BOSLA 2007 by Enniv Zarf

Sponsored by Krystal Epic 造 Virtual Artist Alliance 造 MH Motors Created by Enniv Zarf

2007 B

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Best Artist in the Performing Arts 造 Best Artist in the Creation Arts Most Influential Venue and Owner 造 Most Influential Patron, Collector, Curator and/or Volunteer

Best of Second Life Art 2007

8 Best Artist in the Performing Arts 9 AldoManutio Abruzzo 12 Enniv Zarf 16 Fau Ferdinand 18 Wirxli Flimflam 20 Kronos Kirkorian 23 Phorkyad Acropolis 24 Gazira Babeli 26 Inarra Saarinen

Distorted Sparks Courtesy of Enniv Zarf & Krystal Epic

28 Best Artist in the Creation Arts 29 Madcow Cosmos 32 Callipygian Christensen 34 elros Tuominen 37 Random Calliope 38 Gracie Kendall

Most Influential Venue & Owner 42

Oyster Bay Sculpture Garden - Morris Vig 43 Crescent Moon Gallery - Tayzia Abbatoir 46 Artisan Galleria - Jordan Morgenrote 48 Sliterary - Ina Centaur 51 Citrus Gallery District - Xander Ruttan 54 Angel Dorei Museum - Razi Semple 58 SLArt Gallery - Artworld Market 61

Most Influential Patron, Collector, Curator &/or Volunteer 63 Apple Tree Courtesy of Raspirt Heron & Art Sanctuary

Sasun Steinbeck 64 Tayzia Abbatoir 68 Cyanide Seelowe 70 Enniv Zarf 72 Bettina Tizzy 76 Jordan Morgenrote 79 Jurin Juran 81

Dear Readers, The tangible and the intangible aspects of life often are materialized and perhaps immortalized by artists throughout history. The human experience can be understood and examined via the journey many have taken through their artistic expression. The sum of a culture and a society can be found and traced through its artistic outputs. As such it is important to recognize and maintain a record of the story the arts of a people to understand and to continually perpetuate its survival. The Best of SL Art was created to bring light upon those who have contributed towards the betterment of the virtual world of Second Life via their artistic output across the genres. We truly hope that this will be a project that will continually grow over the years with the residents of this amazing virtual world. With great pride, I present to everyone the first ever Best of Second Life Art publication of the winners and their journeys here. Congratulations to everyone as we are all winners helping make this world a better place. Enniv Zarf Editor in Chief

BOSLA FACT Best of Second Life Art... ...was created by Enniv Zarf in 2007 to recognize all the hard working artists and their supporters in the virtual world of Second Life.

Chief Executive Officer & Editor in Chief Enniv Zarf Public Relations Cyanide Seelowe Marketing Advisor Xavier Mohr Contributing Writers Dale Innis Dreamingen Writer Kety Vita Sunnie Beaumont Xavier Soderstrom Contributing Artists Raspirit Heron Elros Tuominen Heni Hefferman Texanna Schumann This Project is sponsored by: Krystal Epic Virtual Artist Alliance MH Motors Please contact Enniv Zarf in Second Life to make Linden dollar donations or to learn how you can be a part of Best of SL Art 2008 art.krystalepic.com

Best Artist in the Performing Arts Best Artist in the Performing Arts was designed to give the performers of Secodn Life recognitions they deserve. This year we had fourteen nominations and thirty-four votes. The votes were all gathered online at art.krystalepic.com. Some of the winners and nominees have been interviewed and published in this virtual magazine.

Sound by Enniv Zarf music be the wave reaching in my heart beats to the tingles that chills my skin with echoes of noise be-ko-si-li-ka what is but a sound is beauty We believe that this is only the beginning and that 2008 will be an even greater year for us as we continually promote the growth of art and entertainment in the virtual reality of Second Life.

Best Artist in the Performing Arts 1) AldoManutio Abruzzo 2) Enniv Zarf 3) Fau Ferdinand 4) Wirxli Flimflam 5) Kronos Kirkorian Other Nominees L. Peggy Hicks Evo Szuyuan Phorkyad Acropolis Lauren Weyland Gazira Babeli Gideon Kappler Niko Donburi Clarissima Schumann Inarra Saarinen

Best Artist in the Creation Arts Best Artist in the Creation Arts was the original inspiration and driving force behind the Best of Second Life Art. As our biggest category, we had 39 nominations and 80 votes in this yearâ&#x20AC;&#x2122;s Creation Arts category. Artists this year come from a wide range of genre, all brought together inside Second Life.

