Tag: Linden Endowment for the Arts

Rose Borchovski’s latest installation at the Linden Endowment for the Arts opened on January 11th. I missed the actual event, but popped along to visit last week, and thought it time I got around to putting words to thoughts and reactions to the piece.

The Arrival is a full sim installation which is both a standalone piece and a continuation of the saga of her Susa’s – child-like beings of a mischievous and sometimes malevolent bent. Here they have captured a fish, and celebrations of the fact turn to questions as the fish dies literally beneath them as they use it as a stage for their jubilation; are they to blame for the poor fish’s demise?

Or that’s one of four explanations Rose gives for the piece. The others include memories from childhood, the inspiration of other artists, and even the influence of religion. In introducing the piece on the LEA blog, Rowan Derryth provides thought-provoking insight into the work which includes more on the possible origins of the piece – and I’ll leave you to go read her thoughts.

Quite how you interpret the work is up to you – you can follow Rowan’s thoughts, which are themselves based on commentary from Rose herself, or you can let your own thoughts percolate as your explore. The latter, by the way, is best done by using the teleport at the arrival point to get you started.

For my part, I found the piece something of an allegory / metaphor for how we humans behave, always busy exploiting this, that or the other, congratulating ourselves on what we can achieve and how we can enjoy everything, with little thought for what might happen when things are gone and we’re left to ponder our own role in their disappearance / extinction …

The Arrival is a fully immersive installation. The level of detail is stunning and ranges from the macro to the micro, plus there is a complete sound scape to take-in (scripted sounds rather than a media feed, so you’ll need sounds active to fully appreciate the work), and all manner of things to touch and prod – and which may surprise you in return. You’ll need to take your time as you explore, not only to make sure you experience all the interactive elements, but also because the detail really is amazing – a genuine tour-de-force as to what can be achieved in SL both in terms of art and in immersive, engaging environments. Make sure, as well, that you accept the region’s windlight settings on arrival, if asked. They are as much a part of the piece as anything else.

The Susas themselves are (as ever) marvellously made and beautifully expressive, particularly when there are grouped together when their child-like innocence is dispelled by looking into the eyes of several of them and witnessing a mischief which might border on malice lurking there. There also seems to be something of a hierarchy among them, as well, which is also hinted at in their expressions.

There is a charm and a disquiet about the piece. The charm comes in part from the very evident care with which all the piece within the installation have been created created – witness the line of peguins going for a dive towards the top of this piece. It also comes from the early sections of the piece where there is much merry-making and happiness, and well as wonderful little touches which are a delight to find (a little book with swimming fish!).

Move deeper into the installation as the story progresses, and the disquiet grows. Full credit here to Caer Balogh, a long-time collaborator with Rose, and her incredible scripted sound scape, which does much to set the mood as it is realised the fish is dead and questions arise. It was towards the middle of the piece that my own conscience was pricked and my thoughts turned to the potential for the piece being a allegory / metaphor, as mentioned above. A scene with two Susas tearing at one another’s faces and biting one another did little to quieten the unease; and while it certainly gave pause for thought, it most certainly did not put me off continuing my explorations. Like many outstanding pieces of art, The Arrival seeks to challenge, not offend.

All in all, this is a fabulous piece of art for all of these reasons and more, and very definitely worth a visit to explore, consider and participate in.

So, now you’re hooked, why not go and see what tales you can land for yourself?

Related Links

• The Arrival SLurl (Rated: Moderate)
• Rowan Derryth’s introduction to The Arrival

Rebeca Bashly is hailed as one of most successful artists in the Linden Endowment for the Arts Full Sim arts series. She deserves to be. A little over a year ago, in October 2011, she presented a stunning, immersive interpretation of Dante’s Inferno as the initial piece in the 2011/2012 Full Sim Arts series.

Now, in December 2012, she is back with a piece which is equally evocative.

Rebeca describes The Tower as being “symbolic of  restrictive areas, of closed minds, of self limitations and the like, as in kids fables.” It is a marvellous piece, not only because she established the entire installation in less than 24 hours, but because the scenes it presents are so emotive  powerful.

It is a piece which needs no intermediary descriptions or explanations; it speaks loudly and clearly for itself. Simply use the orchid floating on the water to commence your journey, climb the stairs and look for further orchids as you pass through each level.

Everything is a testament to the artist’s vision and skill. The imagery is perfectly balanced by the ambience of the setting. It is also a tour de force demonstration of the visual power of immersive environments as a medium for art and expression.

