In the garden of Jung's country home in Bollingen stands a large cube-shaped stone inscribed by his own hand with magical and alchemical symbols. In his last revelatory dream prior to his death, Jung saw a huge round stone engraved with the words "And this shall be a sign unto you of Wholeness and Oneness". - THE GNOSIS ARCHIVE by Stephan A. Hoeller
British virtual landscape artist soror Nishi believes that the prim, that basic building tool in Second Life, is akin to prima materia (primal matter), a term used by alchemists to describe the seed of life. Prima materia was originally called Microcosmos to signify the small world from which heaven, earth, fire, water, and all manifestations of life are derived, including birth, death, creation, and even the resurrection. With this in mind, what could be more deserving of a temple, worship, and even a religion in Second Life than the crown of virtual creation... the plywood prim? To that end, she has created a temple and forest to that divine source of life and death: The Temple of the Prim.
The Temple of the Prim as photographed by Lem Skall
On her blog, soror discusses the term Increatum, wherein she describes prima materia as "fertilizing and giving birth to itself," and goes on to draw parallels between it and the basic prim.
Last Friday in conversation, soror explained: “This has been on my mind for well over a year. (The prim) makes itself and therefore is like a god. Gods need temples and the prim is self-replicating like the old gods. I think there's not really much in Prima Materia. It is just empty, but it reflects the psyche. According to Jung, when people speculate about the unknowable, they say more about their own psyche than they do about the unknowable, so the prim is a bit like a mirror."
soror's signature cracked-egg trees are made with prims, as is everything in Second Life
soror went on to say, "Jung was the first (only) person to take alchemy seriously as a description of the transformation of the individual from "normal" to enlightened. He saw a direct link between the "way you make gold from prima materia' and the process of "individuation" (his word). All the chemical processes that the alchemists describe are anthropomorphic, like Mercury is a person… kings and queens. It's all like a fairy story, with characters dying, etc. These relate to dreams: Archetypes (his word) and the land of dreams... is... (should be) SL...?”
"The Prim worship thingy is magic, and magic is what Synchronicity is (also a Jung word). Jung would LOVE SL," shared soror. 
Looking down into the Temple of the Prim
soror Nishi: "I came to Jung through my interest in geometry and the Axiom of Maria: One becomes two, two becomes three...etc. Maria was an old alchemist. Alchemists believed that whereas Christ had redeemed man, no one has redeemed matter, and they saw the search for the Philosophers Stone (the Self) to be an aim higher than Christianity. I got interested in geometry as a sort of universal truth. I was fascinated that it transcends language, in my teens that is."
Alchemists were challenged not only with the vagaries of their science, but also with the ongoing tribulations of securing funding for their incredibly expensive practice. These early scientists resorted to creating a narrative using anthropomorphic symbols to describe chemical reaction processes more impressively and make them comprehensible to the layperson. What they fabricated was nothing short of mythology, imbued with allegories, metaphors and archetypes steeped with rich personalities.
Hundreds of years later and in his early 30s, the founder of analytical psychology, Carl Jung, began working on a manuscript bound in red leather that would contain illustrations and calligraphy by his own hand. In this document – considered the Holy Grail of the Unconscious - he explored his theories on archetypes, collective unconscious (the mystery of the universally unknown), and individuation, or the process of transforming one’s psyche by bringing the personal and collective unconscious into conscious. Each of his archetypes represent an aspect of our deepest, and highest (or darkest), self.
At times, soror's landscaping is reminiscent of Asian paintings
Soror’s Temple of the Prim is also a tribute to Carl Jung, which is especially fitting given the publication this month of that manuscript that he worked on for 16 years. Locked in a bank vault all this time, the Red Book has only been seen by a few people.
Now the Ruben Museum in New York will be displaying the original book in conjunction with a series of events called the Red Book Dialogues, wherein “personalities from many different walks of life will be paired on stage with a psychoanalyst and invited to respond to and interpret a folio from Jung's Red Book as a starting point for a wide ranging conversation.” Those guests include musician and artist David Byrne, graphic designer Stefan Sagmeister, director John Boorman, and philosopher Cornel West.
The Temple of the Prim is on temporary display thanks to Mab MacMoragh's sponsorship and can be visited by teleporting directly from here.
