Pixie Rain: straddling Art and Porn in Second Life.
Some of the machinima and blog-posts on this site are adult in nature and contain scenes that some people may find disturbing.
If you feel this might be you, please exit now.
Other elements are warm and cuddly and have a "feel good" factor.
Click the "Film Link" tab below for all my films listed chronologically.
This is a significant achievement by any standard. Over
160,000 people attend this prestigious festival each year and it is also one of
the qualifying festivals for the Academy
Award for Short Films.
‘Falling’ depicts a
chapter in the life of Susa Bubble, the central sadly beautiful character in
many of Rose
Borchoski’s Second Life installations. We have blogged Rose’s
work before of course; once almost exactly a year ago as part of the ‘The Path’ and again more recently with her
‘The Inevitability of Fate’ installation.
‘Falling’ records
how Susa is now
broken in so many ways that her personality has spilt into 33 different complexes.
Susa no longer
knows who she really is and consequently is falling…
When Iono originally released this machinima in March 2012,
I commented on the YT page “beautiful and
moving”. It remains so for me today.
Congrats and good luck to Iono, Rose and of course Susa!
“Sights, sounds and
stenches horrible beyond belief, cruelties so enormous as to be
incomprehensible to the normal mind.”
- Colonel William W. Quinn,
referring to Dachau in April 1945
Recently I visited the Holocaust exhibition at the Imperial War Museum (IWM) in London.The exhibition traces the rise of National Socialism and Nazism from
1933, when Adolf Hitler was appointed Chancellor of Germany, and the subsequent
persecution and murder of European Jews until to the liberation of the
concentration camps by the Allied and Soviet forces in 1945. Using photographs, documents, newspapers, scale models,
military footage, personal testimonials and various objects confiscated at the
camps (clothes, toys, shoes etc), the exhibition graphically demonstrates
precisely how Hitler planned to implement his “annihilation of the Jewish race
in Europe” policy.
As you can imagine, the exhibition is really very harrowing
and disturbing. It remains with you long after exiting the museum doors.
For me, one of the most upsetting aspects was the realisation
that all the people who had the terrible misfortune to get caught up in this
horrendous chapter of history were in fact normal everyday folk who could have easily
been my next door neighbour, my grocer or hairdresser; my cousin, brother or
parents.
And, perhaps even more horrifying, was the dawning awareness
that not only were the victims of the Holocaust normal everyday folk but so
were many (not ‘all’!) of the perpetrators. A lot of the prison guards, low-grade
political activists, train drivers, press reporters and many others were
previously living normal, everyday lives. For me, it is a horrifying thought
that seemingly most anyone can be turned from an upright citizen into a
criminal monster given the appropriate external stimulus. It is a form of
vanity, I think, to believe that we personally might be immune to such influences
and would have therefore behaved differently.
The controversial psychoanalyst Wilhelm
Reich explored the mechanisms of how this might occur in his
1933 book ‘The Mass Psychology of Fascism’.
Needless to say this book was quickly banned by the Nazis and Reich, realising
the danger he was in, fled Germany
for Austria and later to the
United States (where,
ironically, in 1956 he had his scientific laboratory equipment destroyed and
his writings burnt in a New York
incinerator by the FDA. Reich subsequently died in a US prison).
In one of his TV specials, ‘The Assassin’
(2011), the eccentric and multi-talented English ‘mentalist’ Darren Brown reveals how a previously
upstanding member of society with no criminal history could be “conditioned”
and “programmed” to assassinate Stephen Fry, whilst Fry performed live on stage. Brown used various “brainwashing”
techniques to accomplish this, including Neuro-Linguistic Programming (NLP),
hypnosis, aural and visual repetition and a host of other methods – each of
which he describes in detail as he carries them out. In another special, ‘The Heist’ (2006),
Brown uses these and similar techniques to attempt to manipulate a number of
individuals into holding up a security van in broad daylight. After receiving
the conditioning three of them proceeded to rob the van of their own accord,
voluntarily.
This is an important point, it seems to me. Although the
robbery was carried out as a result of their brainwashing – they would not have
considered doing such a thing beforehand; the “tendency” or “urge” to act thus
having been artificially implanted into their mind – the actual act of committing the
robbery was their own choice and not
because of any directly given third-party instructions.
As well as being good TV entertainment, Brown’s programmes
are often thoughtful and educational. In these particular instances they are also
a bit scary because of the potential implications.
