Ducky...

Posted by Alpha Auer

Ever since I wrote the post on art in the age of computational (re)production a few weeks back I have been meaning to follow up on it with a few posts exemplifying what it is that I am actually trying to say there. What my point in all of that ultimately is.

I wrote a while back that it seemed to me that the folk that stayed the course in Second Life® were in fact the very ones that were creatively active: Only so much shopping and disco hopping you can do - and let's face it, when it comes to those kinds of activities Real Life is really far more engaging. So yes, as far as I can see, the metaverse is teeming with creative activity. We seem to have gone past the early days and entered a new era where more than just a few select individuals are putting out the content. These days Second Life seems to be in the process of transforming into a petri dish of activity where individuals from all walks of life are engaged in creative expression.

And one remarkable manifestation of this is the output of the Second Life community on Flickr, which is where I encountered Ravenelle and Ducky.

Now, although some of the "point and snap" photo documentation undertaken in-world by Residents is very accomplished indeed, the output that I have in mind here is the one where an individual takes the raw images captured in Second Life and then proceeds to manipulate them in an external bitmap application. In other words, the image processing activity surrounding Second Life photography. Indeed, I am quite surprised that this phenomenon isn't being widely talked about and indeed exploited in the "serious" Real Life art enclave out there. Probably is already, and I just don't know it yet...

So, why Ducky? Why is Ducky so very special? I am not going to spend a lot of time discussing the visual accomplishment of these, I would instead urge you to go and take a look at the collections on Flickr. I will say this however: There is a finesse, a sophistication in Ravenelle's visual approach which reminds me of the Renaissance masters. I will merely give links to who/what these images below remind me of and then proceed on to say how it is that Ducky really grips my heart.


Sandro Botticelli?


Georges de la Tour?


Leonardo?
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And then of course there are these here, in a world of their own, maybe reminiscent of Max Ernst's Bride, come to life in a new shape and manifestation?




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Unfortunately - and no matter how I slice this - I do have a real gripe with solely "viewable" art. I have had it for a long time I suppose, long before I ever came into Second Life, in fact. And I think the reason that Second Life grabbed me as a creative platform in the first place is the very fact that here creative activity has the hope, the chance of metamorphosing into a lifeform. Into becoming a living entity. An organism in its own right. Not something on a wall or a designated 3D space - but alive! (Really - an installation, no matter how accomplished - is absolutely no different to a modest 2D painting in my book - it is still there to be viewed and then gone home and left behind!)...


Ducky and Torley

Ravenelle gives us no textual clues outside of the visual material about Ducky. And yet, as I look and watch the videos, a fully formed persona emerges: A creature of ladylike elegance, with dreams and affections. Unspeakably delicate and feminine. Who loves her all too human Torley. With fears that haunt her and then the occasional lighthearted playfulness. Just as it should be, the personality slowly emerges as we watch. We get to know her over a passage of time. She is there, present, alive. Not hanging on a wall. Not on display in a showcase. She is wandering Second Life, she is wandering in the crevices of Ravenelle's mind and now she is also wandering in mine.

And no, this is not just about "building" a gorgeous avatar. Ducky is a gorgeous avatar - no doubt. But, far more is involved here: This is about making something come alive. This is about the deep commitment of an individual to a being created out of her own innermost being. An emergent, ongoing process. One which evolves and changes over time. One which I, with my huge tribe of alts, have yet to master. Alas...
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Is Ducky Ravenelle? Well, maybe. Only Ravenelle can say. She has emanated from Ravenelle for sure.

Is Ducky "art"? I say yes! Emphatically so! I believe that a decade from now the "serious" art world will be making room for a new category of artistic expression: They will probably be calling it "avatar art". Just like "body art" "performance art" today... These were not around 50 years ago, or at least the activities undertaken in these domains did not yet have these handles attached to them. And I really think that "avatar art" will take its "official" place as a novel form of artistic practice in the very near future. Hopefully the officialdom of it all will not ruin the spontaneity, the unselfconsciousness, the selflessness, the utter abandonment to the joy of the creative process of its early day practitioners like Ravenelle...
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Again, you can get to know Ravenelle's Ducky here.
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Oh that Pandora Wrigglesworth! She has done it again!

Posted by Alpha Auer...

I would have expected nothing less than total hilarity from the lady who has endowed the metaverse with the clockwork brain, which is prominently displayed in my blogger picture to your right on this very page, but I really have to say that Ms. Wrigglesworth may have outdone even herself with this latest one - the Rococo Fantastico hair. Thus, without further ado, first a direct quote from the creator herself:

"Now is your chance to show that snooty Marie Antoinette who the real queen is. Rococo Fantastico is the biggest hairstyle you will ever see. It takes six zeppelins and four propellers just to keep it up! Includes clockwork ballroom with porcelain dancers. Choose your own color, bows, flowers, and style!"


