Why Second Life? Because is a platform that allows not only to create but to share contents created by others, contents from art to role-playing, contents created through a 3D graphics which in itself is not the absolute “top” graphics technology (no more at least), but it is accessible to a very large number of users since over five years and continues to attract content creators and artists from around the world.
I was thinking about this when an e-mail of Marina Bellini (aka Mexi Lane in SL), curator for the Musei in Roma Capitale of many “virtual” extensions of real exhibitions held in the Capitoline museums in recent years, from the centenary of Futurist manifesto to Michelangelo, and animator of meetings and events dedicated to various issues at the island of MiC (that ideally has taken the baton of the disappeared Experience Italy) reported to me a new installation of Bryn Oh, one of the most important artists of the digital art that the Linden Lab’s platform allowed in these years of experience (creator inter alia of the land Immersiva of which we have spoken here).
The installation in question, recently opened, is entitled “Anna’s Many Murders” (Marina/Mexi talked about on Piùblog) and is able to fully exploit the three-dimensionality and the possibility of setting environment offered by the platform, with a remarkable richness of detail and skill of the artis to create the different scenes each with its own sounds and lights (in addition to the works, often changing with each passing minute). The public, as always happens when a proposal is whorth, comes in dribs and drabs, all the way to visit the installation without that any “mainstream” media was concerned to report the event, in Italy and abroad (to my knowledge).
So in the end as well as to thank Marina for the buzz, I wonder if the periodic controversies between the “Italian community” of Second Life users and the media themselves have some basis beyond personal susceptibility, or if you are not he conditioned reflex a number of limits that the Country is touching with its hands in recent months, waking up, perhaps, from a long sleep in which it seemed to fall for too many years (sleep in which the culture was almost completely absent, but not limited to the discourse of new technologies and virtual worlds).
Who knows: in the meantime you can visit the installation of Bryn, if you like the idea, following the teleport button below.