Tag Archives: Linden Endowment for the Arts

The Gardens by the Bay in Second Life

Now open to visitors is the Gardens by the Bay, a full region installation by Maddy  (Nibby Riddler), who is perhaps best known for her Eclectica homestead region designs (which you can read about here and here). It is a stunning installation, rooted in the physical world, but with its own unique flavour, and I am not exaggerating in the slightest when I say it is a must see.

The inspiration for the design comes from Singapore’s Gardens by the Bay, a nature park spanning 101 hectares (250 acres) of reclaimed land in central Singapore. First announced in 2005, it is designed as Singapore’s permier outdoor recreation space, and a spearhead in the drive to transform the city-state  from a “Garden City” to a “City in a Garden”.

Working with far less than 250 acres, Maddy has beautifully captured the essence of the Gardens by the Bay, reproducing many of its iconic elements. Central to the design is the magnificent Supertree Grove. Vertical gardens in their own right, rising up to 50 metres (162 ft) into the air, these massive structures are home to enclaves of unique and exotic ferns, vines, orchids and bromeliaceae. They also perform a variety of functions to support the gardens around them. Just as an elevated walkway connects them in the physical world, so to does a similar walkway loop Maddy’s Supertrees, allowing visitors to gain a panoramic view of the gardens below.

Linked by a series of paths, the ground level gardens bring together elements found across all three of the major areas of the original, encapsulating so much of beauty, fauna and architecture without the region every feeling overcrowded, A note card is provided at the landing point to help visitors navigate around, and I thoroughly recommend taking it and reading it before starting any exploration.

Another aspect of the original offered to visitors is a representation of one of the massive greenhouses, home to a rich and colourful spread of flora. The famous Audemars Piguet Floral Clock, unveiled on the occasion of the 50th Anniversary of Singapore independence in 2015, is also represented, as are the giant silvery ants which younger visitors to Singapore’s gardens find so irresistible – and so much more.

With places to sit and admire, opportunities to dance and capturing the essence of all three major areas of the original, Maddy’s Gardens  by the Bay is – in a word – magnificent. While the images here are all taken with minor tweaks to the default windlight for the region, the gardens lend themselves perfectly to other windlight settings, and are exceptionally photogenic.

Absolutely not something to be missed, Gardens by the Bay will remain open through until the end of June 2017. My thanks to Maddy for the personal invitation she extended to Caitlyn and I to pay a visit.

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Light Reflections in Second Life

Light Reflections is the name of a full region installation in Second Life by Venus Adored. Spanning six levels, it is, as the name suggests, an experiment in light and reflections.

Visitors start at the top of the installation, where sit instructions on how to set the viewer to best enjoy the experience. Unfortunately, the most important instruction is absent: visitors must have Advanced Lighting Model (ALM) enabled via Graphics > Preferences in order to see the installation correctly. Failing to do this will leave some of the levels apparently devoid of detail.

Each of the levels below the instructions provides an environment in which lighting and projected lights are used in different ways. In the first level, for example, visitors can fly around in soap bubbles (use the WASD / arrow keys for movement, and PAGE UP / PAGE DOWN to change height), and project lighting pattens on to the walls and floors of the room as they approach them.

Another level offers a set of different scenes, each within its own cube, where light and particles are again used to add ambience to the environment. Another offers an entirely monochrome setting, while the final (ground level) presents a landscape enhanced by projects lighting. Through the entire piece are interactive elements – the soap bubbles mentioned above, a paper boat visitor can rez and sail at the ground levels, and diamonds offering which will animate an avatar when touched in others.

Light Reflections is an interesting piece offering a good demonstration of projected lights in use, although I couldn’t help be feel some of the levels might have been combined (particularly the three introductory levels of instructions). However this doesn’t detract of the installation; if you enjoy seeing or an curious about projected lighting effects, Light Reflections is a worthwhile visit and will remain open though until the end of June.

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No Frontiers in Second Life

No Frontiers - Gem Preiz

No Frontiers – Gem Preiz

I’ve long been an admirer of Gem Preiz. His work in creating magnificent vistas using fractal art is simply astonishing. So it was a genuine pleasure to once again be offered an opportunity to previewing his latest installation, which opens on Thursday, January 12th, and runs through until the end of June.

No Frontiers is, in at least some ways, a sequel to his last two environments, Hertiage: Vestiges and Heritages: Wrecks (which you can respectively read about here and here). Within it, we are again asked to engage upon a journey through space and time. But where the Hertiage pieces were perhaps rooted in a dark vision of a future encompassing loss and departure, only brightening at the very end, No Frontiers presents something altogether more optimistic, a vision of a vast cosmos awaiting us, with opportunities unbounded, the potential for new encounters and a celebration of what we are, and what we may yet mature into.

No Frontiers - Gem Preiz

No Frontiers – Gem Preiz

As with is previous works, No Frontiers invites the visitor to travel through a series of vast halls, in which each of is placed a single, gigantic fractal image, each comprising around 18 individual elements. The halls are all interconnected by tubes, and are so vast, flying is the most practical way to see them. To assist in this, Gem provides two flying vehicles, a single-seater and a tandem two-seater (although visitors are welcome to free fly is they prefer). These are found in the “departure hall”, where instructions on how best to appreciate the installation can be found. I recommend the latter are read, and that in particular, particles are turned up and the music stream is enabled.