All of this brings to mind the now infamous Milgram Experiment carried out at YaleUniversity
during the early 1960s, with detailed findings published in 1974. This
experiment was designed to observe how everyday folk respond to authority
figures. It was specifically motivated to try and understand some of the
psychological mechanisms at play within the perpetrators of the Holocaust. The
experiment found that 65% of people were willing to administer (what they
believed to be) a lethal electric shock to another person, if given an
instruction to do so by an authority figure.
Scary stuff.
As I write these words, I am at Rose Borchovski’s
deeply moving ‘The Inevitability of Fate’ exhibition
in Second Life, after having just re-watched Tutsy Navarathna’s latest machinima
of the same name (embedded below).
Rose’s installation addresses some of the same issues as the
IWM’s Holocaust exhibition but in a narrative form.
The installation tells the story of Angry Beth and Lot.
Until Lot turned eight years
old, everything was happy in their lives. However, when war came everything
changed. Lot and Beth were forced to leave
their home and became separated from each other. After a long, bitter war Beth
returned home but Lot did not.
Beth forever searches for Lot.
She has good days and bad days. On the good days, Beth imagines she is flying
like a bird, face turned skyward; on her bad days, she knows only anger at her
loss.
Beth’s wounds will never heal; Lot
was never given the opportunity to become who she was meant to be.
It is a terrifically emotional installation made possible by
a combination of the back story, the visual components of the narrative and
especially the incredible sound loops that play constantly in the background.
These sounds are tremendously good, frequently giving me
shivers and one particularly – the “I
miss…” sound loop – bringing me close to tears.
It is beautiful work by an accomplished and experienced artist.
It was fitting therefore that an equally accomplished and
experienced artist should decide to make a machinima of Rose’s installation.
Tutsy’s film of Rose’s work uses many of the visual and aural elements from the
installation itself, plus he brings his own unique flourishes and style to the
work.
The IWM’s Holocaust exhibition, Rose’s installation and
Tutsy’s machinima all tackle the same highly charged subject matter in their
own particular way – and each have added to my appreciation of what happened during
those dark days in Europe. Dark days, it should be emphasised, which were *not*
at some distant point in history, but within living memory of some of my own
family members.
I feel sadness right now. A deep sadness for what happened
then and an almost prescient expectation that something similar may happen
again, perhaps even within my own lifetime.
“Those who do not learn from history are
doomed to repeat it”.
'The Path' is an inspiring new Second Life exhibition showcasing some of the Metaverse's most talented 3D immersive artists.
Tutsy & Pixie
Tutsy Navarathna & I have visited a number of times since the exhibition opened on the 14th October - me to take the 70-odd pictures that comprise this blog-post, Tutsy to shoot many gigabyte of raw footage which is sure to make an appearance in some future machinima project.
(Click images to enlarge)
The artists invited to install work are:
Bryn Oh
Colin Fizgig
Marcus Inkpen
Desdemona Enfield and Douglas Story
Maya Paris
Claudia222 Jewell
Scottius Polke
Rose Borchovski
Bryn Oh
The artists have fortunately avoided the stereotypical and well-worn "hippy spiritual" connotation all too often associated with the phrase "The Path". Instead, a far more darker - and richer - narrative emerges.
Bryn Oh
The Path, taken as a collection of eight individual installations, was composed using the art technique often referred to as 'the exquisite corpse' and usually ascribed to the Surrealist movement.
Bryn Oh
One artist - in this case Bryn Oh - starts the narrative and composes the beginning of a story. The batten, as it were, is passed to the second artist - Colin Fizgig - who continues developing the story before then passing over to the following artist, and so on.
What evolves from this process is always unpredictable but, given the artistic talent of the respondents in this particular exhibition, the result is of singular and wonderful beauty.
Bryn Oh
Bryn Oh, it often seems to me, is to virtual world art what Philip K Dick is to novels.
Her work has dark undercurrents minutely explored in fine detail.
It is always exquisite.
But even as you start to recognise an object - be it inanimate or organic - you realise that it has its own skewed reality; it resides in a universe that you are only barely familiar with - one that is at right-angles or perpendicular to your own.
There is always a hint of madness, a definite sense of sadness, of loneliness and abandonment in Bryn Oh's work.
The Path advances from the watery-confined space of Bryn Oh's abandoned domestic living to a vast expansive hall created by Colin Fizgig.
Markus Inkpen
A large, beautifully detailed bust of "The Inventor" by Markus Inkpen is surrounded by numerous 3D vignettes.
