Anais Nin – Feelings, Love, Passion, Life in Second Life

Kondor Art Club, August 2024: Bee – Anais Nin – Feelings, Love, Passion, Life

Currently on display at the Kondor Art Club is a richly engaging exhibition of images captured by Bee (Filipa Emor) paired with words (mostly) written by Anaïs Nin. Entitled Anaïs Nin – Feelings, Love, Passion, Life, it’s both a highly personal exhibition, forming a tribute to Anaïs and her writings from someone who admires her work, and t the same time an approachable and artistic means of introducing those less familiar with her life, her writing and her influence to all three.

Born in France in early 1903 to Cuban parents, Anaïs Nin is hailed by many as one of the finest writers of female erotica. She was one of the first women known to explore fully the realm of erotic writing, and certainly the first prominent woman in the modern West known to write erotica. Her work in this regard is both rich and deeply complex; she first became aware of erotica literature in the 1920s or 1930s, after she, her first husband, Hugh Parker Guiler and her family moved to Paris in 1924, and her fascination with it grew from there via interests in psychoanalysis, her own emerging sexuality and her explorations of self.

Kondor Art Club, August 2024: Bee – Anais Nin – Feelings, Love, Passion, Life
One by one, I read these books, which were completely new to me. I had never read erotic literature in America… They overwhelmed me. I was innocent before I read them, but by the time I had read them all, there was nothing I did not know about sexual exploits… I had my degree in erotic lore.

– The Diary of Anaïs Nin, Volume 1 (1931-1934)

In truth, Nin’s life was complex – she never divorced her first husband, but this did not stop her from marrying again in 1955, this time to actor Rupert Pole (later annulled in 1966 as a result of – essentially – tax complications!), and throughout her life she had multiple affairs and relationships.

Of the latter, the one that influenced her life to the greatest was with American novelist, short story writer and essayist Henry Miller. What started as a friendship grew into a deeply passionate and complex relationship which influenced both Nin’s sexuality and her writing. Nin was also an avid diarist throughout her life, recording her thoughts and feelings daily, reflecting on her growth as a woman, on her sexuality, on her loves and desires.

Kondor Art Club, August 2024: Bee – Anais Nin – Feelings, Love, Passion, Life

This desire to give expression spilled over into her relationship with Miller, the two of them sharing intimate thoughts in prose as well as engaging on a heated affair whilst Miller’s wife June (to whom Nin had initially been drawn) was away. Within Anaïs Nin – Feelings, Love, Passion, Life, Bee offers a series of black and white images encapsulating a sense of erotica whilst also offering to illustration Nin’s thoughts, feelings and – as one travels on through the exhibition – her desires for Miller.

Presented with a passage from one of the volumes of Nin’s collected journals or later publications which drew together her writings that focused on Miller and his wife), the images are a marvellous reflection of Nin’s thoughts and emotions, her feelings towards Miller (and also his towards her).

In this, the exhibition appears to be progressive in nature, with the images and texts starting on the left side of entrance to the hall and then proceeding around the inner and outer walls, gradually progressing from Nin’s inner thoughts through to her thoughts on, and exchanges with, Miller (with the images also shifting from singular pieces to those involving couples). Thus Bee weaves a visual journal, if you will reflecting Nin’s thoughts in an intimate and engaging manner.

Kondor Art Club, August 2024: Bee – Anais Nin – Feelings, Love, Passion, Life

All told, an emotive, poignant and visually captivating exhibition.

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Winchester Harbor’s autumnal delight in Second Life

Winchester Harbor, August 2024 – click any image for full size

Winchester Harbor is a magnificent Full region design by Lilly Blackwood with the support of her SL and RL partner William Winchester, who performs the role the region’s Harbour Master. I was fortunate to come across it recently after poking the Destination Guide, and the description there immediately piqued my curiosity.

Winchester Harbour is a mysterious abandoned fishing outpost in the North Atlantic Sea, suspended in time, and cloaked in eternal Autumn. It’s home to lush forests, waterfalls, a river, grass fields, and several haunted places. Enjoy a brew at the Harbour Bar, or sit atop the lighthouse and enjoy the views! There is much to see for those who love to explore.

– Winchester Harbor’s Destination Guide entry

Winchester Harbor, August 2024

I say “magnificent” as Winchester Harbor is a genuine feast for the eyes and camera; the care and love with which it has been put together has to be witnessed first-hand to be fully appreciated. The landscape is marvellous, the detailing both indoors and out sublime, and the blending of elements exquisite, all neatly wrapped within a sense of mystery edged with the occult and presented in (at the time of my visit at least – I’ve honestly no idea if it changes with the seasons) the perfect autumnal feel.

