Kultivate Magazine - October 2020 Issue

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Welcome to the October 2020 issue of Kultivate Magazine! My apologies first for such a late issue as it is October 31, but we have been busy with our charity events for Team Diabetes of Second Life and of course real life. Not to mention this month is a somewhat rough month for me, for November 1 is my late mother’s birthday and I miss her everyday. She loved October and Halloween so it has been quite hard but here I am and here is this issue. This issue features artist Anouk Lefavure, United Artists of Second Life (UASL), The Outer Garden Photo Essay, Phoenix Artist Collaboration, Gem Preiz's Arcadia 3D Exhibition, Just Melusina Exhibition by Melusina Parkin, an update on Second Life's Cloud Uplift Project, Nostalgia Falls Sim, Whimberly, and photo essays by Tempest Rosca Huntsman & Grace Sixpence. We hope that you enjoy Halloween and if you are out, be careful, as the pandemic rages on. Tempest and I hope that you have many tricks and treats! Tempest and I hope that you enjoy the issue and would like to thank the many artists, galleries, advertisers, friends, and family members who support us at Kultivate! We appreciate all of you tremendously! Sincerely, John, Owner & Publisher of Kultivate Magazine



Johannes Huntsman, Owner & Founder

Tempest Rosca Huntsman, Photographer Liaison Veruca Tammas, Gallery & Sim Manager Jessii Warrhol, Marketing Manager CONTRIBUTORS: Inara Pey, Lead Contributor Johannes Huntsman Tempest Rosca Huntsman Grace Sixpence Anouk Lefavre Riannah Avora COVER PHOTOGRAPHY: Anouk Lefavre











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I first met Anouk

Lefavre about 5 years ago, when Kultivate had just opened up the Windlight Art Gallery! Anouk is a very talented artist and photographer and has exhibited at many galleries across Second Life over the years. I was able to sit down with Anouk to discuss her artwork and more! JOHN: So tell us about yourself. How did you first discover Second Life? ANOUK: I heard about Second Life through a news’ report on television. They did quite an interesting cover about it and I got very curious. So, a few days later, I created my account and it was such fun walking around SL like a duck eager to explore and meet other residents. That was how I found Antiquity, a Victorian set of sims and the first place I called home in SL. I spent quite a few years dedicated to historical role-play, from Victorian to Medieval and then to 1920’s and 1940’s. I was the editor of small RP communities’ newspapers and I also collaborated as a journalist with the long gone SLNN, The Caledon Strand Magazine and the Metropolitan Magazine. In October 2012, I decided to completely change my SL, drop role-play and embrace a new challenge: modelling and consequently photography. After more than 13 years in SL, I still find it fascinating. It is true globalization at your fingertips. You have the opportunity to meet all kinds of people from behind your keyboard. In-World, you’ll find the bad, the good and the very best. It is a concentrated sample of RL with real stories and real emotions.

JOHN: And what made you pursue art in Second Life? ANOUK: My interest in photography came in my early SL days but I never took it as seriously as I do now. I have always taken snapshots of special moments with friends, events or landscapes that caught my eye but I never even imagined that I would ever dedicate most of my time in SL to photography. When I started modelling and created my fashion blog, I needed pictures, lots of pictures for my daily blog posts, portfolio, agency applications, contests, castings and so on… and being a bit of a perfectionist and very demanding with myself I had to improve my photography. VISIONAIRE Institute was fundamental, not only because it was

of my best experiences in SL, but also because I learned so much, enhanced my skills and naturally discovered that I loved photography more than I enjoyed modelling. So it is no surprise that currently, photography is my main activity in SL, my outlet for creativity. It is my constant challenge with no routine, or repetition.

ANOUK: I don’t create graphic art outside of Second Life. Therefore, all of my pictures are generated in-World and based in Second Life, which is my creative outlet. JOHN: What are some new and upcoming projects you are currently working on?