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So indeed, Rococo Fantastico comes with a full menu which allows you to decide on the colors of all its components and even gives you style options. Needless to say, I immediately went for the dark steampunk style. However, in the event the menu turned out to be a bit of a lifesaver beyond all of the stylistic issues: I was somewhat dubious prior to acquisition whether I would actually be able to wear this - the problem being my one pride and joy in this life; my ears (well, my tail too of course, but it is all an ensemble you know...). My ears must be visible at all times! This is indeed the one area in my life where I would rather die than give an inch. After all, I only have 768 pairs of them and visible they must be. (Not all 768 of them at once obviously - but I am sure you get my drift). But, I need not have worried: The construct - I hesitate to call it by such a banal phrase as mere "hair" - has a handy little re-sizer built into the menu and thanks to this piece of state of the art technology I managed to size down the hair to the point where my ears did in fact become visible. A bit of a mohawk style it ended up being but I quite liked that too for some reason.


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I may or may not wear Rococo Fantastico. Who knows?... The occasion may indeed present itself! One thing is for sure though, if it weren't for the prim count and the fact that I am running perilously low, I would rez it on Syncretia in a nano second. This is utterly utterly wonderful!


The ballroom with puppet dancers (close up)
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You can teleport to Curio Obscura, Pandora Wrigglesworth's shop, directly from here.
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Bryn Oh's abandoned robot theme park - Tomorrow's featured NPIRL-Koinup Safari

by Bettina Tizzy

Tomorrow, January 10th at 11:00am SLT, and awaiting on the other side of your teleport (directly from here) will be Bryn Oh. For an hour, this talented content creator will give an intimate and informative tour of one of the most photogenic sims on the grid: Immersiva. I've had the experience, and I guarantee that you will never look at Bryn's work the same.

A few weeks ago, Dusan Writer - the coolest businessman in SL, and yes! He is the same man who acquired and created a home for Eshi Otawara's Flower Tower - underscored his role as an arts benefactor by giving Bryn Oh her very own sim to do with it what she wished. Imagine Bryn with the abilty to create her own ground textures... her very own world.


Bryn Oh and Mr. Lightbulb

Immersiva is emerging as one of the truly great sims on the grid. Before you go, you really, really should add Bryn's Windlight preset and all its blue-ish atmosphere. You can download it and get installation instructions here (it's easy!) or set it up manually:


Immersiva Sky Windlight setting by Bryn Oh:

Go to World at top left of your screen. In the drop down menu at the bottom pick environment settings and then environment editor. Click on Advanced Sky. Then click the button "new".

If you are using a Mac, go to your Applications folder, right-click "Second Life WindLight", select "Show Package Contents", then open Contents > Resources > app_settings > Windlight

Under Atmosphere

Blue horizon R=0.24 G=0.43 B=0.50 I=0.50
Haze Horizon=0.65
Blue Density R=0.08 G=0.21 B=0.39 I=0.39
Haze Density=4.0
Density Multiplier=0.36
Distance Multiplier=11.6
Max Altitude=586

Under Lighting

Sun/moon colour is all set to 0.18
Sun/moon position is 0.25
Ambient is all set to 0.11
East Angle is 0
Sun Glow focus 0.1 size 1.81
Scene Gamma is 1
Star B is 0

Under Clouds tab

Cloud Color is all 0.7
Cloud Density x and y is 0.5 and D is 0.54
Cloud coverage is 0.5
Cloud scale is 0.53
Cloud detail x and y is 0.5 and D is 0.12
Cloud scroll x is 1.45
Cloud scroll Y is .01

Now give this preset a name, such as "Immersiva" and save it. Voila! You are ready.


Bryn's "Ferrisquito" in the background...

Immersiva has its own page on Koinup, which you will find here.



Once a month, NPIRL and Koinup - an inclusive social networking site for all Virtual Worlds that permits storage and sharing of imagery: photography, Machinima, and "storyboards" - are offering the NPIRL Safaris - with many of Second Life's best content creators, exposing the participants to new sims, new content, and new ideas that are leaving the old world behind and breaching the future.



Among the Virtual Worlds you'll find images of on Koinup: Second Life®, World of Warcraft, Lively, The Sims, IMVU, vSide, Kaneva, There, and more.

The Not Possible IRL (NPIRL) and Impossible IRL (ImpIRL) groups are dedicated to identifying and sharing well conceived and realized content creation in Virtual Worlds which would not be possible in Real Life: architecture, landscaping, art, animations, fashion, particle effects, building tools and scripts... show me, I'll show you.