See also:
Tuesday, October 6, 2009
The Temple of the Prim and a tribute to Carl Jung, who surely would have loved Second Life
Saturday, July 4, 2009
Groundbreaking, literally - Faith in Selavy Oh
Posted by Bettina Tizzy
And they said you couldn't move mountains... Oh ye of little faith!
Physics and now Land artist Selavy Oh has created a script that operates the terraforming capabilities in Second Life®, resulting in the continuous and automated reshaping of land, even without her presence.
To my knowledge, this is without precedent.
That's me filming in the center of the mountain peaks. Selavy was not even in-world for that portion of the taping!
Filming and editing: Bettina Tizzy
Music: "Truth of the Legend" by Kevin MacLeod
Terraforming, the ability to intentionally transform surface topography, atmosphere, temperature or ecology, is not unique to science fiction or even science (where it is primarily called planetary engineering).
In his book, The Making of Second Life, Hamlet Au (aka Wagner James Au), explained the in-world terraforming process quite poetically: "Standing on a hill like a demi-urge, a Resident can wave her hand and cause the ground to swell, expand, or even collapse into the sea."
In Second Life, terraforming land is a skill that looks easy to do, but frequently results in unrealistic and poor duplicates of mountains, lakes and canyons.
Selavy, who rezzed in February of 2007, is most widely recognized for her physics work with the most basic of prims: the humble but noble cube. She has expanded her range considerably in the past few months and now works with any number of shapes and even Alpha textures, but physics are always involved. Art historian Amy Wilson once compared Selavy to Rauschenberg, explaining that, "I can’t help but think she’s the Rauschenberg of SL, albeit one whose hands are much, much tidier than his ever were (makes sense for the environment we’re talking about). Navigating in this little space created by artists whose work is pure abstraction (DanCoyote, Juria) and artists whose work specifically references real life (Cheen, Nebulosus), she comes to find some very fertile ground indeed."
Given recent developments with Comet Morigi's terraforming explorations and her anchoring of huge prims to sims - thereby extensively and surprisingly expanding the canvas - and now Selavy's epic work - many of the most exciting innovations in virtual worlds at this time have to do with Land Art so extreme that I can't help but wonder what James Turell and Micheal Heizer would think.
Possibly the closest reference to Dancing Mountains in Real Life might be Heizer's 1971 Double Negative project in Nevada, for which he removed 240,000 tons of stone to make two slices 30 ft wide by 50 ft deep on opposing sides of an existing canyon to suggest a line between the canyon walls. His focus was on the removal of something, thereby creating a Land Art piece that stressed space, rather than an object. But I have no Real Life reference for land that wiggles, shrinks and grows, with no attending human, in an automated fashion.
Selavy accomplishes this by leaving her scripts with Negative Overland, a bot that is hidden underwater.
Some years ago, I was traveling in the rain forest in the heart of Costa Rica. My traveling companion and I had just sat down to a white tablecloth dinner at a lodge perched a top a mountain less than two miles opposite the Arenal volcano. The volcano was erupting (and still is to this day). Constantly. With a surprisingly loud and deep rumble, the mountain would cough up the fiery lava and rocks, dressing itself in a never-ending kinetic skirt of thick veins in an orangey red.
We struck up a conversation with the couple sitting at the table next to us. They were vulcanologists from Finland and they spoke about volcanoes the way we talk about virtual worlds. The woman shared how she got a kick out of hugging active volcanoes at the base and putting her ear up to them. She swore they sounded like the loudest heartbeat on earth. That certainly had a lasting impression on me.
For some reason, it was the first thing I thought of when Selavy teleported me in to watch a proof-of-concept demo of Dancing Mountains. She has managed to breathe life into the landscape in ways heretofore unimaginable.
~*~
See also:
- Land Art in Second Life: A historical perspective and an introduction to virtual artist Comet Morigi
- The Patron Saints of Poetik
- It's Hip to be Squarish
- Selavy's page on the Odyssey Art Ning
- "Attention Economy" by Beth Harris on smARThistory
- New York Times piece on art in Second Life
Tuesday, March 24, 2009
Land Art in Second Life – A historical perspective and an introduction to virtual artist Comet Morigi
Posted by Bettina Tizzy
In the beginning, there was landscape art. It is believed that it had its debut in Çatalhöyük, Southern Turkey about 10,000 years ago with this image of an erupting volcano…
…and then worked its way over the millenniums onto the prized walls of galleries, museums, and the homes of the fortunate few.
