Currently open at the ArtCare Gallery, curated by Carelyna Resident, assisted by Kurk Mumfuzz and Yany O’Real, is a celebration of art marking the 166th anniversary of Vincent van Gogh’s birth.
This is at first appears to be a most unusual exhibition, in that the gallery space is given over to large cubes, on four faces of which are reproductions of many of van Gogh’s paintings, while the inner walls of the gallery space carry a repeated reproduction of his 1888 painting, Starry Night Over The Rhone.
The reason for presenting the paintings on large cubes is presented at the landing point by a cube bearing a quote from van Gogh, “I would rather paint on big cubes, but I can’t carry them”. Also at the landing point is a brief biography of van Gogh, that provides a broad thumbnail of his artistic output and the tragedy of his life.
Some of the reproductions include The Church in Auvers-sur-Oise (1890), The Langlois Bridge at Arles with Women Washing (1888), Olive Grove (1889), The Cottage (1885), Still Life with Lemons on a Plate (1887), Pietà (1889), several of his self-portraits, and a two-walled reproduction of The Starry Night (1889). Between the cubes and walls are several settings suggestive of café spaces, possibly a reference to van Gogh’s mixed view of such places, of which he once said, “I have tried to express the idea that the café is a place where one can ruin oneself, go mad, or commit a crime” whilst referencing his 1889 painting, The Night Café.
It is the range of paintings present here that makes this an interesting exhibition: while some of van Gogh’s more famous paintings are shown (notably, perhaps, the Starry Night paintings), so to are perhaps lesser-known studies, such as from several of his collections: shoes, flowers, people at work, and so on, while there is a balance between his oil and watercolour works. There are also possible references to some of the less considered aspect of van Gogh’s life, such as his relationship with religion, as seen through Pietà.
My only complaints are that the use of the cubes, coupled with their size means that viewing some of the works on offer can be difficult. my second is that the paintings are presented without any supporting information – and given the selection on offer, some additional note cards / panels offering insight into some of the themes of van Gogh’s work could encourage a greater appreciation of his work.
Nevertheless, this is still an exhibition worth seeing for anyone with a love of van Gogh’s work. And I confess that while visiting it, I was once again reminded of another tribute to van Gogh’s work, that of Robbie Dingo’s Watch the World. Made far back in 2008, it takes viewers of on a time-lapse journey through the in-world recreation of The Starry Night. The build itself has long gone, but is commemorated in a couple of videos from Robbie, and I’m embedding the 2008 version, presented to Don McLean’s 1972 hit, Vincent, here.
June 2019 marks the 16th anniversary of Second Life fully opening its doors to the public (and, as I’ve previously mentioned, Linden Lab’s own 20th anniversary as a company). As is the tradition, the anniversary will be marked by the Second Life Birthday event, marked by exhibitions, music, entertainment and more taking place across the SLB regions.
On Monday, April 1st, 2019 Linden Lab opened the doors to applications from exhibitors, performers, presenters and volunteers, with the blog post reading in part:
SL16B is coming this summer … This year, we are excited to return to being more involved in the organisation of all the events. In addition to the official Music Fests, costume parties, and Shopping events, of the last few years, we’re also returning to our roots and participating more in the development and planning of the main SLB celebration.
The 2018 SL15B Auditorium
Those wishing to apply to be involved in SL16B as exhibitors, performers or volunteers should follow the links below.
Note that in difference to recent celebration applications, this form covers DJs, live musicians, performance arts, and those wishing to present a lecture or presentation – there is no separate presenters application this year.
When entering times in any of the above forms, please ensure you used Second Life Time (SLT).
The closing date for all of the above applications is Wednesday, May 15th, 2019.
In addition, on March 14th, 2019, Linden Lab announced the SL16B Shopping Event (read here for more). Those wishing to apply to be a part of this event as a merchant should complete the Merchant Application form, no later than Saturday, June 1st, 2019.