The Work of Art in the Age of Computational (Re)Production ***

Posted by Alpha Auer...

Lately I have been giving a lot of thought to the concept of Not Possible in Real Life in terms of creative activity. So, I have come to the conclusion that sharing what my sense of what is NPIRL may well be in order at this point in time.

The State of the Art of computation and creativity today

You may remember a certain backpack which enables an avatar to "wear" a landscape on his/her back, which I posted about a few weeks ago on this blog. Even as I was writing the post I could not help but be reminded of my PhD colleague as well as good friend Laura Beloff's wearable art in Real Life. And specifically one item which Laura has created, which is a breeder of fruit flies to be carried as a backpack. (Other wonders of Laura's include a a wearable head that a second party can communicate with via mobile technologies, a wearable weather observatory and networked boots which capture the conversations in online chat rooms and transmit them via audio playback into the physical realm).


Laura Beloff: The wearable fruitfly farm


Laura Beloff: The wearable weather observatory


Laura Beloff: "Head"

The output of the hybrid field of art and computation is vast indeed and unless one turns it into a fulltime occupation it would be quite impossible to know all that comes about. Thus, I shall continue to stick to the work of my close associates and colleagues for further examples.

My much beloved friend, colleague and indeed adopted “brother” Yacov Sharir has been dancing on a Real Life stage with virtual dancers whom he has created in 3D Studio Max since the late 1990's. The touchingly beautiful pas de deux of the real and the virtual dancer are accomplished through a sensor wired glove through which Yacov directs the movement of his virtual partner(s).


Yacov Sharir: "Lullaby"

My colleague Selçuk Artut, right here in Istanbul, is conducting research on the creation of a sophisticated interface that will bring about musical instruments with which musicians will be able to compose/perform music from the feedback of biological organisms. And not little old beeps and bleeps but scored music! Which in its turn reminds me of my PhD colleague Nicolas Reeves' work which focuses on the creation of music not only from architectural constructs but also from clouds: "La Harpe à Nuages (1997-2000) is also known as the Keplerian Harp after German astronomer Johannes Kepler (1571-1630), who first came up with the term "music of the spheres". Reeves describes the harp as a "meteo-electronic installation." It is a physical sculpture containing a technological system that, thanks to a series of infrared lasers, reads the structure of clouds and then transforms this reading into music. The melodies vary depending on factors such as altitude, cloud density and meteorological conditions".

This list could be extended by quite a bit even if it were to be restricted to just my own circle of friends. However, I will need to stop at some point and this will be my colleague Diane Gromala's Meatbook. To quote, “the Meatbook is a project that provokes users’ senses of their visceral responses. A time-based (that is, decaying) slab of meat, constructed as a book, is embedded with various sensors that cause the meat to react and quiver as the viewer approaches it. The reanimated flesh also responds with other movements and sound when users touch it”.


Diane Gromala: "Meatbook"

And yet, there has to be one final artist, without whose name such a survey would be most incomplete: The grand master of body art, Stelarc is not amongst my personal associates and so I do not feel at liberty to use an image of his output without his permission. However, I would urge everyone who is not familiar with Stelarc's output to take a look at this... And then especially this...

The State of the Art of "art" today

From the above examples it is quite obvious that the human creative spirit is alive and well in the year of 2009. And yet to me something quite fundamental is not right. And it isn't just me who thinks so either: I have shared countless conversations with colleagues (including the ones whose output is shown above) on this matter, and we are all more or less in agreement that a very vital component of artistic practice is no longer present with us today. Or at least not immediately and obviously so. Does artistic output still serve the intrinsic purposes of humanity? Or has art simply lost its cause?

For millenia art provided the visual narration of religious concepts. From Lascaux to Karnak to the Sistine Chapel generations of artists dedicated their creative abilities not to the pursuit of personal agendas but to serving one of the most fundamental purposes of humankind: Belief. And notwithstanding that some amongst them (as would be the case with Caravaggio) were eccentric individuals living from time to time on the edges of society, for the the large part artists were fully integrated members of the milieu in which they operated; responsible businessmen with professional commitments, outstanding (pre-paid!) orders and accounts to balance, supervising hordes of apprentices in well organized and efficient workshops. A far cry indeed from the type of individual we seem to have inevitably become today in the face of personally instigated demand and supply.

With the advent of the Bourgeoisie in Europe after the 16th century yet another demand was charged upon artists: The newly individuated and wealthy Citizen no longer settled for just the glorification of religion, but sought personal glorification as well. The outcome was the genre of portrait painting, as well as interiors, landscapes and still lives, with which the European Burger adorned his estate. However, whether Sistine Chapel roof or Rembrandt portrait, one essential premise remained unchanged in that artwork was something present in living spaces, indeed to be lived with, to be experienced on a basis of daily familiarity - something to be "used" and not merely to be "viewed" in spaces designated for that activity alone.