The Dance of Life

by Raspirit Heron Images appear before me waking dreams will show me riddled clues of signs and symbols - I will learn again Spinning melodies and songs wordless memories and longings my hands will find the keys the rhythms of a heart will lead my feet and I will know the words of healing, joy and celebration Creation is the Dance of Life

Best Artist in the Creation Arts 1) Starax Statosky 2) Juria Yoshikawa 3) Light Waves 4) Cheen Pitney 5) Madcow Cosmos 6) Callipygian Christensen 7) Elros Tuominen 8) Random Calliope 9) Enniv Zarf 10) Grace Kendal Other Nominees

Ub Yifu, Adam Ramona, Taotiger Janus, Rezago Kokorin, Blue Tsuki, Osprey Therian It is our pleasure to present to you the words of some of our winners and nominees here and we look forward Stella Costello, Sunn Thunders, Nomasha Syaka, Pavig Lok, Lumiere Noir, Kriss Lehmann Esch Snoats, Meleni FairyMeadow, Littletoe Bartlett, Jesrad Seraph, Arcadia Asylum to seeing a continual growth of the creation arts in 2008 and a wonderful collection of brilliant artists this coming Fangorn Dengaku, Stormy Toentgen, Masterful Escape, Violette Biziou year. Soror Nishi, The Sojourner, Elko Schufang, Sandhya2 Patel, Charlot Dickins Sabatino Orca, Patromino Paravane, Kaltusuran Moonsoo, Brennan Lerous

Most Influential Venue & Owner Without the venues hosting and promoting the works of artists, works would never be seen by the world and its residents. This year we were thrilled to have eighteen of the best venues of Second Life nominated in this categories along with their owners. They house a wide variety of art genres and artists. With 17 nominations and 54 votes, our gratitudes go out sincerely to all those who have made art viable inside Second Life.

Home

by Enniv Zarf home sweet home set in a friendly conflicting encouraging atmosphere provides a dwelling of thoughts dark and light bright security and love

Most Influential Venue & Owner 1) Oyster Bay Morris Vig 2) Crescent Moon Museum Tayzia Abbatoir 3) Krystal Epic Enniv Zarf 4) Artisan Galleria Legacy Tower Jordan Morgenrote 5) Sliterary Ina Centaur Other Nominees

Cetus Gallery District - Xander Ruttan, Angel Dorei Museum - Razi Semple Second Louvre Museum - Kharis Forti, Linden Gallery of Resident Art - Pathfinder Linden, SLART Gallery - Artworld Market, Bluffs Art Center - ZeroOne Paz, Live Music We look forward to the continual growth of venues in all virtual realities, and to see their positive contritbution Slim Warrior, Neufreistadt Museum of Contemporary Art - Neufreistadt, Park Galleries to the quality of livelihood. of Art - Angel Enoch, SLACC (Second Life Art Community Center) - Mar Dwi, House of Flames - FlameHeart Sol & Schuyler Kent, Griffin Art Gallery - Griffin Halderman Gallery Camazotz - Davina Glitter

Most Influential Patron, Collector, Curator &/or Volunteer To complete the world of art, the patrons, collectors, curators and volunteers are necessary to give artists the necessary support and resource to continually create wonderful works of art.

They Inspire

by Raspirit Heron They are the ones who listen They open doors And put the spotlight on They sprinkle water on the seedlings They stir the young ones on and on And they will look you up Again and then again And view expressions of the human soul As gifts of treasured wonder And in their eyes are mirrored That specific moment When you knew that you had found it - A pearl, a crystal, a constellation Creation in the making Reverberates a chain reaction Resonating and Illuminating Cheering and Inspiring! The 18 nominees and the 40 voters this year is only the beginning of what we believe to be a continual developement of those who love Art and those who create art.

Most Influential Patron, Collector, Curator &/or Volunteer 1) Sasun Steinbeck 2) Tayzia Abattoir 3) Cyanide Seelowe 4) Enniv Zarf 5) Betinna Tizzy Other Nominees Sugar Seville ArtWorld Market Grace Kendal Ina Centaur Jorden Morgenrote Patromino Paravane Cezary Fish Jurin Juran Kharis Forti Delia Lake Zhu Juran Megellan Egoyan Tyrol Rimbaud

Created by Enniv Zarf

2007 Sponsored by MH Motors

Sponsored by Krystal Epic

Best Artist in the Performing Arts AldoManutio Abruzzo Interview by Sunnie Beaumont SB: How did you feel about being nominated for the Krystal Epicâ&#x20AC;&#x2122;s Best Artist in Performing Arts? AMA: "Fame is but the breath of the masses, and that oft unwholesome". I am delighted that I have enough people out there who enjoy my music enough to take the time to register with the blog and vote for me. It's not about me, it's about the music. Really. SB: What brought you to SL (Second Life)? AMA: To investigate doing live performances here. SB: How did you find out about the music culture in SL? AMA: A friend was already starting to perform here; We were at a week-long RL performance and he kept showing SL to a bunch of us each morning. so I decided to check it out myself. SB: How did you first get started booking venues in SL? AMA: I did a benefit concert for the Elves last Christmas and

