Category: Reviews

Catching a good book and a Nom Nom in Second Life

Posted on by Inara Pey
Nom Nom Café Library, November 2023 – click any image for full size

So, Halloween has now passed, and we’re in the end-of-year headlong rush into winter, snow, sledding and suchlike, pausing briefly along the way at US Thanksgiving before we resume the annual end-of-year surge of wintertime activities. Because this time of year can feel like a whirlwind of Things To Do And To See, it is sometimes good to find the time to take a little breather and decompress – and that’s exactly what the Nom Nom Café Library allows us to do.

Occupying an 8192 square metres parcel towards the western end of Corsica, this is a place which literally stands head-and-shoulders above its surroundings, sitting as it does atop a flat-topped mesa rising some 90 metres above the nearby sea floor. The creation of Spooky Treat, Nom Nom Café Library is a cosy, autumnal (at the time of my visit – not sure if it get redressed with the passing seasons) setting some may recognise from the official Linden Lab June 2023 video demonstrating the upcoming SL Mobile viewer (as shown during the SL20B celebrations).

Nom Nom Café Library, November 2023
Between lush green trees, grass, and an abundance of flowers the Nom Nom Cafe Library awaits you. Relax inside with some delicious cake, a book, cats, or cuddle up at one of the various spots surrounding the Cafe. Bring your friends and loved ones over for a night at the campfire or simply enjoy some alone time. A refuge for not only the LGBTQIA+ community but also all allies, created with love. ♥

– Spooky Treat describing Nom Nom Café Library

Given its perch, the best way to reach the café is via SLurl / LM to the landing point, which will drop you onto the path leading up to the café itself. This takes the form of the Nicolina Pavilion by Cory Edo, which Spooky and modded a little to provide a comfortable main café space to the front, the walls to either side carrying a multitude of books which allow the café to more than adequately live up to the “library” part of its name.

Nom Nom Café Library, November 2023

A little service area towards the rear of the pavilion separates front from back, the latter providing something of a fireside snug overlooking the grounds behind the café. This view is also shared by a balcony area directly over the snug and reached via a little staircase to one side of the service counter. Within both the snug and on the balcony above, more books await avid readers as they sip their coffee or nibble on some of the treats also available.

Flanking the café to west and east, both close enough to be within easy reach but far enough to offer their own circles of restfulness, sit two outdoors spaces. One, reached via the cobble surrounding the café’s fountain, presents a little storytelling / reading circle  around a warm fire pit, marshmallows ready for roasting. A chalkboard to one side offers the opportunity for a little self-expression; just click on one of the pieces of coloured chalk and start drawing (and click between the colours to change them or click the eraser to wipe the board), and the place is friendly enough to have encouraged a couple of local crabs to forward the waterfront down below the café’s mesa and scale the rocky heights to enjoy a little fireside dance!

Nom Nom Café Library, November 2023

To the west, and reached by passing through a little arch arcing between two short walls, is a place of promised mystery: a circle of standing stones, some with hollows cut through them so small torch-like fires might be lit. A table in the middle offers a chance for repast – or it would, barring the fact turkeys and squirrels appear to be availing themselves of the meal; better then, perhaps to retire to the hammock on one side of the circle and partake of the cookies on offer there!

A further path leads outwards from this circle to reach another little round pavilion. It’s roof fitted with glass to ward off any rain that happens by, it encompasses wicker chairs and a sofa, all with plump cushions, being one of a number of additional places awaiting discovery among the trees and grasses covering the mesa’s head. So of these are easy to find, others might actually be easy to miss – so do take time to look around (and up!) carefully during a visit. For those who enjoy a friendly table-top game, the open space between the camp fire circle and the café (complete with its little celebration of Moles) might be just the ticket.

Nom Nom Café Library, November 2023

Finished with an accompanying soundscape and rich in the company of pets and critters, the Nom Nom Café Library makes for an engaging and relaxing visit!

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Tales of The Traveller in Second Life

Posted on by Inara Pey
Starborn Gallery, November 2023: Gabriel Chamerberlin – The Traveller

How we might describe Second Life to someone unfamiliar with the platform is can often be something of a conundrum. Leaving aside the hoary old “is it or isn’t it a game” element of such discussions†, Second Life can be hard to quantify because it is so utterly diverse in terms of content, opportunity and attitude (on the part of those of us using it). The third of these points will always  be a primary influence on how we each opt to define the platform, simply because it is so personal; however, the first two – content and opportunity – do offer a richness of scope in helping to describe Second Life.