And then, needless to say, with the 19th century there came photography, followed shortly thereafter by the moving picture. Compounding these advances in technology was also the rise of empirical inquiry and religious skepticism, both results of the Age of the Enlightenment, weakening the social power of the church, amongst else also as patron of the arts. And so, the whole "business of art", as it had been practiced for thousands of years found itself in a precarious position of re-evaluation. Of a need for creating personal agendas and purposes that would continue to provide an outlet for that intrinsically human attribute we call creativity.

Up until the early decades of the 20th century the research of the visual elements of art themselves - of light, of space and of object culminating in pure abstraction, served the bill. Indeed, for me, this brief period of the "avantgarde" in modernist art constitutes one of the most notable apexes of mankind's artistic endeavor. Then came a brief dabble in an investigation of the human subconscious during the middle of the 20th century - but ultimately it was all self propelled, self instigated and could sustain its own momentum for only so long. And it seems to me that the present day phenomenon of conceptual and indeed post-conceptual art is not faring much better. I know this is presumptuous of me, and who am I to even pontificate upon any of this - however, it is my considered opinion that unless we provide an intrinsic purpose for it, and one which transcends that famed holy cow of "creative self expression" at that, our artistic goose is pretty much cooked! Overcooked, if anything, should you ask me... ;-).

And then came the Metaverse...

The concept of NPIRL which Bettina Tizzy has thrown on the virtual table is no less than visionary in its manifold implications.

So, what is NPIRL? Stelarc's "third ear" is in Real Life after all, as is the "meatbook"...

One of Laura's biggest gripes is that the wearables which she creates do not really get used as such, inevitably ending up as exhibits in museums or sophisticated art venues such as Ars Electronica. Occasionally a person may put them on and wander about a bit, but by and large they are not part and parcel of everyday life in Real Life. They do not get worn long enough to evoke "behavioral change" in the wearer. Laura wants people to play with her output and to change whilst doing so. They do not. They watch, they wonder, they admire and they talk about it. Oh yes! Do they talk! And maybe they try it out - just maybe, not always... But in Real Life that is far as it seems to go.

And here, suddenly, in the metaverse we have this truly amazing and seemingly not all that possible in (grown-up) Real Life occurrence: Playful activity and the changes it can engender are subject to a huge area of discourse in the Social Sciences, exemplified by the writings of Huizinga and Brian Sutton-Smith. Sutton Smith alerts us that in Real Life “frivolous playfulness” is a distinctly rare attribute once childhood has been outgrown – and this despite the fact that according to Sutton-Smith it is a crucial one for the sustenance of the species.

However, unlike Real Life “play” in the metaverse is very much alive, becoming manifest in what we wear and what we “use” and how we interact with ourselves and others whilst kitted out in all of our splendid NPIRLness. And doesn't what we discover about ourselves during this seemingly frivolously playful activity acquire huge significance when viewed from the point of view of Homo Ludens?

But of course it goes much further and deeper than just what we wear and what we use. All of that is merely the paraphernalia of a novel form of ritual - the Ritual of Behavioral Change I presume to call it. The very creation of fantastic identities: Becoming a Neko, a Furry, a Hobo, a Drow, an Urban Warrior, a Fairy or a Gorean involves a great deal more than a bunch of attachments. It involves living by that creed. I can take a safety pin and attach a length of rope to my jeans and become a neko in a nano-second in Real Life after all... But would I be able to sustain it? Develop a full identity around my tail? Which my Real Life peers unquestioningly accepted? Would I be able to wander into, say, a faculty board meeting at my university and have my colleagues listen to whatever it was that I had to say with any degree of seriousness? Could I teach a class? Or just simply venture out of my home even? You tell me… Can I do so in the metaverse? Is there even a question here? Since when are nekos not taken seriously in the virtual realm? grrrr… ;-)

And then it goes even further than the creation of just the one identity, doesn’t it? While you are at it, why not create a whole bunch of them? In Real Life we call it Schizophrenia. In Second Life® we merely call it the rezing of alts. Standard practice it seems. Certainly no indicator of mental instability. After all, how many amongst us are there that don’t have at least the one? For my part, last time I looked, I had 4...
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And this would more or less delineate my take on the matter I believe. In any case, it may go some ways towards explaining quite a bit of the content which I have covered, and especially my emphasis on design output – and particularly non-human oriented design output, which in its intrinsic attributes seems to me to fulfill the role I wish for in the realization of “play” and consequent “behavioral change”. Leben Schnabel, in the post that I wrote on his work sums it up far better than I possibly could:

“… the fact that I can give people the means to express a part of their personality with my avatars. That, for me, is a wonderful aspect of working in SL. As fleeting and transient as our work is in this medium, for a while, people relate much, much stronger to it than to, for example, an expertly painted picture. Typically, people look at a picture for merely seconds, of maybe minutes if it speaks to them on some level. Somebody who wears my avatars or has his or her virtual home in one of my caves, might spend months in a close relationship to my work. That is one of the things that I absolutely like about making content for a virtual world”.