JOHN: How long have you exhibited in Second ANOUK: Oh I am constantly looking for the next best thing… the next best picture, in this Life? case! So I am always working on a new ANOUK: Actually, my first exhibition was at collection of pictures, especially landscapes Kultivate! The Kultivate Spring 17 Art Show, in and seascapes and of course, I regularly April 2017. Do you remember, John? Well, of update my Flickr stream. course you don’t! You give the first Photography is challenging. Everyday! There is opportunity to so many artists! always something new to learn; there is always Anyway, it meant the world to me, when I another possibility and another angle I have received the notecard notifying me of my missed... The light, the atmosphere, the mood, acceptance at the exhibition. I was thrilled and the emotion given to a picture is never the nervous but so overwhelmed to display my same... My lens offers me the freedom to take images for the first time. I confess I still feel a snapshot of everything that catches my eye… that thrill and anxiety whenever I need to put of places, of people, of lovers, of scenes, of together a new collection for an exhibition. I dreams… All fit into my lens, my “Wandering always try to tell a story that makes sense to Lens”. me and of course to everyone who visits. As I previously mentioned, it is a constant challenge and one that motivates me every JOHN: Do you have any tips for new artists? day. ANOUK: Pay attention to your surroundings: to people and atmosphere… or to whatever JOHN: Tell us about your art style. What catches your eye! Observe the work of other influences your art? photographers and find your own vision. Listen to the productive and positive critique – the ANOUK: Inspiration exists everywhere and words that will give you a base to grow, not comes from everything: fellow photographer’s the words that will discourage you. Follow art, love, poetry, literature, seasons, a good your favorite photographers! Some of them story, a beautiful landscape, a painting, have great tutorials from which you can learn emotions - my own and others, my current and build your own skills! Use your instinct, mood, my positive thoughts, my drive for your sense of aesthetic and your heart. adventure and of course my own fantasy… I confess I am partial to the beach, seascapes, riverscapes. The sight and sounds of water are JOHN: Who are your favorite artists in real particularly beautiful and perennially life? inspirational to me…

JOHN: Do you create any artwork that is based in Second Life? Do you create any art in real life?

ANOUK: Oh that is a difficult answer… There are so many. So I will give you the safe answer and name a few of my favorite painters. It is obvious to anyone who visits my Flickr stream that I love landscapes, so I am naturally inclined to admire the works of J.M. William

Turner, Renoir, Monet…

_ Flickr: https://www.flickr.com/ photos/119288042@N04/

JOHN: You won Best in Show at our recent art show, how did it feel?

_ Webpage: https:// anouklefavre.wordpress.com

. ANOUK: Yes! I won third place for Black & _ Gallery @ Kultivate: http:// White pictures at the 5th Annual Kultivate maps.secondlife.com/secondlife/Water% Spring Art Show. At first, I couldn’t quite believe 20Haven/106/158/26 it. And then I felt a combination of happiness _ Shop#2 @ Carmel Art Community: http:// and humility, because every SL photographer who was exhibiting on that event had wonderful maps.secondlife.com/secondlife/ images on display. And in all honesty, none of us McFarren/160/174/31 do it for prizes or lindens! We do it because we _ Gallery @ Artists Village, Campbell love it! Because it is thrilling and challenging! Coast: http://maps.secondlife.com/secondlife/ And we have the privilege of sharing it with the Emyniad/205/55/29 great community of Second Life. _ Studio Gallery @ The Phoenix Artists Collaboration: http://maps.secondlife.com/ JOHN: Do you have any upcoming exhibitions secondlife/Cherished%20Melody/31/18/2164 in Second Life? If so where? ANOUK: I just had my first solo exhibition at Carmel Art Community, under the theme “Still Melancholy” with a set of 12 pictures inspired by Autumn. It was quite overwhelming and I owe my heartfelt thank you to Martha and Robert McFarren for the opportunity. As for the next couple of months, I don’t have anything planned except my participation in the Carmel Winter Holiday Event, starting in early December. It should be fun and very Christmassy! But you are welcome to visit my galleries at Kultivate, Carmel Art Community, Artists Village at Campbell Coast and The Phoenix Artists Collaboration. I try to keep updating the collection of pictures on each gallery so I hope it is worth every visit.

Please include anything else you would like in the article: “A good snapshot keeps a moment from running away.” ― E. Welty ― KM Kultivate would like to thank Anouk for sitting down and chatting with us! You can view Anouk’s artwork at the following locations:







