Nicole/There's no bible in here?

Virtual Art filmed in Second Life® at Soup:Magoo
Lovers Lane Studios

Best viewed full-screen, and with headphones to capture the environmental soundscape

There's no bible in here? Virtual Art Installation by Dekka Raymaker and Penumbra Carter (2010)

"Nicole" Music composed and performed by Norman Lamont

Machinima Cast: Amy Freelunch, Cinco Pizzicato, Mab MacMoragh, and Solo Mornington

Read more about There's no bible in here?

This "Nicole" is an alternate version of the song found on Norman Lamont's Romantic Fiction 2 (2007)

normanlamont.com

Second Lives Project : Ambrotypes of Avatars

Sowa Mai Ambrotype by Susan E. Evans

Would you like to participate in an art project? Please send me a screen shot of your avatar(s) with their name, world or game and location “inworld.” I plan on making an ambrotype from the images as part of my project Second Lives. (Susan E. Evans)


Jimmy Branagh Ambrotype by Susan E. Evans


◦ What is needed: Full screen captures! Don't crop them as Susan will need to crop the images to fit the glass plates. If you crop them yourself she risks running out of image to cover the plate.


◦ How: Classic portrait style. Head shots, torso shots or full body shots are good. Don't send action captures. Static poses are best.


◦ When choosing your color palette, keep in mind that yellow hues will turn out black and fine white details will not show up if much of the image is light.


◦ Avatars in all virtual worlds welcome. This is an ongoing project. There is no deadline.


◦ Send your uncropped image and info (avatar name, world or game, and location inworld) to:
evans(at)oakland(dot)com


Dekka Raymaker Ambrotype by Susan E. Evans

The ambrotype (from Greek ambrotos, "immortal") or amphitype is a photograph that creates a positive image on a sheet of glass using the wet plate collodion process. (Wikipedia)

We live in a time where more people are using the digital frontier to entertain, escape and connect. It used to be that the ambrotypist would travel the frontier in their wagons and photograph those living on the fringes of civilization. Nearly 160 years later, I travel the new frontier of online communities, photographing those paving the way. While the inhabitants of these non-physical communities and games do not go there physically, they are often able to manipulate and control their online incarnation: creating an abject presence of themselves. This project creates both a tangibility and history to the 'lives' of these inhabitants who, by design, do not know or have either. The ambrotype images make a tangible manifestation of the intangible persona while simultaneously showing the death of that moment.


-- Susan E. Evans (more)

Here's a great look at the hands-on process of wet plate photography as practiced by fine art photographer Sally Mann:



To see more ambrotypes of avatars made by Susan E. Evans look here

Soup: Last Weekend for 'There's no bible in here?'

Dekka Raymaker & Penumbra Carter's There's no bible in here?

Fair Warning! This is the last weekend to see this fantastic sim-wide exhibition. By Tuesday it will have vanished. Mab is working on a machinima to document the installation so that will be another chance to see a wee version of it later on this blog. But nothing can take the place of experiencing it for yourself! Go now before it's too late! Best seen at sunset or midnight. Sounds are an integral part of the artwork, and should be turned on and up. How to describe it? That's a hard question but it's sort of like an organic industrial fifties-feeling modern working factory simscape driven by an efficient steampunk system, a littered church, freebies that cost $L, mythological ornithology, denizens of the deep, and sublimated eros.

Oh, and also it's like this.

Opening at Magoo: "There's no bible in here?" Tues. 12 January 2009 2PM SLT

Penumbra Carter and Dekka Raymaker

SLurl (exhibition has ended)

This is a freeform art build. When we were given the homestead at Magoo to produce a piece for it we had no preconceived ideas for it, so we tackled it in a manner that we constructed our Burning Life 2009 collaboration, throw a plywood cube prim down and see where it took us. The resulting madness is what you see.

As the build developed, we wanted to include some avatar interaction, and we wanted the work to come alive around the spectator. We hope that in some way we have achieved that. The build encompasses sound, light and movement. The build is foremost about fun, nothing heavy, no deep meanings, just subconscious energy driving us to complete the build in the first 3 weeks of December (we actually extended into the first week of January too, taking a 8 day break over Christmas week).

While discussing where the build was going we often used words like 'mad', 'scribble', 'no idea', 'sketchbook' and 'wtf are we doing'. There is a visual remark about an upcoming Linden Lab policy to charge L$99 per month for listing 'freebies' on it's Xstreet marketplace (Joke: "when is a freebie not a freebie?" … "when it costs L$99") there seems to be religious overtones too, but there is no bible in here.