This richness is at the heart of Gabriel Chamerberlin’s exhibition the Traveller, which opened on November 5th, 2023, at the Starborn Gallery operated and curate by Lizbeth Morningstar. This cosy selection of pieces spread cross the two levels of the gallery’s guest exhibition space is a visual narrative of one man’s journey through Second Life, exposing many of the elements which can make it so engaging a place in which to spend time.

Featuring the titular individual, as played by Gabriel himself, the dozen pieces within the collection illustrate – generally in a very subtle manner –  the rich diversity of Second Life, complete with touches here and there of metaphor, whilst also presenting a short visual story of the experiences and encounters of the part of The Traveller as he goes about – well, his travels!

Starborn Gallery, November 2023: Gabriel Chamerberlin – The Traveller

The metaphor is visible from the start – The Traveller and the Tunnel – the tunnel with its dark interior representing the “great unknown” of Second Life one might face when launching the viewer for the first time. Alongside of it, The Traveller and The Train uses the comedic metaphor of hanging on for dear life to a speeding train to represent the whirlwind of sensations and experiences which can be felt and had on entering Second Life and being overcome with the desire to See It All. Now!

Continuing on around the pieces in order and to the upper level of the gallery, we are offered views familiar to travellers in the physical world which offer subtle hints and the niggles we can have with SL as a platform, such as at times having to sit and wait for things to happen / update, or having to deal minor irritants (The Traveller and Airport Security and The Layover), through to the more obvious facets of SL’s uniqueness – encounters with haunted houses and aliens, the opportunity to be involved in the performing arts, the marvels of creativity.

Starborn Gallery, November 2023: Gabriel Chamerberlin – The Traveller

Following the images around the walls and back towards the stairs connecting the two floors, we come to The Edge, which although the gallery’s layout means it is initially encountered mid-way through a walk through the exhibition, I take to be the conclusion of the story. I say this because it features our Traveller standing on the edge of the precipice, the path he’s been following literally breaking up at the edge.

This is again an perfect metaphor, reflecting the idea that the Traveller’s journey is far from over, and that while possibly unknown (as symbolised by the cliff edge), more awaits, together with the idea that through these images, Gabriel has only hinted that all that Second Life might be and there is more to be discovered and appreciated when we take a leap of faith into the platform.

When visiting, do also take the time to visit the other half of the gallery, in which Lizbeth presents her own Second Life photographic art. this section has been expanded since my last visit to incorporate an selection of night / early morning images Lizbeth has produced under the title Before Dawn and which offers a further engaging set of reflections on time in Second Life.

Starborn Gallery, November 2023: Lizbeth Morningstar – Before Dawn

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† Just in case you’re curious – no, I don’t believe Second Life is “a game”, but I do agree it can be used as a platform on which games can be created. however, this should not be taken to mean that people cannot opt to treat it the entire platform as a game through their desire to utilise it in a particular manner – such as adopting a persona other than their own for whatever reason (such as role-play) and then only interact within the platform and with others through the lens of that persona, rather than as themselves. 

Subcutan – art and exploration in Second Life

Posted on by Inara Pey
Subcutan Art Gallery, November 2023 – Welcome Area; click any image for full size

Subcutan has relocated to here – see:

I have been watching the redevelopment of Subcutan Art Gallery, home of the work of Sophie de Saint Phalle (Perpetua1010) since around early August 2023, following the gallery’s move from its form home to region-straddling parcels on the tip of Satori. As such, and with things now appearing largely complete, I thought it high time to write about a setting which is far more than just a gallery space, offering as it does opportunities for exploration, photography, relaxing and having a little fun.

My first encounter with Sophie’s work was in 2021 when she was exhibiting at Mareea Farrasco’s IMAGOLand Gallery. Featuring a collection of her physical world watercolours reproduced for display in Second Life, The Art of Water and Colours immediately led me to visit her original Subcutan gallery and immerse myself in her work (see: The art of Sophie de Saint Phalle in Second Life). As an artist, Sophie considers herself an experimentalist, and her work reflects this covering as it does multiple genres and styles, from watercolours through abstract and digital art to caricatures and skilled studies of the human form, and encompassing etching and 3D sculptures. Her work is both engaging and exquisite, never failing to capture the eye – and often the heart.