Personally, I have created Syncretia entirely by the credo of "livability" as opposed to "viewability" and my future efforts in metaverse creativity will follow along these lines as well, since to me this seems to be a thoroughly viable means of providing context to artistic endeavor today: The provision of usable objects and spaces serving the ritual of behavioral change and consequent self discovery through play.
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The past few months for me have been a period over which a creative block has cast a huge shadow. I am happy to be able to say that the dry spell seems to finally be over. Compounding this is the fact that my sabbatical semester leave is drawing to a close and once again the duties of a full time Real Life beckon.

The blogging activity here on the NPIRL blog during this entire period has been nothing less than a God send. Amongst much else, this has also provided me with a wonderful opportunity to take out the time and become fully engrossed in the detailed examination of the creative output of others for a change - an experience which I have vastly benefited from and hope to put to good use in my own future design work. So, I will most certainly continue to post – however far less frequently than before. I still have one June Dion post, this one on her scary avatars (and boy, are they ever!) which I will be posting soon-ish (I hope), but beyond that you will be hearing from me only occasionally, since my own creative output should be keeping me quite busy for the foreseeable future at least.

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(*** Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction")

A New Year's gift from Chouchou

This morning I received a very welcome New Year's greeting and gift from one of my favorite bands of all time and in any life: Chouchou. This short but lovely video just reminds me all over again why I am crazy wild about the work of juliet Heberle and arabesque Choche, the Japanese duo.


The video came with the message, "we hope our music will always reverberate in your heart." Rest assured, juliet and arabesque, it does!

If you are not familiar with their work, you absolutely MUST see: Enjoy Chouchou while you can: Our days are surely numbered

Gary Hazlitt turns the page on 2008 - What happened and what's coming in virtual worlds

Sydney-based Brit and marketing wiz, musician, composer and rich content creator in virtual worlds Gary Hazlitt (aka Gary Hayes), is already done celebrating the incoming year, while we wait for a few more hours in the Western Hemisphere for 2009 to arrive.

Gary, who studied physics, is the director of the Australian Laboratory for Advanced Media Production (LAMP), and also heads up Virtual Worlds for the UK-based The Project Factory, for which he produced the highly successful and eminently revistable (as the traffic numbers indicate) Australian Telstra and ABC Second Life presences.

I welcome Gary's guest blogpost and knowledgeable take on the recent past and the coming adventures of virtual worlds. Happy New Year, everyone! - Bettina Tizzy

by Gary Hazlitt



In the social Virtual Worlds context, 2006 was about hype... another new frontier 'kid-on-the-block,' but became about fast bucks and cheap and cheerful PR. We saw that bubble gently burst in 2007 as the realisation that one world in particular, Second Life® (which is still the leading example of culturally created virtual content), was really about creative communication and artistic expression versus the local shopping mall or a crude business tool.

Last year, 2008, we witnessed a distillation in what Second Life (and by implication other customisable worlds) is really about, leading to a proliferation of new, niche virtual worlds meeting the cultural and entertainment needs of much broader demographics. We effectively saw the 'fat' surgically removed from Second Life and an acceptance that this new medium and form is still in its very early days, but in 2008 there are clearer reasons for being a part of the social web mix:

1. An immersive expression of community - Facebook and MySpace-meets-World of Warcraft. This community can create their own environments or swarm around trusted film, TV or lifestyle brands, too.
2. For business, it is more about a place to meet, present and recruit and far less about brand awareness, product sales or vacuous hype. The business model in 2008 clearly came into focus: the community selling to itself - brands needed to court existing inhabitants very carefully.
3. For education, Second Life is one of the most efficient tools in the learning process. Education becomes democratised, everyone can contribute and learn equally, remote learning is far more compelling, fun and immersive.
4 A creative tool. Second Life, in particular, showed significant maturity as we saw a higher number of serious live performance (CARP, NMC, DanCoyote Antonelli, for example), a record number of in-world 'machinima & TV-like programs' and by far the largest array of creative statements from virtual environment artists, many members of the NPIRL group. The quality of 'experience' creation from talented musicians, designers, photographers, artists, etc., reached new heights.