Dekka Raymaker

Brooklyn is Watching: Tuned to AM (Red)

Penumbra Carter captures a slice of Brooklyn is Watching:Push

Dekka Raymaker: Misprint Thursday placed AM Radio's 'How Fast We Fly' shack, Penumbra Carter added a 'Sculptie Horse' by Nomasha Syaka in a doorway, Dekka Raymaker placed the thin red wedge, Oberon Onmura placed red toy taxis and road, Misprint Thursday then placed 'phonesplosion' Solo Mornington placed cannon and target

Update: Maya Paris (link) adds to the Scarlet Wave (you can see her Fillybot in the video above but why not come inworld and experience it for yourself? (SLurl):

Misprint Thursday- AM Radio's "How Fast We Fly" + her own "phonesplosion"
Penumbra Carter- wall + Sculptie horse by Nomasha Syaka
Dekka Raymaker-thin red wedge
Oberon Onmura- road + taxi toys by Arcadia Asylum
Dancoyote Antonelli- Sculptie horses (as above)
Solo Mornington- Tree-ornament-shooting cannon + target
Maya Paris- Fillybots made from same sculptie horses + my fembots
L1Aura Loire- Sizzling frying pans + "Butter's carrot" by Jacqueline Bancroft

Baron Grayson on Magoo

High Seas Pirate Ship, Sanctum Ruins (partial), Aghamora Irish Cottage

From the notecard: The first version of this ship was built as part of an inworld adventure headed by Keith Extraordinare in 2005 for Burning Life.

Mab rezzed these structures temporarily on Magoo while it was empty to see what they looked like and took the opportunity to wear a pirate lady's dress she had in her inventory but had never unboxed (RFL outfit from M'Lady's, jewelry by Sue Stonebender) . They're vanished now but will be back in some form eventually. In some of the pictures Eryri can be seen in the background. The great white whale floating in the sky was made by Soup artists Penumbra Carter and Dekka Raymaker for the closing party of the SLon des Refuses, and the trees in silhouette are made by Sue Stonebender, as is the big house.

Final Five: Selavy Oh's The Final Show

To see this slideshow full-screen click here (link)

The Final Five artists in the Best of Brooklyn is Watching Year 1 Festival created new work using virtual copies of the original Jack the Pelican Presents gallery built by Dekka Raymaker. Finalist Selavy Oh chose to riff on the gallery itself much as a twenty-first century music composer might. The space was treated as theme and multiplied, with variation and the element of chance brought in to play by inviting friends to show new works of their own. Visitors shape their experience by exploring and interacting with the labyrinthine virtual galleries that disappear and reappear, some empty, some full, thereby becoming a part of and completing the art. The only way to fully experience Selavy Oh's The Final Show is to actively engage with it.


The Final Show machinima by Penumbra Carter

From the notecard by Selavy Oh:

In a virtual world, the notion of space has a different meaning. While a real gallery is limited by the size of the available space, a virtual gallery is limited by the number objects that can be shown.

A virtual gallery is not just a single space, but can be many parallel spaces. The gallery spaces can be exchanged, concatenated, they can be modified, they are only context but not requirement.

You may walk into the virtual gallery and see one exhibition, you turn around, and walk into the same gallery again to see something completely different.

Consequently, this exhibition features work by several of the artists whose work was chosen to be among the 30 best artworks of year 1 of Brooklyn Is Watching, but were not selected by the judges for the Final Five.


The Location

East of Odyssey (slurl)


The Artists:

Arahan Claveau– "Adrift"
Dekka Raymaker– "Artbortion"
comet Morigi– "*~comet Morigi Bio 090804"
Oberon Onmura– "Fight for Order"
Misprint Thursday– "Suspended Hang-Ups"

Curation and Space:

Selavy Oh

Update: Read MonCherrie Afterthought's parsing of Selavy's overtones and pitch on the Brooklyn is Watching blog (link)

Soup: Dekka Raymaker's Prim Soup (Folly)

Eryri (slurl)

gathering ingredients

Dekka Raymaker's Prim Soup (slurl)

Hi all! This is the new blog for Soup, for now. Do you have suggestions on how it could be made to work better for everyone? The previous 2 posts are just random fillers to show how the text will look and visuals. (Although the Art21 video trailer is intriguing- I believe that Second Life® will feature in the next season as example of newMedia!)

I'll tweak the Soup invite along with the landmarks for all the different spaces and post it here so we'll have it as reference and can change the wording as we go along as we see what works and what doesn't, also how much some of that stuff matters or not. It's possible that it might read better in FAQ form, with images.

We need to decide if this blog should be private or public. I do think that outsiders will find it interesting. On the other hand it's possible that we might be using the blog to discuss things that some might not be prepared to take public just yet. Sometimes things lose a sense of spontaneity with outside pressures. What do you think?

As with all Second Life® artmaking, this blog will be a work in progress as well as a record of what we've done. I hope to make plenty of pictures to document the process and will invite experienced machinima artists to make of it what they will. Some time very soon I'll invite the next batch of artists/guests. And then the third batch (or step in the recipe haha) will be to invite reporters/bloggers for public relations, and then finally the public as a result.

Which leads to the next question. Should the sim be public access at this point? I left it public for a day to see what would happen and there were more unknown visitors than I would have thought. There is no visitor tracking since I'm not up on that yet. I directly observed the ones I could see for a good while (probably about 15 minutes). This unscientific experiment makes me think the SIM is "sticky" which most would think a good thing.

Ok, I had more to say but can't remember what it was and I've run out of steam. Hope to see you all soon!

Mab