Subcutan Art Gallery: Japanese Garden (upper area) and Atramentum Gallery

With the new Subcutan Art Gallery, Sophie has combined her artist’s eye with that of companion Dex (Dexter Kharg) to create an environment which both celebrates her art – including being able to re-visit installations such as Infinite, a marvellous celebration of indigenous Australian art (which I reviewed in February 2022), Cyborgs, a visual essay on a possible future for humanity (of which I wrote about here) and witness more of her studies of the human form – and to also immerse yourself in an setting which offers something of an east-meets-west fusion to offer a engaging opportunity for exploration and photography, as noted above. In this, a visit is not so much a visit to an art space so much as it is a delightful immersion into Sophie’s and Dex’s creative vision.

The campus – if I might refer to it that way – encompasses parts of two mainland coastal regions whilst just edging into a third. The first of these, Terric is home to Subcutan’s main landing point and welcome area. This presents a distinctly modern looks and feel and offers extensive public facilities: the welcome centre itself, occupying a purpose built structure by Dex and containing an office space and a large seating area of sofas supported by a self-service refreshments area whilst also presenting a mixed genre display of Sophie’s art, all of which is offered for sale. Outside of this is the landing point itself and the primary (Experience-driven, so be sure to accept any request it offers) teleport board.

Subcutan Art Gallery: welcome area lounge

Whilst the teleport board and its siblings around the location offer a quick way to hop around, with the exception of the board outside the main gallery, and which offers the only means to access all the gallery spaces, I’d recommend eschewing the teleports and let your feet do the walking when initially exploring, as there are elements of the location which might otherwise be missed – such as the Man Cave, a short walk between palm trees from the landing point. Occupying another custom build by Dex, this offers a games room and lounging area, complete with playable arcade games and table-top games, the latter including chess, backgammon and Mah-jong (the latter two being particular favourites of mine in the physical world, together with Carrom, despite the beating my nails have taken when getting a trifle over-enthusiastic when taking a shot!).

Above the welcome area and reached by three sets of stairs, is an outdoor events area with glass-floored dance area extending over the welcome area, swimming pool and open-air bar, the seating to which offers a view of the large aquarium below. This area also sits before what appears to be the private home of Sophie and Dex – so trespass is perhaps best avoided unless invited. Looking out to the north, this events area looks out of the Subcutan harbour area, the main wharf of which can be accessing from the landing point and leads by way of a wooden walkway at its western end (and passing by the stairway leading up to the main gallery) to the Japanese and Guest Harbours.

Subcutan Aret Gallery: Japanese Harbour by night

The Japanese waterfront area is an eclectic mix of false-front “businesses”, some of which have an adult lean to them (but only in appearance, not in content), whilst there is also a certain amount of humour on display (such as the “Safe Area” sign encouraging people to go swimming – as a shark circles the waters below, or the appropriately called “Small Shop”). Rich in neon lighting and lanterns, this is a little corner best seen at night; the waterfront can be a place for photography and offers the chance to try your hand at Japanese calligraphy.

Set above and back from the Japanese Harbour are the main gallery space and the Japanese Garden, again as noted above). The former comprises the Atramentum Gallery – a very neat play on words, given it is home to a richly engaging display of Sophie’s studies of the human form which are presenting in greyscale and on black mounts (complete with a black tiled footpath leading into the gallery). This entranceway is also home to a more extensive teleport board which allows visitors to partake of Sophie’s sky galleries, where as mentioned, her Infinite and Cyborgs installations can once again be appreciated, together with Red Impressions (an exhibition I witnessed on my very first visit to Subcutan, again as referenced above) and Yellow Expressions.

Subcutan Art Gallery: Japanese Garden (lower area)

The Japanese Garden, meanwhile, offers an extensive opportunity to wandering and sitting, taking photos and / or simply relaxing. Split over two levels linked by a stone stairway curling down from one corner of the upper level, the gardens have been built using Alex Bader’s superb Zen Garden Building set (another personal favourite!) whilst folding into it a number of elements not found in the kit – such as Buddha in his pavilion (and to whom respects can be presented in a traditional style). With its waterfall, ponds and placement of trees and cliffs, the lower level of the garden presents a quiet, contemplative retreat calmed by the gentle chimes of a heavy temple bell.