That was the status quo until…
The late 1960’s
In 1968, the minimum wage was $1.00. The National Debt was $286 Billion. The life expectancy for males was 66.6 years and emergency living quarters had to be set up in hotels and trailer camps for the estimated 850,000 boomers entering college.
The counter-culture seeded by the opposition to the Vietnam War and led by baby-boomer Berkeley radicals in VW buses and Black Panthers with raised fists and Timothy Leary fueled by an odd combination of higher education and psychedelics and braless women using the pill and hippies with their noses buried in the Whole Earth Catalog and a rock movement that changed music forever…
… ushered in a growing and surprisingly organized attack on the “system.” Any system. Defiance was the norm and damn the conventions.
By now you are asking yourself… where is she going with all this and how could it possibly be related to art in virtual worlds? It is imperative that I share this background with you to put things in context, for even in Second Life we cannot ignore the fact that we are influenced by all that has preceded us.
Art felt the impact of those socio-political conditions in a very, very big way
Back in the late 60’s, a handful of American artists in their 20s rebelled against the very idea of representing landscapes, electing instead to work directly with them (think Gaia Hypothesis). Moreover, they washed their hands of the confines of the gallery space and even the Capitalistic notion of selling their art, and began to alter the shapes of deserts and mountains by moving massive quantities of earth, rock and vegetation on a grand scale to make the environment their studio.
This is not an enterprise to be taken lightly. Generally speaking, it is costly, lonely work that takes a long, long time to do. It helped that a number of foundations were beginning to seriously fund art and willing to back up these “visionaries.” And then there were all those vast expanses of land in states like Nevada and Utah and Texas - seemingly inexhaustible reserves at the time - with all kinds of geological seductions already built in, not to mention alluringly cheap land prices.
How large? Let’s just say that sometimes this Land Art or Earth Art is so colossal that it isn’t apparent to the casual observer on the ground, and then it is often referred to as Aerial Art.
In 1970, Robert Smithson created the 1,500 foot long Spiral Jetty in the Great Salt Lake, Utah, using mud, rocks and salt crystal. Because of the tides, it is not always visible.
Photo by N*A*UTILUS
Consider Michael Heizer who has been working on his “City” installation in the Nevada desert for over 35 years and doesn’t expect to finish for another 8 years. See the New York Times’ 2005 audio slide show (refer to the side bar) of Heizer’s work-in-progress, and another story on his Double Negative project.
The Roden Crater finally got underway in 1979 when artist James Turrell was able to purchase a two-mile-wide crater in Arizona with grants from the Guggenheim Foundation, the Dia Art Foundation and others, and begin redistributing tons of earth to give it shape. His story is well documented in this New York Times’ 2007 article. 
The 400,000 year old Roden Crater is slated to open its doors to the public in 2011
While economies of scale in Land Art are paramount in Real Life, creating art on a very grand scale is nowhere near as problematic in virtual worlds. In Second Life® and on OpenSim grids, residents are magically empowered with land-altering – though quite indelicate - tools that enable them to instantly raise, lower, and sculpt the ground up to ± 100 meters, depending on the estate.
Terraforming, the ability to intentionally transform surface topography, atmosphere, temperature or ecology, is not unique to science fiction or even science (where it is primarily called planetary engineering).
In Second Life®, terraforming land is a skill that looks easy to do, but frequently results in unrealistic and poor duplicates of mountains, lakes and canyons. In this video tutorial by Second Life’s Resident Enlightenment Manager, Torley Linden instructs us on how to work the user interface to "terra":
Introducing Comet Morigi – A Terra Painter in Second Life
Japanese artist Comet Morigi became known to me when I came across one of her works quite by accident: an immense curtain-like particle effect that is driven by the sim’s wind (teleport directly from here).
To see all of Comet’s work to best effect, you must set your graphics preferences to render (see) the highest draw distance and particles, though do remember to lower them back afterwards as this decreases your system’s performance
Comet teleported me to see her newest particle work - a creation she'd been tweaking for two weeks - explaining that her idea was the visualization of a sim-wide wind stream, maxing out the wind map. The red squares indicate each point of the clouds' density. Its purpose: to research the wind stream in a sim.