support from Linden Labs was discontinued and Artists of Second Life or (UASL) in 2020 in the the program was abolished after ten years, in spring. Since that time, I have been a regular August 2019. This left a lot of people wondering artist exhibitor, along with my beautiful other if they would be able to continue to do the things that they had spent a lot of time learning half, Tempest. I was able to sit down with UASL’s founder and owner, Riannah Avora to to do, creating the SL world. The loss of the social aspect was felt immediately., but I did discuss UASL, art in Second Life, and more! keep in contact with some people that I had met at LEA. JOHN: So tell our readers about yourself. How long have you been in Second Life? Why did There weren't any other places like LEA and you decide to take the plunge and remain? there were not many art groups providing RIANNAH: I've been in SL for just over 10 years resources for the general art community to be now. I first came to SL for the technical marvel found. The politics that some groups developed that it was. I was just in "awe" walking around served to alienate a lot of people unfortunately. and looking at the graphics and the ability to People with good intentions, I'm sure, fell into interact with objects and people. SL the same sort of principals that was the compliments my RL and who I am very well. It ultimate demise of LEA. affords me the ability to do the most important things to me... explore and feed my creativity, October 1, 2019, I rented a 1/4 sim in hopes to utilize my technical skills, evolve and improve make at least some people smile. Honestly, I current skills, and help and share with other didn't really have a clear plan at the time. I just people, as well. wanted to help. And that's how it started. I learned a lot very quickly. I made mistakes and I had successes. However, I did set some very JOHN: United Artist of SL just recently clear objectives right away that are actually celebrated it's first anniversary. Tell us about UASL. Why did you decide to create it? When carved in stone... UASL would always be "for artists... by artists", no one owns it, yet was it created? RIANNAH: UASL is exactly what the name says, everyone owns it. Everyone would be treated United Artists of SL. I would say that it's purpose with respect. No one was better than another is geared towards the support and resources for person. Everyone mattered. Everyone deserved artists. And in being that, it inherently includes to be able to build and create in an environment safe from being bullied or griefed. Everyone support and resources for art groups and galleries. You can't have one without the other deserved to be able to express themselves through their builds. And sometimes, some in my opinion. people, need more of that than others do. Experienced builders along side of those with A very sweet friend, Penumbra Carter, less experience. To also acknowledge that we introduced me to a place in SL called LEA are all human. What you say or do for another (Linden Endowment for the Arts) a few years ago. LEA provided a place for people to create person could make a huge difference in their and exhibit their work in addition to socializing lives. Make it a good one.

I exhibited for the very first time at United

and meeting others that were like minded. Once again, I was amazed at what I saw... so many talented people working side by side with other people. Sharing information, helping each other in a way that was just utterly amazing. Linden Labs seemed to recognize that SL's success was directly related to the people who created the content, the artists. But LEA was not without fault. Ultimately

JOHN: What is the goal of UASL? RIANNAH: UASL's goal is to continue to be a very neutral source for artists, artist groups and galleries. To listen to understand the art community, not just be another art group. I think it's a very special opportunity to fill a gap that exists between a lot of the art groups. Like providing a bridge between them, not a door

that will slam shut. Provide support when needed. Unite, not divide. Help, not belittle. Support, not control and conquer. Certain things can kill the spirit of an artist and my goal is to avoid that. It will be about the artists, not about ones self. A utopian and idealistic philosophy some would say... but it is something that I feel strongly about keeping in focus.

JOHN: How can an artist exhibit at UASL? RIANNAH: We try to make things as easy as possible. All a person has to do is join the inworld group... secondlife:///app/ group/82618363-dfcf-2dc8-d545-374c9b11ff85/ about That will give anyone the ability to rez on the group land. We have a lot of different opportunities for artists. There's usually always something that any person can participate in depending upon what exactly they want to do. The flexibility of UASL is one that can accommodate many different things. It may take some time to organize and figure out how to implement an idea, but if it is reasonable, I will do my best to provide for it.

JOHN: Apart from 2D and 3D art, do you except performing artist or groups? RIANNAH: Absolutely! We have the ability to allow for smaller performances integrated with more static physical art exhibits but we also provide a full 256 x 256 meter (sim size) sky platform that is at the disposal of anyone who wishes to use it for a performance. UASL will also assist in the promotion of performances using a variety of marketing techniques that we have developed for the artists.

JOHN: As you have many artists who exhibit every month, how do you keep track of everyone? RIANNAH: Ha! That's a trick question isn't it? LOL! One doesn't simply "keep track of everyone". There is no one right way or guaranteed way to do what you are asking in my opinion. Rather, we use a variety of methods to be sure things are communicated efficiently and clearly. We have grown so fast in a short time. Sometimes being redundant, but never limiting to any strict method. One thing I am committed

to, communicate with artists that are exhibiting, always. I will send IM's to each artist that is active in UASL, there's a lot, but I do it. Primarily, I do rely on Group Notices to announce opportunities and schedules, but if I know an artist is actively looking to exhibit or do something, I tend to let them know via IM about opportunities that do exist. JOHN: How many galleries and areas does UASL currently have? RIANNAH: We have several. We have free exhibits constantly that anyone can take part in. The 2D Expo on the ground, has a rotating cycle of about three months. Using the sky we have monthly rotating exhibits, which currently include Optimistic October and Flat Lands. As well, we have areas for those who wish to sell their art, in the Gardens and Palace. The artist decides how and what they wish to promote themselves and can change it at any time. This gives the artist much more freedom and control. Additionally, we provide a sandbox area and Learning Center. TP boards are located in each area to help people navigate in the region and areas. And, as always, anyone can IM me with questions and for guidance.