GROWTH OF WORLDS

Investment across the board - more than $900 million US invested since Oct 2007 - has moved away from generalist worlds like Second Life to more focused niche or user base environments with many starting to exhibit core game elements. These include those with renewed investment after new'ish launches: vSide, Football Superstars, Stardoll, Home, IMVU, Metaplace, Multiverse Places, and Music Mogul.



Towards the end of the year, console social worlds came onto the scene. XBox360 and Wii are very similar in 'cartoon' aesthetic, whereas Sony is far more game focused. All have very similar business models - create a space to hang out and be 'tempted' by games/film/merchandise. Although these are not yet places for community creation, they will soon learn that to keep inhabitants they will need to be or, like Google Lively, have to pull the plug. Embeddable or layered worlds began in 2008 and are likely to be significant in getting people used to real time communication through 'representational' avatars - vs text based 'social network' profiles. Also, Facebook worlds like YoVille or Vivaty, or layered worlds like Rocketon or Weblin that are embedded on the existing 2D web. The dominance of the likes of Club Penguin and Webkinz at the tweens end of the spectrum will be duplicated through teens and gen y's as a series of new, highly focused and targeted social worlds launch next year. This has already begun with Football Superstars and Music Mogul but expect to see many more - including several with user created content as a feature alongside the virtual economy.


HIGHLIGHTS OF 2008

- Graphics in Second Life become teenagers. Still some way from the likes of Crysis, Second Life Windlight turned the world into something far more fantastical for many. It added layers of light, glow and control to a previously very 'flatly lit' world. We still wait for dynamic shadows, better environmental sound and an even more useful scripting language (post Mono), but this was a paradigm shift for environmental artists.
- Some companies got it! There was not a plethora of companies or brands entering Second Life but those that did had continued success as they concentrated on the social (people) rather than 'product' aspects of their business. Although the Pond leads in dwell terms, new entrants like Warner's Gossip Girl have done exceedingly well. Car companies still do well even though Pontiac walked away from Second Life, and Toyota, Fiat and Nissan are always in the top 10 brands.


Click image to see larger

- The quality of machinima across all social and game worlds increased exponentially this year and a growth in communities watching 'documents' of the worlds they spend most of their time in. In addition to some machinima appearing in heritage media ("Molotov Alva and his Search for the Creator" and HBO/Cinemax, for example) there has been a growth in long form game-engine films and notably many more serious issues tackled.
- The New Worlds. A fracturing, as it became obvious that Second Life cannot be all things to all avatars - so nearly 70 other worlds all showed up on the radar. Many are focusing on niche interest or are highly branded. Several of the new 'jack-of-all-trades' entrants will learn that enabling community creativity and an economy is absolutely necessary. There were several walled garden/locked content mirror worlds and builds in 2008, which will learn to be not about 'broadcast' spaces, and realise that their worlds are far more significant than modelling what is around us - "In augmented and online virtual worlds, humanity will exponentially evolve, free from the limiting ghosts of that other virtual world we called reality".

The classy urban warrior goes to Dirty Lynx

Posted by Alpha Auer

OK, time to let you in on a little secret over here: After spending some considerable time (not to mention financial resources) in the pursuit virtual apparel design, I have come to the conclusion that I may have learned enough through sheer power of observation and have consequently decided to join the ranks of metaverse designers. Thus, currently I am working diligently on putting my own collection of NPIRL wearables together. I shall be revealing further info regarding this little venture in due course - however, on my own blog. (I mean there is such a thing as a limit to naked, unashamed self promotion, right?)...

And I have to tell you that I am depressed about the whole thing before I have even made my debut: There is absolutely no way that I can presume to compete with the talent that is already out there! Point in case would be Loki Dancer. Dirty Lynx is a store covering the gamut of avatar needs from clothes and attachments to skin and hair - one item better designed and textured than the next. The theme is urban warrior and neko, however the ware displayed is a far cry from the, at this point, somewhat predictable urban warrior/neko output. There is a finesse, an observation of detail, a balance of color and shape that really puts the design work at Dirty Lynx in a class apart. Subtle! That is the very word that I am groping for... Nothing is overdone, over designed. And then the textures: Beautifully detailed and crisp. (If there is one thing that I cannot abide it has got to be blurry textures! ;-)


Tomcat Urban Warrior


Freerider Urban Warrior


CyberAngel

There is a vast range of attachments available at Dirty Lynx, however I have stuck to one category: Shoulder armor! Again, even in this there is a much wider range that one can indulge in than what I am presenting here. I have limited myself to three - which is not to say that is all that I got while I was out there. Basically, when I finally managed to tear myself away from the place I was laden with all kinds of wonders - and not just shoulder armor either. Oh no sirreee... :-)))

You can teleport to Dirty Lynx directly from here.

the sad intangible who grieve and yearn... Urban Spectre

Posted by Alpha Auer

I have searched for an artist's statement both inside the construct as well as online, particularly on the artist's own website, but have not been able to find one, from which I infer that DB Bailey is leaving the viewer open to come to his/her own conclusions...