The SL16B Shopping Event: scheduled to run throughout the shopping period, this multi-region shopping event is now accepting applications from merchants. Those wishing to participate should ensure they have applied by June 1st, 2019.
April is upon us, and with it comes a variety of events across Second Life, including Idle Rogue’s Le Cirque de Nuit. Opening on Friday, April 19th, this is one of the most popular of Idle Rogue’s productions, loosely based on Erin Morgenstern’s novel, The Night Circus.
The circus arrives without warning. No announcements precede it. It is simply there, when yesterday it was not. Within the black-and-white striped canvas tents is an utterly unique experience full of breathtaking amazement. It is called Le Cirque des Rêves, and it is only open at night.
– Cover copy of The Night Circus
Directed by Blaze DeVivre with the assistance of Sho Kyong, Idle Rogue’s production is described as a steampunk circus in black and white, and uses the novel’s setting as a background. Within the show, Idle Rogue presents dance acts with steampunk, illusion and circus themes. Each is built, as is the Idle Rogue tradition, by the dancer performing it; some of the acts are carried forward from the previous year and some are new to this year’s performance to offer a unique and new presentation for audiences.
A bunch of us in Guerilla Burlesque had read the book, just based on each other’s reading recommendations, then cherryblondscribe (Executive Producer of Idle Rogue and ) and Glorianna Maertens got together and said let’s do a production that draws from the circus at the centre of the story … Acts each take on themes from the novel and putting the individual performer’s twist on it, some that are circus inspired more generally, and some that are a fantasy all their own.
– Blaze DeVivre, Le Cirque de Nuit’s director
True to the novel, the Circus acts, props and costumes are created in black and white. Dance acts are interspersed with viewings of art installations constructed in blazing colour, with both Bryn Oh and Cica Ghost among the artists supporting the show.
Also joining the production once again is Seanchai library’s Caledonia Skytower, who will present selected readings from The Night Circus.
You can read more about the 2018 and in interview with director Blaze DeVivre, as conducted and written by R. Crap Mariner in these pages.
Courtesy of Idle Rogue
Performance Dates
All times SLT.
Friday, April 19th and Friday, April 26th: 22:00.
Saturday, April 20th: 14:00.
Sunday, April 21st: 19:00.
Saturday, April 27th: 19:00.
Sunday, April 28th: 14:00.
Bookings
There is no admission fee for attending a performance, but seating is limited and must be booked in advance. This can be done by contacting Saturday Melody in-world stating the date on which you would like to attend a performance. You will receive confirmation of your booking once it has been processed. Timestamps of messages received by Saturday Melody will determine the order in which bookings are processed.
Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates for the week ending Sunday, March 31st
This summary is generally published every Monday, and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:
It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy. This page includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.
By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.
Note that for purposes of length, TPV test viewers, preview / beta viewers / nightly builds are generally not recorded in these summaries.
Official LL Viewers
Current Release version 6.1.0.524670, formerly the BugSplat RC viewer February 13th, promoted February 28th. No Change.
Release channel cohorts:
Bakes on Mesh RC viewer updated to version 6.1.1.525409 on March 26th.
Love Me Render RC viewer updated to version 6.1.1.525446 on March 26th.
Estate Access Management (EAM) RC viewer updated to version 6.2.0.525404 on March 25th.
The Trump Administration has ordered NASA to achieve a human return to the Moon by 2024
After US space agency NASA indicated their schedule for the new Space Launch System (SLS) rocket is to undergo revision, with launches liable to be pushed back, the White House has stepped in with an apparent contradiction: NASA is to accelerate plans to return humans to the Moon, achieving the goal no later than 2024 – a target that requires a fully operational SLS.
The order came via an address by Vice President Mike Pence at a meeting of the National Space Council on March 26th in Huntsville, Alabama. He couched the order in terms of addressing rising concerns about delays to SLS and the “threat” of international competition. However, alternative views are that the demand is more about the Trump administration trying to achieve a Kennedy-like legacy before any possible second term for the administration has expired.