What is particularly engaging about the Subcutan campus / environment is the manner in which everything flows; there are no sharp juxtapositions which might present a sense of sharp edge as one explores; there is a compositional crafting which is both subtle and intrinsic to the setting.

Subcutan Art Gallery: Atramentum Gallery, November 2023

Take the welcome area and landing point for example. The manner in which Dex has crafted the buildings here such that they combine architectural elements (e.g. the use of angles and glass skylights / roof areas) so that they combine seamlessly with the third-party elements seen within the glass dance floor (a nice kitbash from one of Loz Hoyle’s Meshworx designs) and the house (by Ballack (Rodrigo Aubin) to present a modern / futurist feeling which the likes of Frank Lloyd Wright would probably appreciate. Similarly, the joining of a traditionally-joined Japanese garden with the sharp glass-and-concrete bulk of the gallery building is managed in such a way as to avoid any sense of sharp-edged divide; instead the former – through the use of ground cover from the Zen Garden set – appears to gently lap against the hard tile of the latter, like waves gently lapping the shore, allowing the two to flow together.

Then there is the use of elevation and elements from Colpo Wrexler’s designs. The latter help to both bring together the waterfront areas allowing for a natural transition from the landing area through the moorings at the harbour to the sense of jostling city life of the Japanese waterfront without the move from one through the others feeling in any way jarring, while the former ensures the more peaceful elements of the setting such as the gardens can be set apart from the hustle and lights and general “busy-ness” of the waterfront without any sense of the divide between them being artificially enforced.

Subcutan Art Gallery: Man Cave

All of which makes for a richly engaging visit, with the gallery standing as a superb means to immerse yourself in Sophie’s talent as an artist (I just hope we also get to see some / more or her caricature work as well, as it is brilliantly engaging!).

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Judilynn India: fractured abstracts in Second Life

Posted on by Inara Pey
Third Eye Gallery, November 2023: JudiLynn India – Fractured

Currently open at the Third Eye Gallery, operated and curated by Jaz (Jessamine2108), is an exhibition of new works by JudiLynn India, entitled Fractured.

An abstract painter in the physical world, having studied graphics design at the Tyler School of Art, Temple University, Philadelphia, JudiLynn has been a part of Second Life since 2010 as both an artist and an engaged member of the broader Second Life community of users.

I’ve been drawing since I could hold a crayon. After the turn of the century, I decided to focus my creativity on acrylic and digital painting and have totally enjoyed the journey. My work embodies my spirit and personality. My goal is to allow you to experience the image with your own mind’s eye. My work is entirely intuitive. I get lost in the layering of texture and colour. Occasionally, I will include figurative work if my spirit is so presented with the composition.

– Judilynn, discussing her work

Third Eye Gallery, November 2023: JudiLynn India – Fractured

Working in a variety of mediums – digital, acrylic, wet paint, and so on, JudiLynn is perhaps most widely known as an abstract artist, although her overall portfolio is much broader than this – as can be witnessed by a visit to her on-line gallery and shop. With Fractured,  she presents 18 pieces with are predominantly abstract in nature, but which also fold within them hints, perhaps, of surrealism, pop/psychedelia, and touches of futurism/suprematism (in the use in some of geometrical forms and lines). Thus there is a richness of style and content to be found within Fractured, both in terms of individual pieces and as a collection of works as a whole.

Exactly how the pieces are perceived is entirely up to the individual viewing them; JudiLynn has refrained from offering an artist’s by-line to the collection, preferring people to experience the exhibition with an unbiased eye. As such, I am somewhat loathe to say too much in terms of my own perspective beyond very broad brushstrokes (no pun intended) such as those above.

Third Eye Gallery, November 2023: JudiLynn India – Fractured

What I will say however, is that the pieces within the collection might also been seen in terms of compositional / thematic groups. This is somewhat obvious through the manner in which they have been arranged (like by like), but it also helps to more readily discern those hints of style and approach found within specific pieces – such as with the quartet of Fractured 17 through Fracture 20, which present abstractions strongly suggestive of nature whilst folding within themselves hints of the pop/psychedelia genres thanks to their use of colour and mural-like flow.

However, and as noted, this is an collection very much about personal perceptions on viewing the art, so I’ll leave the rest to you to pay a visit to Fractured.