So, why is it that when I enter this remarkable structure of DB Bailey's, currently rezed at the Cetus Institute, I am immediately transported into a certain kind of architectural space that I cannot help but love? The opulent lobbies of the commercial enterprises of the 1930's, epitomized of course, inside the Chrysler Building, but countless other breathtakingly beautiful samples of the genre abound throughout Northern America and to a lesser extent in other parts of the world as well. This connection is perpetuated by groupings of masterfully integrated photographs, which too hearken back to that period. And then, the very title "Urban Spectre" as well as the line "the sad intangible who grieve and yearn", placed prominently on the entry level seem to somehow further the association.



It is an era long gone and the remnants of it may well have turned into urban specters since it seems to me that that not only is the era gone but also the entire mindset that surrounded it: These magnificent shrines to mammon were created during the Great Depression. And yet, to judge by the output of its popular culture (such as the Hollywood movie), the period between the two great wars was still one of staunch, unquestioning belief in capitalism, in enterprise, in human endeavor. Do we still believe in these things today with the same optimism and naivete in the way in which our grandparents did back then? Has the whole gilding not been quite severely tarnished in the interim? Do we still believe in a golden future where healthy maidens will dance in a frieze and yet others soar into a golden sky of everlasting affluence?



And sure enough, once we reach the upper levels of the structure, the dancing maidens are replaced by plaintive, sad hands reaching out into the sky... Not to mention that on the level just below them we have the sudden appearance of a quizzical "contemporary" full on portrait, one which to me is quite clearly no longer the glorified face of eternal trust and optimism.

Urban Spectre asks a question. An uneasy question to which the artist does not provide an answer. And in the end, for me, this is what the true artistic process should do: Ask uneasy questions to which there are no easy answers, indeed maybe no answers at all.

You can view Urban Spectre, which has also benefited from the input of Desdemona Enfield, Douglas Story and Dizzy Banjo, at the Cetus Institute by teleporting directly from here.

Note: Although, from what I could gather from comments online, there seems to have been a sound installation with this work, sadly, I missed it: I was there for a very long time but heard nothing.

And finally, there is one small criticism that I feel compelled to make, especially given how very deeply I was impressed by the work. The red typography with which the creators of the piece were credited: Not to put too fine a point on it, this is clumsy. I was so taken by Urban Spectre that in this particular case this typographic mishap has not stopped me from thoroughly becoming immersed in the work. Thankfully it stands somewhat out of harms way, at the very top of the building - but it is very much there nonetheless. I am not sure if a considerable number of artists in Second Life® realize how gravely distracting, indeed obstructive, these big and often completely incongruous typographic additions, usually rendered in strong primary colors for enhanced visibility, are to their work? Wouldn't it be much better to put a notecard with the title and credits of the piece in a small, well designed notecard dispenser, placed at the entrance of the installation?
;-)

O Tannen Bomb, O Tannen Bomb... A friendly Christmas assault

Merry Christmas, y'all! - Posted by Bettina Tizzy

Jopsy Pendragon cannot resist the impulse to create, and he's had many irons on the fire lately, especially since he expanded the Particle Laboratory and put his ingenious Porgon 1800 (the Particle Organ) on the market.

When it comes to Jopsy, I've come to expect vivid, brilliant particles dancing in the air to music, or self-guided tutorials on how to make them as well as the best particle textures on the grid. But he's not above having a little fun with us!



The Tannen Bomb is a bit of merriment Jopsy started to make on a lark three years ago, and finally got around to finishing on Wednesday. It's a short-lived build, so make your way over there in the next few days, and take advantage of the temporary lift on forced teleports at Teal, too, (teleport directly from here).

In a nutshell... well, nah, I'm not going to tell you exactly what happens. Just go with friends, launch the Tannen Bomb... and let it surprise you.




In this shot, I'm wearing American resident Eshi Otawara's Christmas Edition Smokey Tux dress, and soror Nishi's splendid mistletoe antlers

I am still plagued by that snapshot bug, so I appreciate Jopsy's help with pics.

An Airborne Leviathan?

Posted by Alpha Auer

Half seal, half whale - or maybe some other mythical hybrid creature which emanated from archetypes residing within the imagination of Feri Beckenbauer, looms over the sky of the sim Beckenbach.


This is a really wonderful structure housing a shop of fantasy/cyberpunk apparel beautiful enough to make me drool over most of that I saw on display.


While seeming to be ominously hermetic from the outside, the construct turned out to be surprisingly spacious and un-claustrophobic once inside due to the split ceiling.


