You know, of course, that John Gower is not writing in the Lover's Confession about romantic love. This little film can do scant justice to the complex material…
Larkworthy Antfarm's insight:
Three Tales from Gower's Confessio Amantis is a brilliant tour de force by Hypatia Pickens. Her reading of the 14th century work with its rich octosyllabic couplets and use of allegory as a narrative frame is breathtaking in its beauty!
If Rod had an alt who spent a lot of time Inside of Second Life just hanging out In clubs and chatting with his friends Would he still think the same or see things different And yeah, yeah, Rod is great And yeah, yea, Rod is good Yeah, yeah, yeah,...
Alas, the opening of the piece ruined it for me. All I saw was UWA's thinly disguised promotional scheme to co-opt the work of the most talented machinima directors in SL. UWA, like Narcissus, spends too much time self-indulgently gazing at their own reflection. In this case, Tutsy panders to them even when it detracted from his film. Because they insist they must see themselves reflected in his vision even when it ruins the art. This is about ancient Greek mythology not advertising for a school that brands you with their logo. Do you not see the irony? 6 times now, some of the best machinima directors of SL have allowed themselves to be used in this shabby fashion. Like Echo, they lose their individuality and their souls by conforming to this demand.
" Entries for MachinimUWA VI: REFLECTIONS may consist of any storyline that fits the theme of 'REFLECTIONS.' At least ONE of the 3 'Spaces of Reflection' on UWA's SL SIMS (the Sunken Gardens, the Somerville Auditorium or the Reflection Pond) must form an integral part of the story...."
And so this is the respect accorded to machinima artists? No other art is branded so shamelessly, no other art treated as virtual advertisements for people who had nothing to do with their making other than the offer of a few linden tokens as "prize" money. Clever marketing strategy. But it makes for a film that fails to touch the emotions because it feels as if it lacks sincerity of purpose. You can wear your heart on your sleeve. Or someone else's. You can't wear both.
The video “Thank you, I will miss you guys” is barely a minute long—just one shaky, handheld shot trained on the face of then-21-year-old Ben Vacas. ... “I went into a call with Machinima this evening, and they said that my contract is completely enforceable,” Vacas tells the camera. “I can’t get out of it. They said I am with them for the rest of my life—that I am with them forever."
Nothing can replace the experience of wandering in this installation by Rose Borchovski: every sense is at its higher level, discovering some other new ways ...
Larkworthy Antfarm's insight:
An hypnotic video by the incomparable machinima master Iono Allen. Stunning visual poetry. Iono is a master at revealing emotion, creating a deeper vison that focuses like a camera's lens peering into the heart.
A video about loss. A mother's loss. And about the lost children.
Virginia Alone is a look into the mind of Virginia Blakeley a blind lady living alone for 20 years in a remote farm house in Canada. During this time she recorded hundreds of cassette tapes chronicling a variety of things...
Bryn Oh heartwrenchingly weaves virtual and real through the memories of an old woman. Lost and abandoned, in a third world beyond Second Life and First, this video is like a seance.
Postscript: I spent some time in Virginia's home in Second Life where I found some of her letters strewn about the place. She spoke of the husband who never made eye contact with her for all the 4 years they were married. That line stuck with me. And her letters that maybe never got sent to anyone.
I was entranced and horrified. One experiences total immersion in Virginia's story! It is the story of a life lived in virtual solitude and only made real by her lonely death, and a life now only observable in a virtual world. Ghostly voices. Long gone away.
What a jarring extension of Bryn's major themes from the "Rabbicorn" series.
Save Me Oh is both bane and blessing of Second Life. Banned in more sims than a barrelful of griefers, her antics in the art world have made for lively debate among the artists as well as condemnation by her detractors.
Beyond doubt, Save Me's art challenges conventional gallery owners whose "art flops" litter SL with mundane and atrocious paint-by-number thrift store quality work.
Nothing Save Me ever does could be described thus. Last week I issued a plea to LEA to reverse a Save Me Oh ban instituted by the committee to ban art led by Dan Coyote Antonelli and Solo Mornington. I guess my plea stirred the hearts of the powers that be!
Word has it that most of the art Philistines of LEA were fired or resigned in disgrace or disgust. One can read all the particulars on Save Me's webpage.
There will be a big party tonight (Euro time) celebrating the unbanning of Save Me Oh. Whether you love her or hate her, Save Me Oh is a major part of the SL art scene and her unbanning should be seen as a victory for all artists. LL and LEA do not control our content. We do.
"I see the virtual space as a painting you can enter and explore. "
Bryn Oh's "Immersiva" sim is breathtaking, haunting, and mysterious filled with half recalled melodies, futuristic shadows, and abandoned disembodied ghostly voices from the past. Surreal and wonderful. Well worth visiting in Second Life. Read Bryn's blog as she discusses her work as an immersivist.
An impressive collaboration. The Golden Age of the Russian Avant-Garde reveals a group of visionary Soviet-era artists who anticipate the work of multimedia artists Alpha Auer (Turkey), Bryn Oh (Canada), Caer Balogh (USA), Eupalinos Ugajin, Jo Ellsmere (USA), Nessuno Myoo (Italy) and Soror Nishi (UK) -- all creating interactive art in Second Life today.
This collaboration between SL artists, Moscow’s Manege Museum, Saskia Boddeke (Rose Borchovski) and Peter Greenaway is made possible by Linden Endowment for the Arts.
A prime example of artists crossing the borders of time and space.
Haveit Neox's imaginative installations forever surprise and delight. In Lost Town, one finds a great mechanical world spun on the spinning wheels of the Fates whose strings are plucked and pulled, and wound on a giant guitar, strings that hold the town together. Like being inside a music box. Or riding a bicycle headlong into a good book.
Secondlife machinima, originally filmed for the 48 hour film project 2012.
Toxic Menges and Fake Jewell's incredible collaborative work! With a 48 hour deadline to motivate them, Menges and her team created a horror masterpiece. A suspenseful plot with an ironic and hair raising conclusion! Machinima at its best.
"Angry Beth" Rose Borchovski's newest art installation at Two Fish, in Second Life unfolds like a long lost memory--a disturbing interactive walk through the past. One moment the visitor is celebrating at the birthday party of Beth's child, the next the sound of glass breaking--Christalnacht and war. The visitor is swept up in Beth's story as she desperately tries to keep from losing her precious child.
Borchovski's new multimedia art installation evokes the horrors of the death camps of Nazi Germany. The mood is dark, full of anguish and loss. And anger. The one thing Angry Beth can still feel. Once again, visitors at Two Fish are immersed in a disconcerting world where the inhabitants compel the viewer to hear their stories.
LEA has been saved. Save Me Oh has been unbanned. And in a great hallelujah chorus, she brought her art live to the LEA sandbox last night. The spontaneous performance was very challenging to the eye and the senses, a symphony of color, imagery, and sound -- a virtual cherrybomb of a show. In the center of the maelstrom I spotted the tiny figure of Save Me conducting the show like a maestro conducting an expressionist symphony made of image and sound, light and dynamic motion. The participants were immersed in the environment completely. They became the artwork. It is hard to describe such a weird experience, and I am merely a hack writer at best, but I enjoyed the show and clearly see that it rises to the level of serious art.