The Tower is open through until the end of the month. Don’t miss it.

Of Sound Mind is a collaborative piece lead by Lorin Tone which explores the nature of sound and the ways in which it can be employed to add depth to a virtual environment such as Second Life. It opened on Saturday 17th November as a part of the Linden Endowment for the Arts Full Sim Art, and features Lorin’s work along with that of other SL artists and builders such as Madcow Cosmos (who with Lorin, brought the delightful Through the Lens of Dreams to Art Screamer last year), Glyph Graves, P4ndor4 Quintessa, Meriadne Merlin, Inventor Alchemi, Marcus Parrott, Mia Anais, Judi Newall, and will feature seminars and demonstrations from these and other SL artists.

The installation comprises a landscape  – sometimes whimsical in nature, sometimes more natural, sometimes with the obligatory spookiness (you’ll understand why I say that when you visit), and always inviting further exploration. Here one can experience and learn about the many and varied ways in which in-world sounds can by used in a virtual environment. As an aural, as well as visual experience, one obviously needs to have their sound on when exploring the region – although there is no requirement for either streaming or Voice to be enabled.

The arrival point features a number of introductory notice boards which will deliver various notecards to you explaining some elements of the installation and introducing you to some of the artists. Similar notice boards are scattered across the region, introducing the various elements and other artists involved in the collaboration. However, the secret here is to simply explore, experience and touch.

And there is a lot to explore. Each area of the installation features demonstrations of how sound can be used (musically, to emphasise visual events, to create additional ambience, and so on) and the ways in which it can be triggered (by touching, by animating an avatar, though avatar/object collision, through object/object collision, and so on). Each area is visually and imaginative presented, with Madcow Comos’ visual genius very evident throughout, as well as elements created by the other participating artists. You can walk overground and underground, dive underwater, meet a certain homicidal computer with a door problem and pick up various scripts and other items along the way – and do much more.

There is much to see overhead as well – bumper cars (in the form of chess pieces) demonstrate the use of vehicle sounds (as well as providing further comical boings and squeaks during collisions), there is also a stunning live performance stage area. Both of these can be reached via teleporter.

Also in the sky is Lorin and Madcow’s wonderful Castle of Airs, which can be reached via tour discs, available from the ground-level welcome area. Both the sound stage and the Castle of Airs have featured in the Machinima The Joy of Music by Chantal Harvey and featuring the work of several of the artists participating in Of Sound Mind.

The live performance area was the venue for DRUM (Divine Rhythms of Universal Music), who featured during the opening of the installation on November 17th. DRUM describe their aim being, “To bring the world to you via the power of drumming. Our aim is to have fun and to create incredible, beautiful rhythms – live.” They are possibly unique in that their performances are not pre-recorded or simply streamed: they are created directly within SL, captured and then streamed to the listening audience. Definitely worth witnessing in-world.

Seminars and presentations on the use of sound is SL will also be a feature at Of Sound Mind – although currently, only one is currently scheduled – Lorin Tone will be discussing environmental sound effects in SL on Monday, November 19th at 12:00 noon SLT. Expect notices of additional events to appear in the Upcoming Events noticeboard at the arrivals area.

Of Sound Mind is both visually and aurally immersive and a fun. Well worth a visit.

Of Sound Mind (LEA19) (Rated General)

On Tuesday 13th November, Lizzie Gudkov and London Junkers unveiled their submission for the LEA’s Full sim Art Series.

Guernica is a vivid reproduction of Picasso’s famous work, which has been beautifully reproduced in 3D within second Life in a manner which allows one to appreciate both as it was originally painted, or physically immerse oneself in the piece.

Commenting on the installation, London says:

In 1937 Spanish painter Pablo Picasso created one of the most important icons of the 20th century when he made the Guernica.

Painted in black and white, depicting the horrors of war, it is today as solid and modern as it was when it was first shown in the 1937 International Fair in Paris. 

The intention of re-creating this masterpiece in Second Life comes from the love for the original mural itself and what it represents. After a lot of thought and experimenting with external 3D software, a decision was made, this installation would be built primarily in prims, as an exercise of the possibilities that LEA has given us. With this piece, we would like to pay homage to Picasso and let visitors learn more from it.

