Donnerstag, 25. Februar 2021

Wankagiriya - Feelings Of Isolation And Distance

Another art-exhibition has been completed for the collaborative project "Reconnaissance In Times Of Darkness", which will be opened in OSGrid on 21st of March at 2pm SLT. Sujeewa Kumari, a well reputed Sri Lankan artist, shows drawings and paintings created during the Corona-crisis with the title "wankagiriya", feelings of distance and isolation. The paintings can be bought in real and the artist will give a special discount for visitors of the VWBPE-event, who decide there to buy one. Ask Asmita Duranjaya for details.

Sujeewa's work has been arranged by Asmita in cubes according to the wish of the artist and each cube is hollow and a visitor can sit inside and let him/her inspire by the artwork. It contains a chair with the specific texture, which can be taken as a freebie for 0L. 

The pictures are of a soft and sensitive beauty and are sold for a very reasonable price. Sri Lanka as an island was completely isolated during the last year of covid 19 and it was extremely difficult for artists to survive, because they live also from buyers and collectors, who come from outside the island. So each sold artwork is a help for the artists and their families. Two pictures are already sold.

"Wankagiriya" means something like maze. The maze is a symbol for the feelings in corona-times - we are in a trap and have to find the way out in a difficult terrain.

 







 

Mittwoch, 3. Februar 2021

Sneak Preview: "Reconnaissance In Times Of Darkness" in OSGrid

 


Wailing women surround a polluted water puddle. They are dressed like figures from an ancient Greek tragedy or like wailing women, who were hired to mourn during funerals in many cultures. Why do they mourn?
In the puddle we see the garbadge of civilization, bottles, plastic bags and paper, chemicals etc. and, when we look closer human bones. A pandemia? A crime? Suicide? Carelessness? An accident? A symbol for the status of mankind and humanity in a threatened world, on a tortured planet. Our values and convictions are emerging in times of darkness and reveal our true achievements.
Dark times can insofar be seen as an advantage: they help to achieve reconnaissance.
Art in its divers options of expression is an optimal medium to express the emotional part of darkness. The additional features of virtual worlds are the immersion and interactivity, which help to dive deeply into the context and process the traumata and threats of the dark sides of life. Art can help to become aware of all variants of negative impacts.
As its best it can wake up the power to resist and lay the seed for a better future.

10 artists have taken the opportunity to create huge installations related to the given topic. Here is a sneak preview of the ones, who are already or nearly finished and could be visited already. Landing spot is: x-grid-info://osgrid/region/interstellART_exhibitions/387/338/24, from where the gates to each artist are available.

Victoria Logan's (Argentine) focus is on "Mental Health In Pandemic Times" (Spanish and English):



The pandemia is also the focus of Tina Bey's (Argentine) installation "Pandemic Darkness":




The British artist Caro Fayray tries to shed "Light On The Darkness" on our planet:




French artist Claude Belgar shows in his minimalistic style the topic "Science In Dark Times" and goes back in history to Galileo Galilei:




Shenn Tao has created a mysterious orb with a dark power inside, an imagination of anti-matter and a "Dark Artistic Exploration":




Photo-artist Fuyuko Amano shows photos, taken in Cyber-Punk environments in Second Life and which show the function of "Darkness In Cyber-Punk":



"Threats To Freedom" is the topic of host and artist Asmita Duranjaya. Examples are the umbrella-movement in Hongkong and the general threat to cut down the freedom of media all over the world:



French artist lalie Sorbet focuses on the topic "Dark Shadows On Diversity" and shows brilliant macro-photos of endangered species:



Kuveni Kalakaruwa's "Garden Of Sadness" invites persons, who have lost a family member or a friend during the pandemia, for meditation by sitting down and lightening a candle for their beloved ones.




More topics related to "Reconnaissance In Times Of Darkness" will follow; the following artists are working on their installations:

iSkye Silverweb - Being Deaf In Times Of Darkness

Sujeewa Kumari - Feelings Of Isolation And Distance

We invite all interested hyper-travellers to visit the var-sim interstellART_exhibitions:
hg.osgrid.org:80:interstellART_exhibitions

https://opensimworld.com/hop/85547 .

Visiotrs, who have no open sim-avatar yet can register here, choose an avatar and login.

Look for the profile of Asmita Duranjaya and for VWBPE in the picks. There will be the tp to the welcome area. 

You need a 3rd party viewer for OS:

- http://www.singularityviewer.org/downloads

- https://wiki.firestormviewer.org/doku.php?id=downloads#current_release_for_opensim .