I don’t often comment on human-like avatars, but Comet’s seemed almost Brazilian, sporting tan lines and a gold lamé dress and shoes, as well as a highly expressive talking animation that gestures as she types. This is unusual for Japanese-created avatars. In fact, I'd be hard pressed to find any aspect of Comet and her avatar that didn't strike me as unusual when taking her in as a whole. But back to the art, and her comments...
Comet: In-world, everything is made of pictures. The ground and the sky, every creature, house, clothes, our bodies… everything. You terrain-edit as if you are painting with a brush on the ground. The in-world is NOT the opposite of Real Life but rather a type of Real Life. Why don't you say “OutWorld” instead of Real Life (RL)?
This OutWorld-InWorld notion preoccupies Comet considerably. My associates and I often refer to Real Life as "off-world" but that isn't what is at stake here. In Comet's view, the two "worlds" are distinguishable only as types of the Real reality.
Comet asks: "What is InSide/OutSide?"
Inside and looking out from Comet's Galleria OVERFOTO (teleport directly from here)
Comet: Here at OVERFOTO, I am working directly on the geological conformation of the natural-virtual environment, transfiguring its composition and changing its original morphological features through a land-art operation that translates the same space - which normally hosts an exhibition - into a piece of art in all respects.
Treating nature as a raw material and the means for the creative process... the concept of manipulating terrain as a large scale three-dimensional sculptable object... these are ideas that Comet wears like a second skin. At another location, her composition features knobby, rugged land portruding through translucent planes.
Given that most Land Art works are site-specific and often ephemeral in nature, they cannot be marketed in traditional ways. The original work is seldom saleable, but derivates such as photographs and sketches are easier to share and duplicate. Comet has created these panels of previous works, which are available at her gallery/studio (teleport directly from here).
Patterns of land and water land forms look natural, but the relief map is abstraction.
Admirers of Comet's work are intense in their appreciation. Art collector Eddie Gotter has given her a sim to work with - Art Art - for example, and collects images of all her art. She is experimenting there now with mega flexi tubes and wind elements.
Meanwhile, she is hoping to find a sponsor for her Sunken Museum, an installation she did for the Arena group that no longer remains. The steep-sided gorge is a dramatic display that - once again - few visitors understand as art.
Upon arrival at the Sunken Museum, I was informed that the whole sim environment was the art, anything below the clouds and even underwater. "She has sunken the museum INTO her environment work. That is a work NOT IN the museum."
Could all or most of this be realized in Real Life? Yes, I think so. But consider the hoops that Christo and Jeanne-Claude have to go through for each of their monumental projects, whether urban or rural. When asked a few years ago about their Over the River project, slated for completion in 2012 or later, here was their response:
"Right now, an environmental impact report is being prepared. It will be a big book of over 250 pages. It is done by a company in Colorado, which has been chosen by the local government of the Arkansas River, but at our expense. We get the bills. They have been working on it for over two years now and we have already spent more than $250,000, just for the environmental impact study. When that will be ready as a draft, it will be distributed to all the public places along the route of the project, like the post office, the city halls, the schools, so that the public can look at it. And some of those who are against would say, “Ah, you forgot about the butterflies, what about those butterflies?” Then the engineers who have prepared it will answer, “If you look at page 257, you will see that we are talking about the butterflies.” That’s just an example. If we have indeed forgotten something, which might happen, since this is only a draft there is time to correct it and say that no alligator will be endangered, for instance."
In fact, I think Christo, Jeanne-Claude and other Land Artists would be well served if they used virtual worlds as their sketchbooks.
Today, March 24, is Ada Lovelace Day, an international day of blogging to draw attention to women excelling in technology. Women's contributions often go unacknowledged, their innovations seldom mentioned, their faces rarely recognised. We want you to tell the world about these unsung heroines. Whatever she does, whether she is a sysadmin or a tech entrepreneur, a programmer or a designer, developing software or hardware, a tech journalist or a tech consultant, we want to celebrate her achievements.
Ada Lovelace was one of the world's first computer programmers, and one of the first people to see computers as more than just a machine for doing sums. She wrote programmes for Charles Babbage's Analytical Engine, a general-purpose computing machine, despite the fact that it was never built. She also wrote the very first description of a computer and of software.
I elected to write about Comet Morigi and her work with Land Art/particles on Ada Lovelace Day because, with her art, she is stretching the boundaries of technology and by doing so, encouraging others to make new and previously impossible uses of it.