JOHN: Curation can be a hard job in either world, any tips for new and established curators? RIANNAH: Well, I think that administrators need to get a feel of what is needed and be flexible enough to evolve and change methods and plans when necessary. Expect the unexpected. Aim to be compatible, not controlling. Accept that sometimes things will not go as planned or expected. Set people up with what they need to succeed, not fail. It will never be just about providing a venue and resources, ever. You will need to also step into the role of being a friend when needed. You'll need to be able to change gears and provide needed emotional support to people as well. Many people here have been emotionally destroyed in the real world. Provide the place where they can be safe from that and do what they love to do.

Above all else, respect all people. Respect their ideas and input, always listen. Take the extra time to meet that new artist. Take the time to ask the important question, "is there anything that you need?" and mean it. Be sincere.

JOHN: Anything new and exciting coming up for UASL? RIANNAH: Always! The same old dance gets so boring. I always have some goodies in my bag to change things up a bit and keep things exciting and fresh. One thing I am planning to implement for artists is larger exhibit areas with more building time and a longer exhibit times. I'm still chewing on the exact numbers, but it will happen soon. I hope to figure out the best way to allow for existing projects to continue in a synchronized fashion. But quarter sim sized areas are in need and will be provided. Perhaps some other things too! We're always open to ideas.

JOHN: Tell our readers who your favorite real life artists are: RIANNAH: I love Van Gogh for his ability to express things with his paintings and showing us his pain. His life was not really acknowledged until after his death, sad. I am extremely intrigued by Eisher's ability to lead me on an endless journey with his style. Leonardo da Vinci's boldness to be many things in addition to being an artist is unmatched. However, as we are seeing now, art is evolving. The digital world provides a much larger area for new types of art. More favorites are yet to be name, I am sure. KM Kultivate would like to thank Riannah for taking the time to talk with us! She had a few additional words for everyone: UASL is diverse to say the least. We have people from different areas of the world who also have different cultures. Seeing how the differences are expressed is extremely interesting and amazing. We all have life experiences and perspectives that influence us, often in different ways, but it is actually those differences that bring us together at UASL.

I actively promote and do what I can to bring attention to the art community in SL in every way that I can think of. It's not just about UASL... it's about the entire community. You can visit USAL at the following links: •

UASL inworld group: secondlife:///app/ group/82618363-dfcf-2dc8-d545374c9b11ff85/about UASL inworld land: http:// maps.secondlife.com/secondlife/ Karpov/127/129/61

UASL Facebook group: https:// www.facebook.com/ groups/748005775643542

UASL public audio stream: http://19013.live.streamtheworld.co m/SP_R2953618_SC

UASL's provided event calendar: https:// calendar.google.com/calendar/u/2/r?tab=wc UASL's website: https:// unitedartistsofsl.com/

UASL Flickr: https://www.flickr.com/ groups/14668957@N25/

UASL Discord: Link provided upon request as they expire

https://www.youtube.com/watch? v=2ryY11MVITI







It’s been 18 months since I last wrote about Whimberly, the homestead region held by Staubi Reilig (Engelsstaub) (see: Whimberly’s summer fields in Second Life), which is an interesting break, given it was some fifteen months between that visit and the one before; so maybe I’m getting into a cycle for visits – although given the picturesque nature of Staubi’s designs, more frequent visits should be the order of things. Anyway, the last time we were there, the region was in the middle of summer. Now autumn has arrived, and with it a delightful new design with plenty of places for people to enjoy the setting. A visit begins on the south side of the region at a Zen garden that looks north over a broad bay. This may have once been an enclosed lake, but which is now open to the waters beyond the region, which are themselves enclosed by mountains. From the landing point, which overlooks an over-the water terrace complete with comfortable seats and the opportunity to try raw pumpkin, two arms of land stretch northwards to the west and east, reaching out to encircle the bay, linked at their northern extent by a low wooden bridge. The westward arm rises along the gentle slope of low cliffs, a meandering path wandering up it, the route marked by a low fence. A forest cabin sits at the highest walkable point of the hills, backed by a narrow ridge of rock that might help keep it in the lee of any westerly winds sweeping down from the high peaks beyond the land and its ring of water. This cabin, cozily furnished, offers a grand view out over the central bay to the eastern side of the island. Tall Douglas firs mark the path up to the cabin and sit around it as if protecting it, before marching onwards with the path as it winds its way back down to the lowlands and the bridge connecting the west

and east sides of the island. A spur to the path points west to where a little fishing hut sits at the water’s edge.

walls a perfect match for the region, a deck again sitting over the waters to the rear for those seeking a place to relax within the setting.

Eastwards from the landing point, a second path curls its way through a copes of great oak trees to a couple more destinations. The first of these, sitting behind gabled gates and a large terrace and pond (complete with fountain and swan!) is a small but comfortably furnished hall where a Full English breakfast awaits the hungry – or for those who prefer, afternoon tea can be had on the front terrace, warmed by one of the two outdoor fireplaces, the other being to the rear of the hall, overlooking the open waters of the region from a brick paved terrace.

