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Podcast 28: Attack of the Art Historians
In Episode 28 podcast regulars Jay, Boris and Shirley are joined by NYC-based art historians Beth Harris and Steven Zucker as we talk about a great number of interesting works many of which we totally love. The intallivasion continues and Dekka Raymaker continues to bring us interesting things to talk about.
More details to follow…
Update, the download is fine, it’s just the iTunes download that’s Episode 27, not 28.
This comes up on pod casts regularly, why do some pieces stay longer than the 7 day auto return?
I posted an explanation previously. So again, objects or art pieces you can sit on, ie a chair or a poseball stay beyond their time, it seems that the piece is reset every time it is sat on once again. My pieces don’t over stay this time period because they usually have an unlinked part and that gets returned alone, so I know it’s time to take the piece back.
I think it is more logical to return pieces that have a ’sit’ operation in them, when it’s obvious they have been there for much longer than the nominated time, than to assume the artist has replaced it.
Re my piece Electric Rain Digital Sand discussed in podcast, I would like to say, that on the whole your opinions come close to how I hoped the work would be perceived. When I discovered Brooklyn Is Watching my first thought was why is there so much art here which doesn’t appear to relate to artist’s experiences in SL and why do people upload RL art and show it here? Luckily there are many artists that do exhibit what I would consider to be REAL Second life ART and it was those artists that inspired me to start exhibiting.
Yes to date, most new works have a relationship to previous work exhibited, I think this is an attempt to understand in myself “what is this (art) I’m making/thinking?” and yes there is a mystery connecting all the pieces I have exhibited, that’s intentional, but I don’t know yet if it’s important, I don’t know if it’s contrived as I am also trying to seek what the mystery is too, to me it’s like a lost word on the tip of my tongue, as yet I can’t quite spit it out.
The closest I can get to an explanation is that I think my words are inadequate in trying to describe what I do, so I keep trying to explain visually one work in the next piece, which I did once again in the work that followed this piece, but decided to pull it early because I thought this mystery exercise was becoming gimmicky, I liked the piece, I know it could raise questions, but I didn’t feel it was right to continue raising questions I couldn’t adequately answer, yet.
In these works I have used a lot of the freebie objects that are available to everyone in the inventory library, at first I saw these as ‘found objects’ and it’s also my homage to creators of Second Life who don’t consider themselves artists. In my opinion the truly great artists that exhibit at Brooklyn are also great (content) creators, like Pavig, Nebulosus, Selavy and Ichibot, as well as others, they understand the materials they have available to build with and to create art with.
In most of my works the important textures are often my own, I make them specifically for the piece, the digital sand is mine, but yes it was influenced by the zen garden. Electric Rain Digital Sand is in part a tribute to creators who make immersive sim landscapes in SL, I’m showing what their basic build materials are and that they can mould them into illusions. The beach ball is from the inventory library, when this is rezzed to the ground it is rezzed as a ‘physical’ object, it bounces, it can be kicked, it moves around. When I discovered this in my first week it was like discovering magic, so I placed it on a plinth protected by glass to show that this simplest of objects a ‘beach ball’ is much more than that, think about it, it’s really NOT a beach ball and it’s something very precious.
Black cube, or any cube. It’s the shape of the principle building block of SL, it’s probably the first object 99% of the population in SL make, therefore initially for me it was probably a subconscious decision to use it as part of my work and I needed walls for the piece to work. Every object I use is there for a reason, some of them are related to other objects, some are the beginnings of new ideas that may or may not relate to other objects later on. Every item I place is placed specifically in that spot, sometimes its mathematical, sometimes it’s because I believe I instinctively know it will work in that position.
I am a new artist in SL, I have made nearly all the pieces I have shown at Brooklyn specifically because it’s there for me to do so, the site, the other art/artists, even the podcast discussions also influence my work and what goes into them, so I can only thank everyone for giving me the opportunity of finally finding what I really enjoy doing in Second Life and I really hope the above doesn’t sound pretentious.
NB. Re the Burning Man part of the discussion, a quote from Second Life’s blog:
‘In 1999, an innovative man made the long trek from San Francisco to the sun-baked playa of an enormous, flat, dry lakebed in the Nevada high desert. He went to attend the renowned Burning Man festival where, for one week each year, tens of thousands of people from around the world build art, camps and communities, and celebrate life. This man came back with new ideas for the virtual world he was planning; ideas about the nature of reality, creativity, identity and community.
He worked some of these ideas into the very fabric of “Linden World” which eventually became what you and I know as Second Life. That man was Philip Linden.’
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I downloaded 28 and it’s actually 27, which was last weeks???
Left by Dekka Raymaker on September 20th, 2008