Donnerstag, 17. Dezember 2020

Petition against anti-democratic tendencies in the SL art scene

Petition to LL

To the company of Linden Lab / the coordinator for the arts in Second Life

We are a group of professional artists, art aficionados, photographers or educators who are active in SL.  We are writing because we deeply concerned about the future of SLEA.  LEA has been a valuable Linden Lab program in SL because it has promoted art in SL and made SL a better place. Currently decision making in SLEA is focused on one person rather than on a board as previously, and the arbitrary decisions are discouraging many artists from participating in the program.  Four examples of the negative impact on the current leadership structure of SLEA are provided below.

1. Quotation from the web-page of SLEA:
"Upon the initial review it was realized that a grading system was not necessary as each essay was clear, concise and very detailed and equally befitting of a grant."
(https://slendowmentforthearts.wordpress.com/2020/11/20/launch-1-slea-grant-award-recipients/)

Beside general doubts, that ALL essays have been of equal quality, which would be very unusual, how can this be decided by ONE person only? A grant decision has always to pass the view of a commission, which is consensus in a free democratic world and we should all work, that these rules are not undermined by self-appointed, autocratic persons.

2. The next quotation shows the autocratic tendency of the concerned person:
"It was at this point as Coordinator of SLEA, I made what I believe to be a very balanced, mindful decision."

Separate from the inappropriate self-praise, one group of 15 artists as an example got a „region“ (5000 prims) and not the full sim, they applied for, though they had explained, why they needed more prims; but others, who are a couple or even single persons got a full sim for a much longer time.
You can also see, that here one person alone has taken over the decision for a project, which concerns so many different interests. This is completely unacceptable and if the art community in Second Life will accept that and follow blindly, then it says much about the collective mental status and a tendency to fascism, that we really don't want to be a part of it anymore.

3. The recent SLEA-responsible Tansee Trillium tries insistently to degrade the former LEA-project and the artists, who got a grant there. According to our experience the committee members used a point system, inspected also external exhibitions or machinimas of the applicants and the summarized points were the basis for the decision and this is, how it has to be. We are against the degradation of the LEA committee members and the artists, who have contributed to the idea over years.

4. 19 SLEA applications are not many in a world with a huge amount of artistically interested persons from all over the world. LEA had on average around 38  and 25 regions to distribute. It means, that SLEA would have been enough space to fulfill everyone’s wish, what has not happened. Our question is, why did so few artists apply?

The current leadership structure with all the power in one person runs the risk of nepotism and abuse.  The signers to this petition are requesting that Linden Labs restore the prior board-based management structure providing a broader and more democratic leadership to SLEA so that more artists do not migrate out of SL to other virtual world platforms.  

Germany, 12.12.2020 Asmita Duranjaya / interstellART

signed by:
Kyoko (Samara Barzane)
Silas Merlin
Dodge Threebeards
Bluesrocker
Lena Kiopak
Fluer Heartsdale
Claude Belgar
Fuyuko Amano
Shenn Coleman
Ian Patton
Nima Benoir
Gee
Hannington Xeltentat
Asperix Asp
Brightly Shyne
DolphinDifference
Chuck Clip
Timo Dumpling
BrooklynHayworth
Kees Veranes
Lusus  Saule
Asperix Asp



and many more, who did not want to sign for a variety of reasons, but agreed to the content.

Montag, 26. Oktober 2020

Some Considerations Concerning Judging Panels In Art Competitions

Recently I had the chance to talk to Asmita Duranjaya, who has got some LEA grants (Linden Endowment For The Arts) in Second Life as an artist and has also organised as a host around 10 art-competitions with participation of around 20 artists in the virtual world. I was specifically interested in getting to know, how the judgement process of a jury can made transparent and fair. Asmita had clear a clear imagination according to her experiences and I want to conclude that as follows:

1. To judge art will never be 100% fair or transparent, because too many individual, even emotional aspects and backgrounds will play a role.

2. Nevertheless it is in Asmita's eyes possible to make the judgement process transparent and fair in the sense that every applicant is taken for serious and is getting the same energetic attention from the judgement panel.

3. The judgement panel should consist of around 10 persons with a relation to art. They can be experienced artists, who had a grant already themselves or who have a certain reputation according to the media. They can be curators with a wide view on the artist scene in virtual worlds and they can be collectors of art with special interests, also art bloggers or art researchers. The more different the panel is, the better.