Congratulates all the Best Artists in the Performing Arts of BOSLA 2007

MH Motors (113, 164, 24)

another one for Broken Silence. The Elf Holiday Festival. Infact, I've just (about 15 minutes ago) been asked to play there again this year. SB: This is my first year in SL - what is the Elf Holiday Festival? AMA: Well, this has been my first year too! It's a series of fund-raising events, held on one of the Elfen sims, this year on 13-15 December. It's fun. SB: When did you start to play in RL (Real Life)? AMA: In RL? LOL. I've been playing for over 40 years, on one instrument or another. I began playing in Second Life in December, 2006. SB: How often do you play in RL? AMA: In the past, my RL performances were a regular monthly thing; having recently moved cross country, I am finding new venues for performance, so my schedule has changed. I'll be doing three RL performances in the next 10 days. SB: What is the difference for you in performing to a live concert in RL vs one in SL? AMA: I can wear my pajamas to perform in SL? Seriously, I treat SL performances as being as important and basically no different than performing in RL. SL is simply another venue as far as I'm concerned and I take it very seriously. The differences are so minimal as to be insignificant. It's one of the things I enjoy about performing here. Global audience. SB: What kind of issues do you have to overcome both technically and artistically to play via a stream in SL? Did you have to purchase special equipment? AMA: To do it, no. To do it well, yes. If you

Best Artist in the Performing Arts want to do it well, you really need to be able to run two computers: One for the music and one to be in world. SB: So you have to look at 2 computers at the same time, and play - talk about multi-tasking. Where do you do the performance in RL to stream to SL? AMA: Well, you really only have to watch the one, once you've got the stream set up. I do the performances in my small studio space at home usually. Next week I will be doing a simulcast from Princeton University. It's Thursday night at 7:00 our time [4:00 pm PST]. Anyway, we're simulcasting in to here to open one of the new sims for Princeton. SB: When you are performing - there is interaction with your audience in SL that is different from RL. How do you manage to interact in both? AMA: Well, some of it is very dependent upon my performances. And truly, you would need to experience it to understand. There are moments in my music, when I am not actively playing the instrument. So sometimes I can type an IM (instant message) to people. And once I "finish" a piece, of course, I am speaking on the microphone AND typing to them. So that part is very "RL"-like. But I don't "chatter" a lot either here or RL. SB: When I attend live venues the audience is always sprinkled with other artists listening to their peers. Do you and who do you go hear when you have free SL time? AMA: When I can, I try to support the friends I have in SL who are performers. I would be remiss not to mention Kori Travanti, Kouroush Eusebio, Thom Dowd, Jean-Christophe Chevalier. SB: How would you classify the type of music you play most? AMA: I don't. Some people call it ambient. Spontaneous composition and improvisation works for me. You have to understand that each performance is unique, literally. I am improvising the music at each performance so no two will ever be the same. So the usual labels really don't apply; stylistically,

Best Artist in the Performing Arts I am drawing from flamenco, Renaissance lute music, Eno/Fripp-ish ambient constructions. But all of it created pretty much spontaneously on the spot. I may take an idea that I have expressed before or a familiar theme (Ambient Rachmaninoff? New variations on “Greensleeves?”) and re-work it, again, on the fly, live. Which makes each of my performances a unique event, something that is unusual in Second Life, where a lot of people are doing covers or their own work over and over again. SB: Does it bother you sometimes when you're performing that people are chatting or doing other things other than actively listening? AMA: Depends. I'm not an “entertainer.” People don't come expecting an “entertaining” show. They come to hear music that they might not otherwise get to hear, so they tend to be more attentive than other audiences. SB: Do you write your own pieces and where do you get the inspiration? You mentioned earlier that you use a lot of improvisation. AMA: I don't write any of the performances here. They are completely improvised. That's the point. You get one chance. And inspiration comes from everywhere, if you are open to it. SB: In SL you are partnered with Pi Pooraka. Has she had an influence on you and your music? AMA: Yes, and one should not talk about one's Muse. It's bad luck. SB: What music influences in your life caused you to pursue music as your art? AMA: There have been many musical influences, as I indicated earlier. Musical personalities I have met? Julian Bream, Andre Segovia, Paul Odette, Frank Zappa, Hamza al-Din.