Markus Inkpen/Colin Fizgig
Fizgig's vignettes are fabulously done and need to be seen in-world to really appreciate the 3D depth that they manage to convey.
Colin Fizgig
Colin Fizgig
Colin Fizgig
As you explore each of the vignettes in the vast hall, you are casually and subtly introduced to some of those elements which will recur time and again as you travel The Path.
Markus Inkpen/Colin Fizgig
But at this still early stage of your journey, what exactly these might be is still far from clear.
Colin Fizgig
Once you have located the secret teleport, you progress from Colin's installation to Markus Inkpen's.
Markus Inkpen
Regular readers of this humble blog will know that I adore 'The Looking Glass' - a whole sim installation created by Markus himself along with his partner Sharni Azalee - I wrote an extensive blog-post about it in July 2011.
Markus Inkpen
You arrive at Markus Inkpen's Path installation to be greeted by the most glorious red-wood textures - and confronted by a daunting array of slightly misshaped doorways.
Markus Inkpen
Visually, it looks magnificent and you know enough by now to intuit that your progress along The Path lies behind one of these many doors.
Markus Inkpen
And herein would be my only criticism of this particular work: although there are many doors and you know the exit lies behind one of them, that exit door is the only door which is actually interactive. The rest do not open or in any other way interact with the audience.
I know because I clicked almost every single one "just in case"!
It occurred to me that it would be fun if a number of the doors had some simple form of interaction - even if only opening and closing - just to introduce some "game" element to the work.
YMMV.
Of the eight installations of The Path, I found this installation had the hardest of all the hidden teleports to find. So I offer this clue...
Markus Inkpen
Desdemona Enfield and Douglas Story's installation uses standard media streaming (not media-on-a-prim) so ensure that it is enabled to be able to see their work.
For that matter, it should be noted that all eight of the installations supplement their visual components with sounds, so be sure to have your stream on and volume up.
Desdemona Enfield & Douglas Story
The installation comprises numerous metallic-like spheres - each with differing but now familiar textures - which approach, surround and batter you.
With the sound especially, the effect is really quite claustrophobic - deliberately so.
Desdemona Enfield & Douglas Story
You need to swipe at the spheres, sweep and hit them to pummel them away.
It is really quite a fun game to play but unfortunately, in doing so, both Tutsy & I accidently brushed against the exit-tp and was prematurely catapulted to the next installation before we had really had the opportunity to take it all in.
Suddenly and unexpectedly we landed at Maya Paris's super monochromic installation.
Maya Paris
I have seen Maya's name appearing on various Group Notices lots of times. In fact, I have even seen her work at Burn2 2010 and 2011.
However, The Path was the first time I had seen her work in and of itself, in its own right.
Maya Paris
I cannot tell you just how much I enjoyed this installation. I spent hours here!
Maya Paris
A bass or oboe soundtrack plays a repetitive "breathing" pattern in the background and this is overlain with different vocal refrains repeating the phrase "Are we there yet?"
This phrase has particular significance to me as it is the one I choose to use to close my 'Personal Jesus' machinima with.
The total effect is pretty eerie.
Maya Paris
But that is really only half of the story because other elements of the installation, especially the interactive parts, are fun and quirky!
Maya Paris
This peculiar delicate balance of eerie and quirky blend perfectly together, as does the simple black, grey and white colouring of the work.
Maya Paris
In fact, Tutsy said that the colouring of the installation worked wonderfully with the 'General Corruption' outfit I was wearing!
As with the previous installations upon The Path, we are re-acquainted to concepts we have already learnt to recognise but also introduced to new ideas - predominantly the spider and its web.
Maya Paris
I have to say that I enjoyed this installation so much - particularly the interactive parts - that I will be watching out for future exhibitions by Maya and will be first in the queue for tickets!
Maya Paris
Following Maya's ladder paths naturally leads to the hidden teleport-exit from this installation to the next - by Claudia222 Jewell.
Claudia222 Jewell
It has to be said...Tutsy and I are both huge fans of Claudia's work.
Her contribution to The Path only reinforces that feeling.
Claudia222 Jewell
Claudia herself is modest and unassuming and has an attractive air of vulnerability about her.
She is adorable.
Claudia222 Jewell
However, she clearly has a much darker side too.
Claudia222 Jewell
I left Claudia and Tutsy to chat about their native France and shared interest in all-things-India and went exploring her latest work.
Claudia222 Jewell
Claudia222 Jewell
Claudia222 Jewell
In this installation, "The Path" is realised quite literally - you walk along a designated pathway to the nearby towering village.
