Celebrating the Second Anniversary, this edition of ECLIPSE Magazine features one of the most influential residents on Second Life, Strawberry Singh. One Billion Rising in SL is set for the 14th of this month, and we have a feature piece on not just the in-world event but the global movement in general. Joining our monthly features, we introduce “The World of Roleplay,” this month the focus is on “Outbreak.” From the fashion front, the men and women of ECLIPSE once again style up some of the hottest trends this season. Our “Through the Lens” piece is taken from the creative eye of Elemiah Choche, as she waves goodbye to winter. “ECLIPSE 360” takes a look back on our readers favorite cover stories. Be sure to check out our other monthly features: “The Proust Spotlight” with Ivyana Szondi, “The Artist Highlight” with Agatha Nowles, “The Art Perspective” exploring the work of Ceakay Ballyhoo, “The Adventures of…” with Miele as she discovers TaKe Heart and “Voices from the Grid.”
This issue of ECLIPSE Magazine we feature one of Second Life’s most celebrated role-play communities, Mischief Managed. From there we showcase the high-quality brand MINIMAL by Ors Quan. From the fashion front, we introduce the newest men and women of ECLIPSE, as they style some of the hottest trends of the season. Our “Through the Lens” piece is taken from the creative eye of Leah McCullough, as she showcases winter sports and leisure. Be sure to check out our other monthly features: “The Proust Spotlight” with Kiana Jarman, “The Artist Highlight” with live performer Liam Wakeman, “The Art Perspective” with Oema showcasing Giovanna Cerise and “The Adventures of…” with Miele Tarantal exploring One Caress. Also, for “Voices from the Grid,” residents share what they are most optimistic about.
The November 2016 edition of ECLIPSE Magazine we feature the talented Vista Barnes on our cover. Additionally, we shine the spotlight on the creative genius Redd Columbia and her brand -RC- Cluster, as well as the toddleedoo roleplay community and their fashion endeavors. On the fashion forefront, our Through the Lens features the extraordinarily talented Posh Jones and her take on “Autumn Days and Nights.” Our fashion editor, Tempest Rosca, challenged the ladies of ECLIPSE to show their best pinstripe and best pink & yellow outfits, while the gentlemen stepped to the plate with Silk N Shine and Military. This issue also introduces a new monthly feature called, “The Art Perspective” by Oema. Be sure to check out the rest of the issue for our other monthly features: The Proust Spotlight with Carley Benazzi, Artist Highlight, Voices From the Grid and The Adventures of…
ECLIPSE Magazine is dedicated to not only offering an aesthetically pleasing publication but to also be considered a platform that offers rich and relevant content. Each month, we showcase resident’s and groups that have taken the concept of “your world, your imagination” to such great heights that they have impacted the culture and lifestyle of the Second Life community.
Second Life® è un “rifugio di artisti e designer”, non di persone frustrate e bisognose di evadere. Il mio commento all’articolo di Martina Pennisi.
Non scrivo mai in italiano e, mentre lo faccio, mi dà una sensazione di stranezza, assuefatta ormai alla lingua internazionale (un inglese essenziale e necessario alla comunicazione globale).
Chi mi conosce sa che non amo parlare in negativo e, se non apprezzo qualcosa, preferisco astenermi. Ci sono, tuttavia, delle eccezioni.
Una di queste è la “disinformazione“.
Il concetto di “disinformazione” è ampio, comprende diverse sfumature, e abbraccia anche molteplici tecniche giornalistiche.
Si tratta di un articolo molto breve, con una descrizione semplicistica e approssimativa di quello che oggi è Second Life®.
Dopo la lettura, ammetto di avere pensato: “ho dedicato diverso tempo alla presentazione di SL® e questo è tutto?”.
Sforzo vano, insomma.
I commenti su Facebook da parte di chi SL® la vive ogni giorno sono, comprensibilmente, negativi, delusi da un taglio giornalistico prevenuto e ironico.
Prevenuto, perchè nonostante io avessi dato alla giornalista link di luoghi affollatissimi da visitare, lei va a vedere il Duomo (sarà perchè è di Milano). Ironico, quando sostanzialmente dice che SL® è un luogo per chi ha bisogno di evadere (perchè Facebook e qualunque altro Social Network, no?).
Insomma, noi esseliani siamo una manica di frustrati, che contemplano spiagge virtuali non avendo nulla di meglio da fare.
Eppure SL® pullula di artisti eccellenti: ogni giorno mi stupisco della immensa creatività che la gente è in grado di mettere nelle sue immagini o nelle sue sculture. Per non parlare della genialità di chi costruisce sim dettagliatamente pensate e dal paesaggio intrigante. Persone che imparano da zero a costruire, usando software complicati come Blender, per trasmettere un’idea, un’emozione o un messaggio.
E che dire dei musicisti: cantanti, pianisti, dj che allietano con maestria le nostre serate in cambio di pochi linden.
E no, Martina, SL® non è quella che hai descritto in due righe: SL® la fanno le persone, con il loro entusiasmo e desiderio di imparare mettendosi in gioco ogni giorno.