Very beautiful, 3D display of merchandise. Why don't more apparel designers do this I wonder?


A gaggle of birdlike annexes follow the creature... Claws made out of giant propellers, a befitting entourage...

Creative output, the roots of which lies in archetypes has always held a particular fascination for me. Indeed, as Joseph Campbell has already shown us in his studies, sometimes I wonder whether our human imagination, bound as it is in a collective subconscious which seems to have spun the same myths over and over again regardless of geographic and chronological dispersion, can ever fully step outside of what is archetypally relevant. And when it comes to the generation of a true act of imagination, as Feri Beckenbauer's wondrous creature shop seems to me to be, I cannot help but start thinking very much along these lines:

Despite its airborne quality this creature has predominantly aquatic attributes, such as fins rather than wings. Consequently it reminds me of Leviathan, the Biblical sea creature which has become synonymous with any large sea monster. In Herman Melville's classic novel Moby Dick the term Leviathan refers to great whales. Partly due to this influence, Leviathan has come to be associated by many with the sperm whale. There is Walt Disney's depiction of Pinocchio's being swallowed by Monstro, a sperm whale and then of course there is the story of Jonah who is miraculously saved from the consequences of a sea accident by being swallowed by a whale where he spent three days and three nights, at the end of which, following God's orders, the creature vomited him out at the shore. And then of course there are all the numerous references to Leviathan ranging from Milton's Paradise Lost, where the creature is symbolic of Satan, to the words of Puck in Shakespeare's Midsummernights Dream.

For me, humanity bypassed a huge opportunity of self exploration through the means of visual creativity when it took a wrong turning on the path during the mid 20th century, choosing the follow the route of realistic rendition in Surrealist art. True, there did remain the odd hardcore contentual surrealist like Max Ernst, but for the large part the display of craftsmanship took over from the investigation of archetypal subconscious content, resulting in a mass of maudlin and trite, if not borderline sentimental output gathered under the heading of Surrealism. And now, here in Second Life®, I am daring to hope that this past error may be rectified. Maybe not so much in the form of "high art", although there is some hopeful evidence of that as well, but certainly in the emergence of design output that truly seems to be looking at archetypal content which is usable - making the whole self-investigative adventure even more dramatic, even more immediately accessible and powerful. We do not merely look at archetypes, we become immersed, in fact we become archetypal characters ourselves.

Feri Beckenbauer's giant airborne hybrid creature would seem to me to constitute a primary example to this. Unselfconscious imagination, yet ever so subtly evoking a millennia old, ever present, omnipotent archetype?

Wow!

You can teleport to see the creature shop housing Beckenbauer Productions directly from here.

Meeeaaann Kittiezzz.....

Posted by Alpha Auer... ;-)

Cats are predators. So, I hope that I am speaking on behalf of the whole species when I come right out and say it like I see it: Enough of all of this hello kitty stuff in the metaverse - pleeaaaasse!

We are not cute little kitties - we are big nasty meeeeaaannn old catzzzzzzzz!

And so, ladies and gentlemen, under the horrified gaze of all present company, off we go to carnivore land... teeeee heeeee....
...


The Demonic Cat avatar comes in both light and dark shades. Of course, one gets the dark one!


The Latex Mew comes with nasty little fangs, a spiky tail creepy enough to put the fear of God into the Devil himself and huge huge huge stomp-over-everything-in-sight paw boots. Oh, and of course it wouldn't do to forget mentioning those utterly lovely boxing glove paws, good enough a size to do justice to any little old altercation...
...


The tail as larder: Sorry folks, I ate the fish... And yup! While I was at it, I also ate Tweety. Odious little fluffball!!!... Oh yes, the mice I am saving for later. I do tend to get somewhat peckish just around bedtime...


And speaking of rodents, I simply cannot emphasize this point strongly or often enough: There is no such thing as having too many mice!
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It shows a sad state of affairs when you cannot be secure even on your own island! This tomcat came flying out of nowhere and put me into this dreadful state. Even my tail is in a cast! Reason? He seemed to be upset about the contents of this very post, said it was giving us Nekos a bad rep! One of those politically correct cats no doubt.

However... R.I.P. old boy...


... took care of his sanctimonious little derriere pronto pronto! Here's where it actually happened... And of course, I did not leave any trace evidence! Watched my share of CSI episodes as diligently as the next person, haven't I?
...

Credits:
Demonic Cat and Latex Mew avatars: June Dion
Neko tails: selena Chastity, Purrrfect Kitties
Mice Boots: Cyia Kanami at Purrrrfect Kitties
Neko arm sling, casts and collar: Akasha Wachmann
Neko Crime Scene: Cinemaniac Voom
(Please click on names for teleport locations)