Hooking its way past the farmhouse, the path rolls down through the field to pass an old pier where visitors can rez a rowing boat and head out into the bay, before it comes to the northern bridge to offer a complete loop around the island.

Outside of the hall’s gates, the path meanders onwards through the trees to become a paved route that passes by another seating are and climbs a low hill to where a farmhouse overlooks a broad field of nanohana awaiting harvesting. With geese outside and more comfortable furnishing within, the farmhouse is of a traditional American design, its red wooden

Presented in a mix of summer and autumnal colors and rounded out by a rich sound scape, Whimberly remains an attractive, highly photogenic and inviting region that welcomes visitors to come an spend their time. KM You can visit Whimberly at the following slurl: http://maps.secondlife.com/secondlife/ Whimberly/123/56/28









areas in which the artist studios have been placed so that we can break things up with Phoenix Artists Collaboration (PAC), but I’m pleased to say all to the work in consolidating footpaths, gardens, bodies of water, etc. This is to hopefully give artists and visitors alike a sense the group’s presence at Cherished Melody is now complete and just about all of the artists of space and room to enjoy the art that is on offer. The north side of the platform in from the Holly Kai location have now set particular – containing the main landing point, themselves up in their new studios. the Information Hub, etc. – includes some As in inevitable with moves, some opted not to garden walks up into the hills or along the lake make the hop, so the group currently has four shore, and various places to sit have been added. vacant units, each with a 50 LI allowance.

It’s been a while since I last updated on the

Artists who might be interested in making use of one should contact either myself or Will Harris (willyharris) in-world.

At the time of writing, these locations feature the following Second Life and physical world artists: Carrington Row: Zach HerrMann; Giselle Seeker; Inara Pey; Audie Spade.

Since my August update, a couple of further changes have been made to the platform – notably, we decided to combine the two large galleries into a single (larger) building that will house both the themed Group exhibits and also Cassatt Square: exhibitions by Featured Artists – both of which West: Skye Joubert; Suzzanna LaRue; Mathehilde Vhargon and Looker Lumet. will be starting up in due course. East: Angel Heartsong; Tara Aers; ArtandSoul Constantine; Kayli Ilali and Victor Savior. The studios are available for artists to use as South: Nils Urqhart; Seiko Blessing; JudiLynn they please: display and sell their work, hold their own mini-exhibitions (with the aid of the India; Layachi Ihen. PAC team for advertising), and so on. All we ask is that exhibitions and art are kept within the limits set by the Second life Terms of Service / Community Standards and the maturity rating for the Cherished Melody region. As it is, PAC artists have a number of exhibitions currently in progress Second Life users are welcome to visit. These are: • The Possible Life of Your Favorite Doll – Owl Dragonash @ Whistler Court • Return to Life, Landscapes and Still Life – Tom Prospero @ Magritte Court. • Floral – Giselle Seeker @ Carrington Row. • Winter is Coming – Nils Urqhart Gallery @ Cassatt Square South. • Sally’s 13 Nightmares Before Christmas – Kisma Stepanich-Reidling @ Gainsborough Court. ABOUT THE LAYOUT PAC is located on a sky platform at Cherished Melody. This has been split into a number of

Gainsborough Court: The Other Thing; Hamsa; Sophia Joubert; John Huntsman; Tempest Rosca-Huntsman; Kisma Stepanich-Reidling; Vanessa Jane; Uleria Caramel. Magritte Court: Zia Branner; Alex Riverstone; Rachel Magic; CybeleMoon; Loegan Magic; Sisi biedermann; Patrick Ireland; Tom Prospero. Rembrandt Court: Etame; Sisse Singh; Sophie Dunn; Dhyezl Ravenhurst; Slatan Dryke; Raging Bellls; Anouk LeFarve; Melusina Parkin; Shakti Adored. Whistler Court: Sheba Blitz; Cullum Writer; Michiel Bechir; Ethan Hawkins; Tresore Prada-Hawkins; Anibrm Jung; Ilyra Chardin; Owl Dragonash.