Claudia222 Jewell
Around you and below you are the fauna and foliage and other dark weirdness and beauty you associate with Claudia's work.
Claudia222 Jewell
And, as always, it is beautifully executed.
Claudia222 Jewell
Claudia222 Jewell
Claudia222 Jewell
If you need a clue to find the secret teleport from this installation to the next, all I can suggest is you remember your Lovecraftian lore and think of Dagon.
Scottius Polke
The transition from the dark but tranquil village life of Claudia's installation to the Mad Scientist laboratory of Scottius Polke is like some metaversal evolutionary punctuated equilibrium.
Scottius Polke
Scottius develops the now familiar memes we have come to associate with The Path but treats them like a deadly virus or better still, a micro-organism, that needs to be investigated, experimented upon - and changed.
Scottius Polke
Or perhaps sedated, hypnotized and overcome.
Scottius Polke
Scottius Polke
Scottius Polke
The truth is, however, that you will need to completely immerse yourself in his experiments if you are to escape his clutches and find your way to Rose Borchovski's installation for The Path.
Rose Borchovski
Rose's installation brings Susa Bubble to The Path.
Rose Borchovski
The story of Susa Bubble is an on-going epic of darkness, sadness, loneliness and vulnerability. And of gradual growth, development and evolution.
Ultimately, to me anyway, the Susa Bubble tale is one of personal Awakening.
As such, Susa's story melds perfectly with the narrative that the previous artists have developed on The Path.
In July 2010, an installation by Rose called 'The Kiss' was removed from the Linden-owned SL7B sims because Susa was naked, apparently breaking the Community Standards.
It really was a bizarre decision from the Lindens.
However, in fairness, my art-machinima called 'The Kiss' probably breaks the Linden's Community Standards too...but for more obvious reasons!
Rose Borchovski
In recent times there have been numerous discussions throughout the blogsphere as to whether the Linden Game Gods should or should not become involved with in-world activities, other than in matters of governance.
They have been accused of manipulating both the rental market and in-world purchases via. the Linden Assisted Living scheme and the web-based Marketplace, respectively.
Personally, I have no rabbit in this race and do not have any strong feelings either way although, by nature, I subscribe to the philosophy that "the Government that governs best of all is the Government the governs least of all".
Rose Borchovski
However, that said, if the Lindens *are* to get involved in-world, then I believe The Path and other similar Linden Endowment for the Arts (LEA) projects are precisely the sort of thing they should be doing.
My concern, I think, and the reason I mention it here and now, is that Susa is depicted as clothed for The Path whereas Rose has previously said that "When I hide Susa's nakedness, I have stopped telling her story".
I hope that Rose decided to have Susa clothed here because she felt that that best told Susa's story for The Path, rather than some self-censorship because the installation is on Linden land.
IMPORTANT EDIT #1: Since writing this, Bryn Oh has contacted me to confirm that Rose was under no influence to clothe Susa and, further, that the Lindens do not have an influence over LEA projects as it is run by residents.
IMPORTANT EDIT #2: Rose Borchovski further clarifies the actual situation in the comments below.
Rose Borchovski
This eighth and final installation for The Path encompasses seven beds; each one provides a teleport to one of the previous installations.
Rose Borchovski
Rose Borchovski
Rose Borchovski
Rose Borchovski
Rose Borchovski
Rose Borchovski
Rose Borchovski
Although The Path is designed to be travelled in a circuit, the fact remains that each one is strong enough to be explored and enjoyed in its own right.
Rose Borchovski
The curator has conveniently provided landmarks for those who only want to visit specific installations - or who cannot find the hidden teleports!
I am therefore not giving anything away to provide the following links:
Tutsy & I did journey the circuit of The Path, as well as visiting each individually numerous times.
I found the experience to be inspiring and joyful; thought provoking and meaningful.
The Path represents some of the very best that virtual world art currently has to offer. It sets a high benchmark.
My only suggestion would be that we virtual world artists need to think more about increasing the level of audience participation in our work - a game element, if you will.
Platforms such as Second Life provide scripting/coding which is mostly unavailable in other artistic mediums. In one sense, the use of interactive scripts is what differentiates - or at least *could* differentiate - virtual world art from other mediums. Virtual world art can *change* and *respond*; it can interact and give the feeling of participation rather than simply observing.
I believe the next step in virtual world art is to exploit this possibility and that this exhibit of eight installations will be recognised as a significant and important milestone on that Path.