4. These judges will get a list of criteria and will give points for each criterium. There is a tool, called art grader in Second Life, which helps to automatize this process. The criteria have to be discussed in advance by the hosts of the event, for example the new SLEA hosts Tansee and Hannington. It would be of help, if the applicants could get the list in advance too, to have an orientation.

5. All 10 judges give points for each criterium of the list, let's say there are 10 criteria, then 10 times points, maybe from 1 to 5 (this is automatized in the SL tool). They add the points on the end and get a number of points for the specific application or applicant.

6. Then all the results of the panel members are added and that would be the final number for the applicant. The final numbers show very clearly the eligible applicants.

7. This process should be published for the applicants, so that they can find out, why they haven't been the first on the list and maybe even to start a re-thinking process, what they could improve for the next application. This is important, because otherwise there will be complaints due to intransparency.

8. It goes without saying that panel members cannot get grants for the specific round. And it would be wise to change the panel group before a new round will start. I think it makes a lot of sense to let the former winners of grants be in the judgement position the next time to change the angle of their view and to get a feeling for both sides of the coin. 

9. The SLEA hosts should not step into the same trap of the LEA commission concerning transparency. But I think in general, the LEA commission has worked according to these features, but did not publish the process, which was leading to an imagination of intransparency. It was in general not useful, that the commission remained the same over the many years. This was leading to signs of fatigue for the commission members, who had never the chance to apply for a grant themselves.

Fairness and transparency have to be the most important and obligatory principles of art competitions and decisions. No one should ever take over a dictatorial role to judge alone, who is eligible and who is not. A fair system of distributing points for relevant criteria is a must and should be communicated to the applicants for the purpose of transparency. These are basic ethics of democracy. Here are my considerations, based on longterm experience in about 10 art competitions, organised events and observing efforts all over the grid:

I cannot see this type of fairness in the new SLEA organisation, which wants to be a representation for the arts in SL, but which depends in the moment just on ONE person. If I look at the result of the dictatory judgement, I am not able to understand, how people, who are mainly circulating around themselves to feed their egos, did not contribute something substantial to the art community over the years and have even a huge financial background in RL to sponsor their own sim,  can get a full free sim without neighbours for 4 months and our sim community with 15 artists, most of them art professionals in RL and struggling with their existence because of covid 19, are not eligible to get a full sim for 3 months??? Is that the ethics of SLEA, which wants to be a representation of the arts in Second Life? If so, then I have my doubts about the whole system, which SL represents. I leave.


Montag, 5. Oktober 2020

HExAgonia - A Virtual Cyber-Paradise

http://www.ethnomusicscape.de/cyber/CyberArt.htm

Asmita Duranjaya has created a new art-installation in the hexagonian art-space of Hannington Endowment For The Arts (HEA): 

http://maps.secondlife.com/secondlife/Xeltentat%20Enterprises/129/128/3503 .

To give interested visitors an introduction, Asmita created a Fracticularium for the opening, which included the main fractal textures and the soundtrack, a show, which has been enhanced by a a dancer and a fracticle-show of 9 minutes length. On request of the visitors the show has been repeated during the opening. Tansee and Hannington have done their best to provide the space and arrange the promotion:

https://www.facebook.com/asmita.duranjaya/posts/376599697046118

Asmita herself writes on her introductory board:

"My Cyber-Paradise is a place for de-celeration, absolute relaxation and enjoyment of colours,
shapes and sounds. Basic shape is the hexagon, due to the host place Hannington Endowment
For The Arts, which is itself a hexagonian gallery. The hexagon and the hexgonian fractals, the
colours teal and violet are typical expressive tools in cyber art.
The conceptual idea is a paradise in the future, where all religions and cultures are equally respected. Symbols for this background are the bridges with a quote from the basic scriptures of six different religions - whether humans will still exist or not is a open question.
The paradisiac environment is enlivened by two cyber bots and some animals, partly with animesh function, which I am not able to create myself due to missing hard- and software -  so I am giving my credits to EliteDesign, Shepherd and Lance.
My thanks go to Tansee and Hannington Xeltentat for providing the space.
Enjoy the paradise, take a seat on the flying insect and do a round trip and play with the horns at the bridges, which play music by touch and can be stopped too.
Musical credits go to David Schombert and his ambient composition "L'Exile Des Arbres".
Play with your windlights, every graphic card is different; recommendable are: [TOR] SUNRISE - Turtle Island or MIDDAY - Precision blue or [EUPHORIA] smoky blue sky, etc."