In addition to the massive, intricate and breath-taking fractal images, the halls include 3D elements designed by Gem which further enhance both the environment and add to the narrative suggested by each image. Some of these may be easily translatable, others may actually be more subtle, and require observation to pick up on their nuance.

No Frontiers - Gem Preiz

No Frontiers – Gem Preiz

For example, within one hall, two spirals of spheres slowly rotate, horizontal arms extending from the spheres. Each resembles a strand of DNA vertically split, and as they rotate, every so often they align to become the familiar double helix. But on either side of this joining, when they almost align, there are perhaps hints at other forms of DNA, suggesting life alien to ours, waiting to be discovered in our voyage out into the cosmos.

Suggestions of alien civilisations appear elsewhere as well. Take, as another example, the tiny spacecraft forming orderly lines of traffic heading towards a planet being orbited by a vast structure (the 2nd image in this article). Are these intergalactic commuters on their way to / from work? And what of the giant ringed sphere floating before a similar such object orbiting another world with one of Gem’s images? What tale of intelligences might they hold?

No Frontiers - Gem Preiz

No Frontiers – Gem Preiz

Meanwhile the connecting tubes themselves suggest two things. On the one hand, they are offered to us and connecting tunnels between environments, capped at either end by airlocks. On the other, they resemble wormholes we fly through, tunnels through the fabric of space and time, allowing us to travel the vast distances of the cosmos in mere seconds.

At the very end of the journey, visitors enter a vast space, surrounded by distant stars, and within which, as one rises through it, lay planets, spheres, the funnel of a black hole, the billion and billions of stars contained within an ever-spinning spiral galaxy. And, eventually, a landing platform / arrival point where they can safely lands and exit their craft.

No Frontiers - Gem Preiz

No Frontiers – Gem Preiz

Gem’s work is never less than awe-inspiring; and while he has used 3D elements in past installations no Frontiers offers something entirely new in how physical elements are images have been combined to add to our sense of voyage and immersion. Add to this the soundtrack he has provided, and No Frontiers makes for a stunning experience, visually, aurally and for the imagination. Not something to be missed. The official opening will be at 13:00 SLT on Thursday, January 12th and as noted, the installation will remain open until the end of June 2017.

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For EVRE in Second Life

“This sim was initially named EVER.” Tahiti Rae says of her latest full region installation, EVRE, now open through until the end of 2016. “While fervently researching a long and well-documented genealogy of my family … I thought how fun it would be to study the women who had married into the family. I learned that one of them had a second husband … When I researched him, I was astonished to discover that the “old tyme” spelling of his name was “Evre”. Hence, the R and the E were immediately swapped. Apparently, the correct trail was followed and at the right time. It’s connected.”

And thus we are introduced to her haunting, complex and highly photogenic study of consciousness, connectedness and time, as expressed in the installation’s sub-title: Are we Everywhere … At all Times? In this, the reversal of the R and the E in the region’s name could be seen as allowing it to serve a second purpose, as when separated to the two pairs of letters give us “ev” and “re” – a shorthand, almost for “everywhere”.

I’ve long been an admirer of Tahiti’s work. She is one of the more thought-provoking, consistently engaging and visually aware immersive artists in Second Life. The installations she creates draw from many sources and influences; they are always stunning to the eye and a source of considered contemplation for the mind. In this, EVRE is no exception. In keeping with Tahiti’s request, I’m not going to dwell too much on describing the installation – as she notes, this is a place to be discovered.

The core of the installation is a tour through twelve worlds, each accessed through a “memory clock” – a large fob watch hanging from its chain. Each world represents a different time and place, accessed by touching the “memory clock” and then using the map to teleport. The order in which the worlds are accessed is perhaps of less importance than ensuring all twelve are visited before making the jump to ALL TIME (via the large clock in the region), and thence to a final world, TIMELESS. However, for those seeking to explore the worlds in some semblance of an order, look for the signs with red lettering at the landing point. This will provide you with a note card list of all the “memory clock” SLurls.

In following the clocks, we effectively become dimensional travellers, visiting different point is time, witnessing events – becoming a part of events. I use “dimensional” rather than “time” deliberately, because of that question posed in the installations sub-title: Are we Everywhere … At all Times? If we are, then our journey here is not so much through time, as between the barriers separating the different periods in time represented here.

In doing so, we also encounter some anachronisms; some of these are more obvious than others, but none are accidental. In this, EVRE put me in mind of the philosophical question T.S Eliot throws to his reader in the opening of Burnt Norton, one of his Four Quartets, and a log-standing favourite of mine:

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.

Tahiti’s installation may offer a different slant to Eliot’s pondering, but they both raise the same underpinning question, and point us towards a contemplation of both all time (the eternity which surrounds us) and, with EVRE at least, a consideration of timeless – her final world. A place which encourages us to ponder the purpose of time, which is, to use the often ms-attributed phrase,  to “keep everything from happening all at once”.

Of the worlds themselves, as presented by Tahiti, and in keeping with her wish not to offer too many spoilers, I will say that time should be taken in visiting them; there are some exceptionally beautiful discoveries to be made, and nuances which might be easily missed on a hurried visit.

As noted, EVRE will remain open until the end of the year, and it will be the venue for a number of events, as outlined in the first world, Psi.

SLurl Details

  • EVRE (LEA 27, rated: Moderate)