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Sitting in The Middle of Nowhere in Second Life

Posted on by Inara Pey
The Middle of Nowhere, November 2023 – click any image for full size

Life in the physical world is just a little too hectic; with the house now approaching its 30th birthday (not that I’ve lived in it that long!) the decision was made earlier this year to start overhauling and updating parts of it. You know, the usual stuff: new kitchen and other rooms, interior alterations to make better use of space, bathroom updates, blah, blah, blah. Some – like the installation of a full solar / battery system – have gone well (aside from a few software teething troubles); others have not progressed quite so well, leading to much gnashing of teeth and trying very hard not to teach the cats too many Naughty Words (they are both approaching 15 months of age, so far too young for some of the more colourful metaphors which bless the English language!).

All of which means that there are times (quite a lot of them of late) where the urge to just get any from everything has been overwhelming. Fortunately for me – and anyone feeling the need to escape the day’s demands and just breathe in nature – Ari (Aridis Inaka) has provided an escape to – quite literally – The Middle of Nowhere.

The Middle of Nowhere, November 2023

Occupying a Homestead region, this is a setting where the simple pleasures of country walks, feeling tall grass brushing against fingertips as you wander and watching birds wheel overhead and horses roaming free, can be enjoyed. A place which, despite the surrounding sea, gives a sense of gently rolling prairielands only lightly touched by the hand of Man; a setting where (for those who wish) a gentle audio stream flows to further encourage muscles to unknot and thought processes to let go (and I’ll be honest, given it features the likes of Bear McCreary, Danny Elfman, Alexandre Desplat and legends such as Ennio Morricone and Michel Legrand, it really is worth a listen!).

The region’s About Land notes introduce the region as place of horses and sunsets and where light role-play is welcome. It is a description that fits, although there is much in terms of opportunities for photography, relaxation and contemplation that perhaps passes unmentioned. It’s also a place well suited to the quote from Frances Jane van Alstyne’s (aka Franny Crosby), On Hearing a Description of a Prairie Ari offers as a description for the region within her Profile:

Oh! could I see as thou hast seen,
   The garden of the west,
When Spring in all her loveliness
   Fair nature’s face has dressed.
The rolling prairie, vast and wild!
   It hath a charm for me—
Its tall grass waving to the breeze,
   Like billows on the sea.
The Middle of Nowhere, November 2023

It’s a fitting description because the American prairie can often been imagined as a vast ocean as the wind ripples the grasslands (and crops!) growing across them like waves caught in the breath of a sea breeze. More to the point here, perhaps, is that the metaphorical mixing of prairie and sea also helps region and surrounding waters flow together as a unified environment, rather than one simply being bounded on all sides by the other.

To offer a blow-by-blow tour of the region is perhaps an exercise in futility; its very nature – almost completely low-lying and carpeted in tall grasses – means that it offers most of its secrets to visitors from the moment they arrive. Points of interest are easily located, and the setting’s easy beauty sets the feet a-wandering with ease. The only real break in the gentle undulations of the land are to be found to the north, where a curtain of high cliffs rise from a westward and squat table of rock to border the region as they march to the east, the waters tumbling from them giving rise to a shallow channel which in part separates them from the rest of the landscape.

The Middle of Nowhere, November 2023

The grasslands are largely given over to the horses roaming them, although here and there the horizon is broken by a tree or by the blocky form of a wooden shack or cabin – or ruin thereof. The trees offer a mix of shade for visitors and horses and places to sit or swing. The shacks and cabins speak to the passage of human occupation, as little as it might have been, what appears to be the detritus of that life remaining within and without some of them – thus offering possible props and ideas for gentle role-play. To one side of the setting and atop a small knoll, sits an aging chapel, a small graveyard in the lee of the knoll. The chapel offers a sanctuary of remembrance to those wishing to avail themselves of it, whiles the open camp site a short walk away presents a place for fireside conviviality.

Simply formed, but clearly put together with an eye for detail (and a little whimsy, giving the wandering / dancing tree!), this is a region which can be easily enjoyed and photographed. If you are looking for a place to which you might escape the demands of life (physical or virtual) and simply gather your breath whilst recharging mental batteries, then you can do little better then dropping into The Middle of Nowhere.