Following the address, NASA Administrator James Bridenstine backpedalled away from statement made two weeks previously, in which he indicated that NASA would look at options for initial flights of the completed Orion capsule and its European-built Service Module using commercial launch vehicles, rather than relying on the SLS, to allow more time for troublesome elements of that vehicle to be completed. Instead, NASA will now attempt to focus on getting the SLS up and running for the initial Exploration Mission flights, themselves seen as necessary precursors to a Moon landing.
NASA’s plans for the human exploration of the Moon and Mars rely on the SLS – but the plans themselves have always been woolly. The White House is seeking to give aggressive focus to the lunar element – perhaps to aggressive. Credit: NASA
As I’ve noted in recent Space Sunday reports, there are some significant issues around the SLS core stage and its advanced Exploration Upper Stage (EUS) that has been seen as crucial to lunar operations. The issues with the latter were such that Brindenstine had indicated it would be placed on hold, and NASA would utilise the less powerful Interim Cryogenic Propulsion Stage (ICPS) at the rocket’s upper stage. Following Pence’s announcement, the NASA Adminstrator confirmed the emphasis would be back on getting the EUS completed, and a 45-day study has been initiated to determine how development of the rocket’s core stage might be accelerated.
One of the ideas for the latter that is being floated is to cut a “green run” test of the first completed core stage main engines at full power for 8 minutes, which would require the completed stage being shipped from the Michoud Assembly Facility, Louisiana, to the Stennis Space Centre, Mississippi, and instead deliver the completed stage directly to Kennedy Space Centre for integration with the rest of the vehicle for its first launch. This would cut several months from the launch schedule, but also leave the stage untested.
The massive core stage of the SLS is a massively complex undertaking, and somewhat behind schedule. Credit: NASA
Bur even with such cuts, the 2024 goal is regarded as a “very aggressive goal”. To achieve it, NASA will not only have to accelerate work on the first SLS vehicle, they will need an increase in funding across multiple related projects. For example, following the first two EM launches, NASA would need to gear-up to two SLS launches a year in order to lay the groundwork for a lunar landing – including placing the initial elements of the Lunar Gateway in orbit around the Moon. This alone requires the building of a second mobile launch platform (yet to be funded by Congress).
Another issue is what will happen to the robotic precursor missions seen as stepping-stones towards a human mission. Currently, it is unlikely any of these will be ready to fly before 2021 – and no formal contracts have been awarded to the nine companies competing to fly them. Then there is the not insignificant question about the development and testing of the actual lunar lander vehicle. As such, while some organisations have responded enthusiastically to Pence’s announcement, others have sounded more cautionary notes.
Though we support the focus of this White House on deep space exploration and the sense of urgency instilled by aggressive timelines and goals, we also are cognizant of the resources that will be required to meet these objectives. Bold plans must be matched by bold resources made available in a consistent manner in order to assure successful execution.
In order to meet a 2024 goal, many programmes would have to be accelerated: SLS, the Lunar Gateway, the development of a lunar lander, etc. Credit: NASA
Even some in NASA have voiced very public misgivings against the acceleration of goals given the overall state of the SLS and supporting programmes.
Do you want to kill astronauts? Because this is how you kill astronauts. There’s no reason to accelerate going to the Moon by four years. It’s ridiculous.
– Holly Griffith Orion Vehicle Systems Engineer, speaking to AFP.
Certainly, if NASA is to meet a 2024 target date, it will need something of an increase in funding – and this is where Pence’s words fall flat: For 2020, the Trump Administration is seeking to decrease NASA’s budget by half a billion dollars compared to 2019 actual budget – and actually seek to decrease spending on SLS by 17.4% compared to 2019.
WFIRST on the Chopping Block. Again
Another programme hit by the Trump 2020 NASA budget proposal is the astrophysics flagship mission, the Wide Field Infrared Survey Telescope (WFIRST).
