How can we explain what you are missing?

Posted by Bettina Tizzy

Avatars often grapple with how to demonstrate what it is that appeals to us so much about art, architecture and fashion in Second Life®, to people who will not or cannot log in. It's a dilemma akin to sharing a new color or flavor, because the immersive qualities of the 3D experience cannot be conveyed in words or even via film, given its flatness. So we take photographs. We create machinima. And we talk and talk and blog and twitter. Still, you are left out until you decide to take the plunge and devote sufficient time to learn how to move your camera and your avatar around.

I recently spent a pleasant hour chatting with a journalist about my own appraisal of content creation in virtual worlds, and while I'm an evangelist and like to think myself persuasive, I was unable to secure his interest in joining me to have a look with his own eyes. Still, we'll keep trying, and experienced early adopters that we are (remember when we tried to tell you about something called the Internet?), we know we will win in the end.

In the meantime, despite its 2 dimensional limitations, we'll blog about the experience with you however we can, sharing machinima like this stunner by artist Lyric Lundquist...

Be sure to click the HD button for higher quality transmission


... or Sepp Schimmer's inaugural video, featuring Bryn Oh's Immersiva and GutterBlood Spoonhammer's Error sims.*

Be sure to click the HD button for higher quality transmission


* A sim is a simulator and virtual region hosted by a single server CPU. You real-life folks call it an "island."

Hasta la vista...

Arahan Clavaeau vexes me, significantly

This is Part I of three blogposts related in some way to Arthole that I hope to get out sooner rather than later.

Had it not been for "flat art," it would have taken me a lot longer to discover him. Fact is, there are 2D complements to virtual worlds that I adore and they translate into photography and Machinima shot in immersive 3D environments and then displayed on the Web. I generally don't like looking at flat images of anything in-world, with some exceptions: people like Feathers Boa and Douglas Story take 2D photography and breathe scripted life into it. But that's another story.


Arahan, together with Nebulosus Severine, created a new art space called Arthole

That said, Arahan Claveau (aka Steve Millar; rez: 6/28/2005) first sparkled on my radar on November 2007 when I came across this image by him.


Lamentum

With my antennae already on red alert, I was tickled when AM Radio pointed me to this discovery, a very dear, gorgeously rendered story book - appropriately named "Small Story: A Tale Without Words" - featuring a narrative collection of photographs that had been styled and shot within Second Life®.



Arahan cancelled his Flickr account (bother!) a few weeks ago and doesn't publish photographs taken in Second Life anymore. "They bore me," he says, though he does do some Machinima now and then.

By axing his Flickr account, Arahan has deprived me of a source of pleasure and a place I could go to learn about some of the more polemic history of Second Life - so I'm not amused.

"Second Life photography became less and less relevant for me. A lot of it had to do with wanting to channel my efforts into other areas, but it has become overwhelmed by glamour photography and I can't compete with breasts," he added.

Whatever... I'm pissed. That said, Arahan has a grid-wide reputation for artistic provocation. By cancelling his account, he is inciting me and his other fans to stop ooo'ing and ah'ing at his pretty pics and start looking at his other works. Damn, there goes pretty... now I have to look at his gallows .


His photography may be often whimsical and breathtaking but to me, Arahan's installations in-world speak - for the most part - about pain

Since 9/11, I have become increasingly chicken-livered about topics that make me feel pain and sadness. To that end, Second Life is the cadillac of anesthesias: I am able to interact with hundreds of avatars on a daily basis, while rarely having to consider the price of petrol, the latest treachery in political campaigns, or the earthquake in China. That is, unless Arahan's art is about. While he is always polite (when he gets serious he calls me Madame, yikes! This always makes me feel like I need to rise to some occasion), and sometimes playful, he is seriously committed to his vision of art as a tool of revolutionary change.

Take this Injustice installation, for instance (teleport directly from here). Here we have a seemingly innocuous pink room strewn with even pinker balloons. Dead center, a gallows where someone, presumably, has been executed by hanging. The party is over. His account of the story is further explained with the help of Real Life photographs of two Iranian youths about to be hanged and a notecard that explains the men's plight.

In his comments on the Brooklyn is Watching blog, Arahan went on to explain, "(This piece) was originally part of larger installations and was much more of an attack on complacent ‘queer eye’ types. In a nutshell it was saying “listen faggots, there is no equality, we are never going to be accepted by mainstream society so stop pretending. We are being beaten, tortured, murdered and executed every fucking day, get off your arses and fight back now!” When it comes to fighting for our lives there should be no compromise and this of course doesn’t just apply to homosexuals."

More sobering still was a second notecard that shocked me greatly. As wordly as I like to think that I am, I forget what it's like out there, beyond my liberal home in Southern California. Take a look at the penalties for homosexuality around the world. Mission accomplished, Arahan.

Striking ways to present flat art in virtual worlds

DB Bailey has designed an installation for an exhibit of photographs by Paul L. Gabbert that portray dancers of various tribes from Papua, New Guinea at the 50th anniversary of the annual Goroka cultural show, where participants dance and sing.

While I generally cannot be bothered with images of Real Life art within Second Life, DB Bailey has created such a lush and compelling oasis for these photographs, that I took the time to study the faces of the dancers and learn more about the event... and was reminded that tribal beauty in our world is ancient and fragile, and its preservation is more important than ever.





The frames in this area simply wouldn't be possible in Real Life...



Adjacent to the entrance of the photography exhibit is one of DB's newest sculptures... (teleport directly from here).