The Middle of Nowhere, November 2023

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Artistic digital fusions in motion in Second Life

Posted on by Inara Pey
Kondor Arts Centre, November 2023: Monique Beebe – On the Move

I confess that I find myself caught in a dichotomy of viewpoints when it comes to AI art; on the one hand, there is a huge potential for using AI tools to enhance the creative process and allow the artist to produce some truly stunning and innovative art. Countering this are the twin concerns of the potential for AI tools to be terribly degenerative towards genuine artistic skills under the guise of “democratising art for all”, and the fact that very often – as with Midjourney, the current darling of art AI proponents – those behind such tools are content to raise a large middle finger towards concerns of copyright & artists’ rights as they pull “source” material from wherever they deem fit.

As a result, I’ve tended to exercise caution in reviewing exhibitions of AI art in Second Life. Not that I deem it unworthy or have doubt towards the artists concerned; rather, it is the fact that it is not always easy to identify the broader provenance for such art in terms of a potential for it to incorporate elements which might be regarded as violating the copyright of others. Fortunately, there are artists and exhibitions with SL utilising AI where the provenance for the pieces lays so clearly with the artist’s imagination and skill, they can be seen and enjoyed entirely in their own right and without the broader questions surrounding the use of AI intruding.

Kondor Arts Centre, November 2023: Monique Beebe – On the Move

Such is the case – once again – with the work of Monique Beebe, who recently opened On the Move at the recently relocated Kondor Art Centre, operated and curated by Hermes Kondor.

On the Move is not just an exhibition; it’s a leap into a new era of artistic expression. Whether you’re a connoisseur of art and technology, a futurist, or simply an admirer of the creative process, this exhibition promises to leave you spellbound and questioning the limits of human and AI collaboration. … An exhibition that pushes the boundaries of creativity through the fusion of MidJourney AI, cutting-edge Gen2 MP4 technology.

This might sound a grandiose statement as the official introduction to On the Move, but I guarantee you it is not. I’ll also guarantee that the still images provided here do not come close to the beauty and creativity found within each of the collection’s images, every one of which is imbued with a richness of motion and life founded on Monique’s own creative eye and ability to capture thought, emotion and humanity.

Kondor Arts Centre, November 2023: Monique Beebe – On the Move

As I’ve frequently noted in covering her work, Monique – or Moni to her friends – is one of the most gifted individuals to enter the Second Life art world; an artist whose expressiveness is utterly captivating and who is herself wholly captivated with the creative process. She had been active in Second Life for nigh-on a decade prior to her first public exhibition in February 2017 – an exhibition which came about thanks to the gentle and considered encouragement from Dido Haas, taking place at her Nitroglobus Roof Gallery. Avatar-centric, it was an exhibition which immediately captivated me (see: Hidden Faces in Second Life), and led me to becoming a keen follower of Moni’s work over the intervening years.

Indeed, following Moni’s evolving expressiveness, her ability to challenge herself by constantly evolving her technique and style, the manner in which she has driven headlong into a variety of creative processes – photography, art, digital recording – all the while refining her abilities and extending her craft, has for me been an utter delight. Her desire to learn, to grow her art and cultivate new skills towards that end has led to a series of exhibitions startling in their beauty and emotional content, and which just under a year ago saw her present her first exhibition utilising AI tools, also at the Kondor Art Centre (see: Monsters, Demons and Chess in Second Life).

Kondor Arts Centre, November 2023: Monique Beebe – On the Move

As per its own introduction, On the Move once again utilises AI (MidJourney), with Moni combining its algorithmic power with still images, video and animations to produce 14 looping images-in-motion; a veritable tour de force in a mastery of digital techniques and incredible expressions of beauty and artistry which transports us instantly into the worlds of Moni’s imagination and creative expressiveness.

From the simple turn of a (Tilda Swinton-esque) head and slow blink of eyes (Eyes are mirror of the soul) to the utterly enthralling Where the magic begins, these are pieces which honestly sit well above the ability of mere words to encompass. Each is a visual essay in its own right – but more to the point, it is in their motion that their emotional depth resides, each one pulling us towards its narrative and passional core; as such, they really should be seen first-hand. Further, they collectively stand as a triumphal validation of the multiple hours of learning, trial, error and perfection of technique that have enabled Moni to offer art which is both truly representative of the positive potential of AI and digital capabilities as the tools (rather than the subsummation) of genuine artistic expression and creativity.

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