WFIRST’s layout and instruments. Credit: NASA
As I’ve previously noted in these updates, the Trump Administration tried to cancel WFIRST in their 2019 budget proposal, citing in part its expense – this despite the mission being one of the most cost-effective on NASA’s books, given it is able to use a lot of parts developed as back-ups to the Hubble Space Telescope – including the 2.4 metre diameter primary mirror.
A second reason for the 2019 cancellation – which was prevented by Congress – was a claim that WFIRST “duplicated” work to be undertaken by the James Webb Space Telescope (JWST), and other aspects of the WFIRST mission could be achieved via “cheaper” means. In actual fact, WFIRST and JWST are able to mutually support one another’s mission, rather than duplicating mission elements. Nevertheless, it is the ongoing delays with JWST which are now being pointed to as the reason to de-fund WFIRST, the argument being that until JWST is launched, WFIRST isn’t a priority.
NASA Administrator Brindenstine has suggested WFIRST’s funding could be brought back up to speed once JWST has been deployed. The problem here is that once a project has been de-funded, it can be very difficult to revive, as doing so tend to foreshorten desired time frames in order to get a mission launched, resulting in much larger additional costs than might have been the case had funding been allowed to continue through the intervening years. Further, 2020 is a crucial year from WFIRST: a design review for the overall mission is scheduled for October, and is due to be followed by what is called “Key Decision Point C”, and formal mission confirmation. Without funding, these milestones cannot be reached, potentially leaving the project in an uncomfortable limbo.
Grauland is a homestead region held by JimGarand and home (in the sky) to his M-1 Art Poses, is one of the more unusual locations I’ve visited recently.
Described simply as a “photogenic sim”, it is actually far more than this; I would describe it more as a setting that presents art as a landscape.
Grauland
The landing point looks out over a section of coastline mindful of the Giant’s Causeway in County Antrim on Northern Ireland’s northern coast: Cube Republic’s marvellous Basalt columns step down to the sea before stretching out over the water in a slender finger. Several more frame the landing point, which includes a teleport up to the M-1 store.
Grauland
Sitting above the basalt, and split into two plateau-like areas, the rest of the region offers an intriguing mix. Directly behind the landing point, and across a road apparently emerging from a tunnel beneath the taller plateau, sits a large concrete structure, the home to a striking concrete block maze forming a large, and striking statement of modern art which in some ways reflects the columnar basalt coastline.
Grauland
This block theme is continues on the upper plateau, reached via cement stairs built into a steel frame. These lead to a large courtyard area guarded by whitewashed walls and a large, modern hall-like building. More cement blocks sit within the courtyard, extending into a part of the building itself, which forms a gallery space.
At the time of my visit, the gallery was home to a minimal exhibition of striking photographs by Jim himself. However, the gallery is designed to be more than just a home to art; along with the courtyard, it is very much a part of the artistic sweep of the region.
Grauland
Overlooking the courtyard is an industrial-like tower topped by a cabin. The industrial nature of the tower reflects that of the steps leading up to the courtyard, providing a further sense of continuity in the setting. Apparently open to the public, the cabin offers a bird’s-eye view out over the region.
Nor is this all. Throughout the region are marvellous art-like installations: great concrete swirls surround oak and persimmon trees, while rusting metal shapes sit on a terrace looking out to sea, the ruins of an abandon shack on the coast below them as large spheres float over the water. Elsewhere are smaller artistic elements: a caravan of turtles, a sculpture by Silas Merlin, knots of rock also forming statements of their own, doors hovering above the water… A further concrete-walled maze sits in the lee of the courtyard’s plateau, the walls again offering an industrial feel, together with an expression of graffiti.
Grauland – click any image for full size
Simple yet elegant, minimalist yet rich in detail. Grauland is a fascinating and very photogenic region and a place where it is easy to spend a lot longer visiting than you might think would be the case on first arriving.
Inara Pey: Living in a Modemworld 