For ease of getting around, the Information Hub includes a teleport hub that will take visitors directly to any of the studio areas, as well as to the main gallery building. The Hub also provides information on the artists at PAC – just click on the portraits for biographies, and provides links to the PAC group, the PAC website, and so. on. In addition, visitors are also welcome to take the teleport link down to the ground level of cherished Melody, which is also open to the public. So, do please feel free to pay PAC a visit and enjoy the art! Km

You can visit PAC at the following slurl: http://maps.secondlife.com/secondlife/Cherished%20Melody/134/154/2164









Gem Preiz is a master of fractal art, as I’ve oft commented on in these pages. His work is always fascinating, encompassing as it does many interlinked themes and ideas – time, space, the future, the past, the rise and fall of civilizations and more, much of which is framed in terms of fractal images with a distinct architectural heritage. And while fractals are not part of his newest installation, architecture is very much its beating heart, fleshed with the use of physical space and a rich layering of time. Arcadia presents a marvelous architectural fantasy – to use Gem’s words, what he refers to as a capriccio, a whimsy – although this actually does the installation no justice. To encapsulate Arcadia as simply as possible might be to describe it as a neo-classical city, rich in Greco-Roman influence through the use of Renaissance Palladian architectural styles, whilst obelisks and some of the more tiered rectangular structures offer a hint of ancient Egypt within their forms. This is a place of perfectly conceived design, where buildings, their shapes, placement and immediate surrounds have clearly been given special consideration such that while there is no deliberate mirroring of structural symmetry (e.g. a Coliseum-like amphitheater in one corner mirrored by a round building in an opposite corner) there is nevertheless a sense of symmetry in the way a line can be drawn through the city from the southern gates to the doors of the northern temple. passing through the arches of triumphal gates to cut this city neatly in two, or the east-west line that splits the city between low -lying precincts and raised palaces and temples (although this admittedly cuts through one of the raised elements). This planned layout speaks to the ideal of cities being of a more harmonious design than we see today; places where architecture is considered to be both an art form and a reflection of a civilization's relationship with the natural world (as well as the familiar projection of power). Within his notes, Gem refers to Arcadia as a

utopia in the form of a haven of peace and grandeur, protected from the rest of the world, to which I would add that were the concept of Elysium to ever be embodied in architectural form, that somewhere like Arcadia is very much how I would imagine it.

Canal (Canaletto), Hubert Robert, Giovanni Panini (himself also an architect), and two of my personal favorites, the first being French neo-classical architect and visionary ÉtienneLouis Boullée (whose proposed cenotaph for Sir Issac Newton was sadly never built, but does form one of a number of Somewhat extending from visualization within Sansar created by John his Skyscrapers installation, Acadia allows Gem Fillwalk from the Institute for Digital to present an ideal, one that brings together Intermedia Arts at Ball State university), past a future in a design of the present. By this and Thomas Cole’s quintet of paintings known I mean that while the overall look to the under the common title of The Course of individual structures lie within classical Empire, charting the rise and fall of an architectural forms, the presentation of the imaginary city. installation – the lighting (I strongly recommend using the suggested TOR NIGHT This latter collection could also be said to be Under a Yellow Moon windlight (or EEP setting) the spiritual forebear of Arcadia (although the if you have it available / have imported it as an influence of the other artists can also be EEP setting) and use of orange glow give the witnessed throughout the installation), with installation a futuristic / otherworldly look. the exception that while Cole’s city eventually collapsed in destruction, Arcadia is perhaps Most of all, however, Arcadia is a marvelous eternal. celebration of architecture and geometry, both in terms of the entirely layout of the city, the When visiting the instillation, due ensure you individual styles of structure and building, the following the local instructions for the greatest layout of courtyards, quads and terraces – even visual benefit (although I would suggest a draw the very grassy elevations to the north side of distance of 300 meters should more than the city – and the placement of trees and suffice for most visitors), and keep an eye out fountains, all form a part of the whole. for the balloon ride close to the landing point and the horse and carriage ride within the city This celebration of architecture and reflection (where the balloon ride will drop passengers). on great civilizations that spawned it can also KM be found within a number of the central buildings. Signified by glowing orange doors, You can visit Arcadia at the following slurl: these contain reproductions of works by some http://maps.secondlife.com/secondlife/ of the great masters who so often celebrated Akimitsu/107/115/2801 the beauty of architecture. They are: Giovanni





