarkable.

This most definitely is not one to be missed.

The Singularity of Kumiko, February 2014The Singularity of Kumiko

Related Links

Drink it with your eyes

Posted on by Inara Pey
Jadeyu Fhang - Gallerie Artemis, inspired by Drink Me With your Eyes
Jadeyu Fhang – Gallerie Artemis, inspired by Drink Me With your Eyes

In October 2013, the collaborative teaming of Natascha Randt & Karima Hoisan produced their 12th production, a machinima shot in Second Life featuring a poem by Karima set to music.

Called Drink Me with Your Eyes, it’s a highly sensual piece, strong in imagery and metaphor, particularly in the use of horses (desire) and stampedes (desire leading to passion and release) and the power of dance. It is, in a word, erotic.

Inspired by the video and opening at 14:00 SLT on Thursday February 13th at Gallerie Artemis, is a new exhibit by Jadeyu Fhang.

Set over the two floors of the gallery (look for the small record inset into the floor to one side of the ground area of the installation, next to the table and chairs), it features number of small vignettes, which either present or suggest scenes from the video.

Jadeyu Fhang - Gallerie Artemis, inspired by Drink Me With your Eyes
Jadeyu Fhang – Gallerie Artemis, inspired by Drink Me With your Eyes

Some of these are clear references – such as the horses running through water; others are more subtle, such as the empty chairs and table on the ground floor or the naked figure sitting atop a wine glass, eyes glowing faintly.

The installation comes with a windlight setting (midnight), together with a request hanging in the mist at the entrance that viewers be set to night for the benefit of those who miss the windlight prompt. If you have Firestorm  or a viewer with extensive windlight presets installed, I suggest you take a moment and have a little play with night-time options; some interesting results can be had.

Jadeyu Fhang - Gallerie Artemis, inspired by Drink Me With your Eyes
Jadeyu Fhang – Gallerie Artemis, inspired by Drink Me With your Eyes

One small word of caution: the installation includes a screen for playing Drink Me With Your Eyes in-world. However, there is  an ongoing issue between the webkit within the viewer, Flash and YouTube which can render the latter unwatchable via Media on a Prim in-world (see my report here). This being the case, you’re better off watching the video directly on YouTube. This doesn’t however, impact in any way on the installation itself.

Related Links:

Jadeyu Fhang - Gallerie Artemis, inspired by Drink Me With your Eyes
Jadeyu Fhang – Gallerie Artemis, inspired by Drink Me With your Eyes

On encountering Huxley and very large dinner plates

Posted on by Inara Pey
Aldous Huxley / TOSL
Aldous Huxley / TOSL

Aldous Huxley is the name given to the home of Tree and Ocean SL (TOSL), owned and operated by Quinlan Quimby, or QQ as she prefers to be called). It is also the home of a remarkable art piece she has created under the banner of Project PossUM (which I believe stands for “Possibilities Unlimited Museum”).

The name of the region marks QQ’s penchant for authors, the former home of TOSL having been Herman Melville. However, given the nature of Project PossUM, one might be forgiven for thinking the name was used as a nod to the great man’s use of psychedelic drugs, and that one had arrived in one of his milder dreams while under the influence.

Aldous Huxley / TOSL
Aldous Huxley / TOSL

I say this because you arrive on  a giant porcelain dinner-plate balanced 200-ish metres up in the air atop a rocky island and apparently floating in the clouds. Upon which sit some exquisite porcelain pieces big enough to sit under and walk inside.

It’s actually a stunning build, beautifully crafted, wonderfully detailed and yet delightfully minimalist. In fact, it all looks deceptively easy  – which is generally the hallmark of great works of art.

Aldous Huxley / TOSL
Aldous Huxley / TOSL

Pay particular attention to the “glaze” on the plate itself. By making the surface somewhat translucent, QQ allows the outline of the hilly landscape of the land under it show through, which creates an interesting interplay with the texture of the plate’s surface as one cams around, suggestive of the interplay of different lighting sources on the plate as one moves.

The trees and little buildings are wonderfully designed and delicate looking; so much so, that I’m convinced that were someone able to touch them, they would feel as if they’re made from the finest porcelain

Aldous Huxley / TOSL
Aldous Huxley / TOSL

Huxley once stated that one source for his novel Brave New World came from his time spent working in a chemical plant, which he described as “an ordered universe in a world of planless incoherence”. That’s quite possibly a description which might be applied to a good part of Second Life. I wonder what he would have made of it, had he had the chance to see it …

Related Links