E’ un gioco in continua crescita e, se fosse una piattaforma morta, non sarebbe vero che esistono persone che guadagnano attraverso la grid o, addirittura, persone che, come me, vengono aiutate economicamente da organismi come ArtByte per promuovere l’arte in SL®.
Anzi, a dirla tutta, non è nemmeno un gioco, come giustamente mi fanno notare Rubin Mayo e Lion Igaly, ma “è un mondo virtuale (MUVE) elettronico digitale online lanciato il 23 giugno 2003 dalla società americana Linden Lab a seguito di un’idea del fondatore di quest’ultima, il fisico Philip Rosedale. Si tratta di una piattaforma informatica nel settore dei nuovi media che integra strumenti di comunicazione sincroni ed asincroni e trova applicazione in molteplici campi della creatività: intrattenimento, arte, formazione, musica, cinema, giochi di ruolo, architettura, programmazione, impresa, solo per citarne alcuni” (Fonte: Wikipedia).
Nonostante tutto, credo che sia un bene che si parli di SL®: meglio che se ne parli, che cada nel dimenticatoio mediatico. E, se se ne parla, è perchè c’è motivo di discutenerne, altrimenti nessuno si prenderebbe la briga di creare un avatar solo per scrivere un articolo.
Virtual reality is an extraordinary way to involve people in any type of project. Music and art are no exception.
As far as music is concerned, the most illustrious example of virtual reality application is definitely Bjork. The Icelandic singer has confirmed her interest in new technologies with the video related to the song Notget, last track of the album Vulnicura.
The use of VR has also been a success in the arts. In fact, the Orwell Vr, a Milan company that deals with computer graphics and virtual reality, on the occasion of Klimt Experience, organized by Crossmedia Group, has developed KlimtVRExperience. It is a game-puzzle that the player, wearing Oculus glasses Samsung Gear VR, can complete by collecting objects in the virtual path within the frameworks.
It is an experience that allows the observer to immerse himself entirely in the art of Gustav Klimt and has had a remarkable success. Hosted by the deconsecrated church of Santo Stefano al Ponte in Florence and then by the Royal Palace of Caserta, it has reached an unexpected number of visitors. In particular, after only one month of opening, in December 2016, the exhibition had already reached 16,000 admissions.
The attractive aspect of this exhibition/experience was undoubtedly the involvement of the public who had to compose a puzzle game during the “visit” to the gallery, wearing the Oculus. This aspect was evident by comparing the Klimt Experience with other artistic events that used VR but did not involve the viewer as it happens in the “experience.”
Another exciting aspect is that, through VR, young people are more attracted to art galleries. A traditional art gallery mainly attracts a mature audience, VR involves young people making them entertain even in learning the art.
I think people are attracted to the VR used in the arts for three reasons. VR allows:
to hear
to see
to modify and/or interact with the surrounding environment.
The artistic exhibition no longer takes place following the traditional rules, that is, the artist exposes, and the visitor observes, but the visitor becomes an active part of the art exhibition which, more correctly, is defined as “experience.”
We think, for example, at The Renwick Gallery, an institution part of the Smithsonian in Washington D.C., which hosted an exhibition from 2015 to 2016 that took place on the screens of the observer’s mobile devices.
Moreover, from the artist’s side, he is no longer limited by the 2 dimensions, but his creativity is able to “embrace” the 3 dimensions, guaranteeing an expressiveness and freedom of creation never seen before.
The museum has launched an immersive app of 360-degree artistic virtual reality called “Renwick Gallery WONDER 360” which allowed the viewer to explore his exhibition entitled “WONDER” in 3D, involving nine contemporary artists. The names of the artists were Jennifer Angus, Chakaia Booker, Gabriel Dawe, Tara Donovan, Patrick Dougherty, Janet Echelman, John Grade, Maya Lin and Leo Villareal. They have created a specific site that hosted a virtual reality experience built with unusual materials, and that was accessible to any observer, even geographically distant.
Through VR the limits of space and time are exceeded, and anyone is able to enjoy a 3D artistic experience without any kind of difficulty.
Moreover, from the artist’s side, he is no longer limited by the 2 dimensions, but his creativity is able to “embrace” the 3 dimensions, guaranteeing an expressiveness and freedom of creation never seen before.
In conclusion, I believe that the reasons for the success of VR applied to art are essential both for the artist and the observer. A more significant creative space for the artist and direct artistic experience for the observer. These ingredients are and will be winners in attracting the masses to art galleries, while in the past the interest in art was the prerogative of a few.
Please note that I Love Events(TM) is not associated with Linden Research, Inc. or any of its affiliated companies or products, including Second Life (collectively known as "Linden Lab"). The opinions and views expressed on this site belong to the content creators and do not represent the views or opinions of Linden Lab or its employees, directors, officers, agents, or representatives. The usage of the SLBN logo by I Love Events(TM) does not indicate endorsement or representation by Linden Lab.