I’M NOT FAMILIAR WITH PORTRAITS; OBJECTS, DETAILS OR LANDSCAPES ARE MY FAVOURITE SUBJECTS. I’M NOT AWARE OF THE MANY SECRETS ONE NEEDS TO KNOW TO CATCH EXPRESSIONS, FEELINGS OR BIAS IN A BODY OR IN A FACE. BUT SOMETIMES I TRY THAT. IT’S WHEN A PLACE, A DRESS, A POSE, SUGGESTS AN ATMOSPHERE OR MEANINGFUL EMOTION. – Melusina Parkin These are the disarming words Melusina Parkin uses to introduce her latest series of images, Just Melusina, an enticing set of 34 self-portrait / avatar studies that are uniquely Melusina in appearance, tone and style that fully underline her use of atmosphere and emotion – and demonstrate she indeed has an eye for pose and look. “Traditional” portraits tend to exercises in power and / or ego, however subliminal. The subject and their pose is what counts, the clothes they wear, the backdrop to their sitting, etc., are all merely accoutrements to the central theme of look at ME. Even self-portraiture can follow a similar route, although they can also lean the other way, projecting too much of the artist’s own self-reflection in a piece, although the end result is the same: to push their audience into a single track of emotional response. Within avatar studies, ego can also play a role – who doesn’t want to have their avatar looking its stunning best? – but leaving aside things like Profile photos and personal shots, avatar studies within SL tend to focus on narrative: telling a story in a single frame. But often, rather than allowing the image to speak for itself, the artist will directly lead their audience into an interpretation of a piece through the use of an intentionally descriptive title that sets the foundation of what they are trying to convey. There’s actually nothing wrong with this where the story is the intent, but where the interpretation might otherwise be broader, it can focus too much on generating the primary response rather than – as with the likes of landscape images – allowing the audience to take

This is where the 34 images found within Just Melusina differ from the more “usual” forms of avatar study. While each and every one has obviously been posed, none are titled by anything other than by a number), so there is no leading by the hand when it comes to interpretation. The result is that what we see within each image is entirely a matter of our owner observation and emotional response – and this is broadened by Melusina’s skill in lightly (and sometimes indirectly) touching on smaller specifics within an image, as well as in using dress, poise and camera angle, to offer the way to larger stories our imagination might frame. Take Just Melusina 34, for example. In a muted, soft-focus monochrome, it presents a woman sitting, perhaps curled with her knees up, on a sofa of some description. But is she at home or some public place? Just the hint of the chair is sitting on suggests a sofa, but could it be a vinyl -covered bench seat in public place that she has chosen to make her own. And is she alone or with someone? The turn of her eyes could suggest either; is she looking at someone whilst listening to them? If so who? A friend? A lover? A stranger? And if so, what does the neutral set to her expression suggest? Or has something outside of the frame attracted her attention? Is it something she is witnessing outside of wherever she is and seen through a window? Or is it closer, within the space she occupies, but not something with which she is directly involved? Or is she just lost within her own thoughts, unaware of either the sideways

glance or the expression on her face? If so, what might be the thoughts she is lost within? Thus, through each image, Melusina beautifully and lightly sets a scene – not an entire narrative, and certainly not a shout of “look at me!” – abut a scene. One in which we are invited to step and allow our eyes and emotions construct the narrative beneath. And there’s more besides. Whilst all of these images open a veritable storybook of possible narratives to hold our attention, so too do some have other aspects to them. There are those that seem to have a more playful edge to them as they offer hints of other mediums – such as a possible call to Liza Minnelli in Cabaret or Audrey Hepburn in Breakfast at Tiffany’s. Others meanwhile, seem to offer hints of famous works to be found in the physical world – Just Melusina #17, with the use of pose and hair color might be seen to offer an echo of Whistler’s Mother without actually ever being a direct take on it, but remaining true to itself. Wonderful in scope and depth, this is another superb collection from Melu, and I hope you’ll take the time to see it. KM

You can visit Just Melusina at the following slurl: http://maps.secondlife.com/secondlife/ Time%20Portal/244/100/1931





Things are moving apace with the project to transition all of the Second Life services and simulators to running on Amazon AWS cloud services.


I’M SORRY THAT THINGS MIGHT BE A LITTLE ROUGH OVER THE NEXT FEW WEEKS. IT’S OUR On Friday, October 16th, Oz Linden offered GOAL TO FINISH THE CLOUD MIGRATION BY THE a blog update (which I also blogged about) – HOLIDAYS, SO THAT EVERYONE, RESIDENT AND when there were 100 regions on the main grid LINDEN ALIKE, CAN HAVE A NICE QUIET running via AWS. HOLIDAY WITH OUR FRIENDS AND FAMILIES. WE CAN’T PROMISE WE’LL MAKE IT BY THEN, On Tuesday October 20th, I then blogged BUT WE’RE SURE GIVING IT ALL WE’VE GOT. about the move to expand the number of THE MOOD AROUND THE LAB IS REALLY regions running on AWS. POSITIVE RIGHT NOW, AND WE’RE ALL On the same day, I was able to give an WORKING HARD TOGETHER TO MAKE IT update with news that the number of regions HAPPEN. I’M REALLY PROUD TO BE A PART OF on AWS had increased to around 300. THE TEAM THAT’S TRANSFORMING SECOND LIFE AS WE KNOW IT. On Wednesday, October 21st, April Linden gave a further update on the project’s status – A April Linden Light in the Cloud: A Migration Update– noting that around 1,000 regions are now based on April Linden AWS. However, her blog post also comes with a There’s obviously a good way to go before request: everything is settled, 1,000 regions is a small number compared to the total on the grid, and THE FAVOUR I’VE COME TO ASK YOU FOR IS there are still various back-end systems to be YOUR PATIENCE. migrated. WE’RE DOING OUR VERY BEST TO FIX THINGS THAT COME UP AS WE GO. THIS MEANS THAT WE MIGHT NEED TO RESTART REGIONS MORE OFTEN THAN YOU’RE USED TO, AND THINGS MAY BREAK JUST A LITTLE MORE OFTEN THAN WE’VE ALL BEEN ACCUSTOMED TO.