While the Destination Guide description indicates the setting is “in” the North Atlantic, suggesting a group of islands (something perhaps supported by the lack of region surround), to me the Winchester Harbor evoked thoughts of a coastal location, perhaps along the New England coast of the United States – and not because of any thoughts of Winchester, New Hampshire – or across the border in New Brunswick or Nova Scotia. Of  course, it could be anywhere, either side of the Atlantic, but it was thought of New England that tickled my imagination at times when I was wandering around and taking-in all that the setting has to offer.

Winchester Harbor, August 2024

The bulk of the region forms an extensive land mass richly wooded throughout, with four smaller islands bracketing it from three corners (one with a further little island tucked away out-of-sight behind it, and counted separately for reasons I’ll come to in a moment). In fact, given the stream running through the main landmass from from south-west to north-east, connects to open waters at either end, effectively splitting the north-west side of the land (albeit narrowly) from the rest, some might consider this an additional island in is own right.

The landing point sits on a pier jutting out into the waters to the south of the land and within a bay overlooked by two of the smaller islands. It is on one of these islands that the first hints of mystery might be found by those camming. An old church and graveyard are perched on the island’s shoulder, aged and blackened and with a fire burning within the abandoned church. The trees here add their own brooding presence with their darkened trunks as skulls stare at visitors, a cauldron bubbles and strange child-like figures dance spookily among the tombstones.

Winchester Harbor, August 2024

Also overlooking the landing point from a vantage point on a rocky island is one of the region’s lighthouses. This is open to the public – although to reach it you’ll need a boat, so keep an eye open for the rezzers (not that they are hard to find 🙂 ), and is nicely decorated for the onset of autumn and the coming of Halloween – the latter just adding a touch to the mysterious / ghostly goings-on hereabouts. It is behind this island that the little hideaway island I mentioned earlier might be found, neatly out of sight from the rest of the setting – and with good reason: it is a private home, so if you do pottle across to the lighthouse by boat, please keep that in mind and don’t be tempted to go and have a pike in person.

On the landward side of the landing point the path is marked by a signpost indicating the major points of interest to visit. Chief among these is the harbour itself, located on the east side of the region and watched over by the second the the setting’s lighthouses. The piers along the waterfront offer a variety of places to sit and pass the time – although the apparent imminent arrival of a kraken might give some pause for thought before hanging around! 🙂 .

Winchester Harbor, August 2024

It is from one of these piers that boats can be rezzed for pootling around on the water. However, they are not the only options for locomotion outside of pure shank’s pony; the harbour bar pier offers both bicycles and Segways for rezzing / riding. A further touch of the occult can also be found here in the form of the fortune teller’s shack, whilst the apothecary adds its air to the place by being the largest building on the harbour front.

Beyond the harbour, the path following the waterfront on to reach the bridge giving  access to the two north-eastern islands (one of which is home to the lighthouse mentioned above, reached by way of the chapel-like witch’s cottage occupying the other little island in the pair. Beyond this, the path curves to to one of my favourite parts of the region – the old ruins.

Winchester Harbor, August 2024

Making excellent use of the Ruined Walls kits from Marcthur Gossoon (which I’ve used myself on my island home, together with his superb No Cottage Bizar build). Here, Lily has used the kit elements to create a lovely little ruined retreat that is utterly welcoming and cosy, and a sheer delight to spend time within.

And still there is more to explore – be it the little swamp with its slightly run-down cabin or Mystery Mansion atop the north-western hills with its well-appointed décor and ghostly hostess on the veranda. There’s also the local camp sites and the gazebo hidden in the woods, and the high waterfalls. Paths are clear and easy to follow, with lanterns thoughtfully placed to alert travellers at night as to where routes divide.

Winchester Harbor, August 2024

Rounded-out with places to dance for those of a romantic disposition, a fitting soundscape and ideal EEP setting, Winchester Harbor makes for an engaging, enjoyable visit.

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It’s All Bling-Phong to Me! in Second Life

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!

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Bound over at Xanadu in Second Life

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!

Xanadu, August 2024

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  • Xanadu (Angel Bay, rated Adult)

Scylla’s Swerve at Nitroglobus in Second Life

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 rerum natura, (“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.

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Wandering Goblins Knob in Second Life

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 2024
Three 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 2024
Meanwhile, 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.

Goblins Knob, August 2024

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