The original was created in response to the bombing of Guernica, a Basque Country village in northern Spain by German and Italian aircraft on 26 April 1937, during the Spanish Civil War. Guernica shows the tragedies of war and the suffering it inflicts upon individuals, particularly innocent civilians. This work has gained a monumental status, becoming a perpetual reminder of the tragedies of war, an anti-war symbol, and an embodiment of peace. On completion Guernica was displayed around the world in a brief tour, becoming famous and widely acclaimed.

The installation can be seen at LEA 6 in-world, where it is displayed full in keeping with the original. On arrival, you’ll be requested to accept the local windlight settings, which allow the mural to be presented as with the original – in black and white.

The arrival point allows you to view the piece pretty much as Picasso originally painted it: in two dimensions. However, step down from the viewing gallery and you can become fully immersed in the image, seeing it – and the horrific outcome of the event it portrays – in a very personal way.

It can be said that Guernica saw the final end of any romanticism of war. While much of this had already been washed away in the terrors of The Great War of 1914-1918, war before Guernica was often removed and isolated from the lives of “ordinary” people. After Guernica, this would never again be the case – as the unfolding tragedy of the Second World War would illustrate just two years later.

The artists of this recreation recommend visitors view it via Mouselook – and I do recommend the same; while moving and flying around it might be a little harder using Mouselook, the added depth of perspective obtained more than compensates.

For those not familiar with the work or its historical context and impact, I would also recommend a little background reading as well.

Guernica will remain open at LEA6 throughout the remainder of November 2012.

Rowan Derryth, writing on the LEA blog, brings word of a fascinating SL / RL exhibit which is taking place through until November 25th in both Second Life and real life, and which allows avatars from the one interact with humans from the other, and vice versa.

EXTRACT / INSERT is a collaborative effort involving Second Life and the The Herbert Art Gallery and Museum in Coventry, England. Rowan describes the collaboration thus:

We avatars often struggle to explain our existence to those that dwell only in the physical world. But now, a new exhibit at LEA 24 helps us do what we aliens do best: INVADE!

EXTRACT/INSERT is a unique installation in both Second Life and at the Herbert Art Gallery in Coventry, UK. It is a collaborative effort between internationally renowned performance artist Stelarc, lecturer and actor Joff Chafer and artist and technologist Ian Upton. With support in SL from the LEA, and in RL from the Arts Council of England, they have been able to create an environment where avatars can co-mingle with real people visiting the Herbert!

The Exhibit has already involved volunteers from across Second Life spending time at a special installation at LEA 24 where they have been able to meet and talk to visitors entering the exhibit’s “other half” at the Herbert Art Gallery in the UK. Avatars are represented in 3D in the real world exhibition space, and appear to be floating among the visitors there.

The organisers are currently looking for volunteers to participate in the exhibit this coming week. The work involves being on-hand at the LEA 24 installation, where you can meet and interact with visitors to the Herbert Art Gallery’s installation in Coventry UK – so it does mean working to UK times as the gallery is open between 02:00 and 08:00 SLT (10:00 and 16:00 UK) Monday through Saturday and 04:00 to 08:00 SLT (12:00 midday to 16:00 UK) Sundays.

If you would like to volunteer and chat with Herbert visitors, you need to:

• Be using an SL viewer capable of displaying shared media
• Use Voice to interact with visitors at the Herbert Art Gallery – text chat and avatars names are not visible to visitors there
• Have a suitable avatar appearance to meet the requirements of a “General”-rated audience which includes children

Creativity is welcome with avatars – there is no need to restrict yourself to a conventional human form, so long as your avatar isn’t too large (as it will be appearing life-sized at the art gallery) and dress and behaviour are in keeping with the General rating.

If you are interested in volunteering, please contact Ian Pahute or Joff Fassnacht in-world in order for you to be added to the exhibit’s access list.

If you are in the UK, and wish to visit the real life half of the exhibit, you can find details on how to get to the Herbert Art Gallery and Museum on their website – booking for the exhibit is not required, and visitors are invited to “drop in” for a tour with the Gallery’s guides.

The Herbert Art Gallery’s side of the exhibit will remain open until November 25th, 2012.

UK-based performance artist Stelarc was present at the Herbert his last week, where he logged into SL from the gallery and gave a performance entitled “Involuntary and Improvised Arm”.

Related Links

• LEA blog post on EXTRACT / INSERT
• The Herbert Art Gallery and Museum
• The Herbert’s coverage of EXTRACT / INSERT

 Images courtesy Rowan Derryth / Linden Endowment for the Arts