But when you consider the sheer volume of work involved in migrating all of the Lab’s systems and properties related to Second Life, the entire project has, from a user perspective, been remarkably smooth thus far – and hopefully things will continue to be so. KM


You can read the rest of April Linden’s post here: https://community.secondlife.com/ blogs/entry/6225-a-light-in-the-cloud-amigration-update





Exactly a year ago, we first visited Nostalgia Falls, a Homestead region designed by Noisette Haller. At the time I noted the region was both photogenic and also the kind of place those who prefer Halloween themes that have a lighter touch might also enjoy. Given it is the first anniversary of that visit (and given the region has a new home), I decided to hop back and have a look around, and was both surprised and please to see that the region offers both a familiar look coupled with more than enough changes to give me a comfortable sense of recognition whilst also presenting a lot that is new and ready to be discovered. The sense of familiarity is born from a number of aspects: the region retains a similar L-shape to the one it sported in our first visit, with the north-south arm the home to a railway line hosting the Polar Express steam train by DRD as it sits at a station, a single railcar in tow. However, the landing point is now in the station building rather than on the train. Across the tracks is a waterfront area complete with a trawler moored on one side – although the growth of reeds around it suggests it may not have seen open waters in some time, given rotating propeller blades would likely cut them down to size – and a carousel sitting on a broad terrace, a wall separating it from the buildings beyond. One of these houses sits ablaze. Quite why is unclear, but perhaps it is the result of a gas explosion, as appeared to be the case at our last visit. However, this time around, the blaze is given a new twist: the wreck of a 1930’s ear car and the threat of an unexploded bomb amongst the fallen brickwork suggest the house has fallen through time from the period of the Blitz. Beyond the burning house lies a relatively open space – albeit marked by trees to one side. It is the home of an aged and broken

– albeit marked by trees to one side. It is the home of an aged and broken plaza topped by a broken rotunda. Home to a winged angel, the rotunda is being circled by a murder of crows that, together with the aged dead tree next to it, set a darker tone than the angel’s presence would otherwise offer. An avenue of trees to one side of the rotunda shelters a horse-drawn hearse heading towards the tall, slim form of a 3-storey mortuary that has some strangeness to be found within it, a ghostly figure awaiting the hearse outside. Opposite the tree avenue, steps climb up a short slope to the imposing form of a grand house complete with cemetery behind, suggesting it is a family home of some age – although it and its grounds have clearly seen better days, with the interior of the house in particular a statement in moldering age – and more than a little taste of creepiness. Beyond this ageing house, and also reached via the carousel -bearing waterfront, the land opens out into a brighter, happier setting rich in the colors of autumn. Horses graze here, having doubtless been brought down from the barn that sits up on the flat head of a promontory that – again, like the time we last visited – extends southwards out into the waters surrounding the island. A sandy track winds out from the barn to drop down to the western finger of the land, where sit three little houses, all cozily furnished and set out with lamps, jack-o’ lanterns, pumpkins and more in readiness for Halloween. Even the crows sitting along the telegraph lines overhead have entered into the spirit of things – although eyes might inevitably be drawn to the fact that a witch has apparently come to a sudden telegraphic halt whilst testing her broom. With mist hovering out on the waters between the island and the region surround, and the lightning flickering around the old house accompanied by the rumble of thunder, this iteration of Nostalgia Falls carries a rich sense of atmosphere. However, the open spaces, with their horses, deer and places to dance, together with fine dining on the train (albeit serenaded by a sax playing skeleton!) together with places to sit, Give this iteration of Nostalgia Falls a further touch of romance. And of course, it remains a richly detailed, photogenic region in which to spend time. KM

SLURL: http://maps.secondlife.com/secondlife/Lost% 20Darkness/237/127/26


Ristorante Kandela is the free and self serve restaurant on the Kultivate Sim! This v couples intan so you can enjoy a romantic date out with your loved one! The restau Huntsman a notecard in world with the booking date and time and any other specia 20Haven/95/221/28

venue is decorated in an Italian rustic style and features crooner music and a urant is also available for private events, free of charge. Simply drop Johannes al requests. SLURL: http://maps.secondlife.com/secondlife/Water%



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