SB: Have you in SL or RL collaborated with other musicians to perform together? AMA: Both. SL is harder and I find it less satisfactory because of the technical issues. I did a collaboration with a musician in the UK (United Kingdom), we streamed back and forth and then into SL. SB: Do you find yourself playing more in RL or in SL? If you had your choice and those tips were real money which would you prefer? AMA: Hmm. The logistics in SL are a touch easier to deal with. Right now, with the relocation, I have definitely been playing more in SL as I have over 160 hours of performance time in the past year. With some of the RL changes happening, I'll be balancing my time a little more and performing in SL on special occasions. SB: Do you create CDs of your performances in SL or RL? AMA: Both. I record everything. It's improv. The CDs for sale [in the studio in SL] are all recordings of SL performances. SB: Are those also available for sale on the web? AMA: Some of them are. Some are only available here/through SECOND Tunes. SB: Which CD remains your favorite work if any? AMA: Uhm. I have 7 on iTunes right now. And I just (yesterday) finished a double CD set. I think I have released 12 CDs in the past 2 years. I can't say that I have just one favorite. I do have some especially favorite pieces that I have done. But not a favorite CD. SB: And what are those pieces? AMA: LOL (Laugh Out Loud). No, please. I can't. I have over 160 hours of music that I still need to listen to and edit from performances in here. SB: That's alot of work - so tell me what your process is for doing that.

Best Artist in the Performing Arts AMA: Just sitting down and listening to it. That's how it starts. I usually cut out the voice-overs and talking to the crowd.

Enniv Zarf Interview by Sunnie Beaumont

SB: How long does it take from the time you start listening until you produce a CD? AMA: I don't really know. Depends on how many RL interruptions there are. But for every hour, it's probably three hours. Listen, slice, listen. Then listen to it all again. Create the artwork for it. Burn it, make MP3s, upload them.

SB: You were nominated for Best Artist in Performing Arts - how did that make you feel? EZ: It's always nice to know that there are people out there who value my work and have taken the time to acknowledge that by voting for me but in all honesty, I think there are many other artists out there who are much better than me who deserve to be recognized.

SB: You also create the artwork? AMA: Yes. I do all my artwork. Both SL and RL.

SB: What made you come to SL? EZ: I actually came here as an audition requirement for a documentary I was auditioning for in RL that was about SL. I had no clue what SL was before that, and really didn't intend to come until I had to. And because I had to learn about it enough to audition, it forced me to actually figure out what's going on and learn this place a little.

SB: Do you do any art other than your CD covers? AMA: I am also a photographer, paper marbler and book artist. And have exhibited my work in RL. SB: Have you done anything with your photography or art in SL? Or have plans to? AMA: No, and I have little or no plans to do so. In here I'm just a guitarist, and I plan to stay that way. SB: What is next for you - in SL and RL? AMA: LOL. Only the Muse knows and she will reveal it in her own sweet time. Next week I am playing the simulcast performance for Princeton, then a radio show at Vassar College. I will be doing the Elf Holiday performance and there may be a surprise for the end of the year. 造

Best of Second Life Art... BOSLA FACT ...was created by Enniv Zarf in 2007 to recognize all the hard working artists and their supporters in the virtual world of Second Life.

SB: Did you do the documentary? EZ: Yes, I was a part of the documentary, I did get casted. It was shot during the summer. I did a little part in that. SB: So from that audition you then started Krystal Epic how did you go about that path? EZ: Well I came here to figure out what SL was about and after a while, I stumbled on the art scene and enjoyed that a bit. I actually first started by uploading a few of my RL photos here in SL. I didn't intend it to be anything beyond just sharing my pics with people whereas otherwise it would just sit inside my computer. The reception of that was rather positive so I decided to continue to do that, and brought in my other RL works including Nine Tones, a set of paintings where the music play the brush strokes of the works. That really generated a lot of buzz here. So I kept thinking what else could I bring here, and make this a cool experience, and I decided to bring my Krystal Epic world in here, and build the Krystal Phenomena here as I met a

Best Artist in the Performing Arts

story.krystalepic.com website. There's a lot of little things in KE and it's very diverse so a lot of people don't exactly get what KE is supposed to be, and really it's just a fictional universe that's still under development. The core story has a lot to do with sound and music. SB: Speaking of music - you are also a musician - how often do you play in SL? EZ: Depending on my avail, in Sept and Oct, I was playing a few concerts a week, but this month have significantly decreased because of my RL commitment to a play that I wrote and am directing, so I couldnâ&#x20AC;&#x2122;t really spare any energy in setting up performances.

friend who showed me how to build with layering and anismooth to really create environments. AlexGreatWolf Oddfellow is really the person I owe the most in being able to create KE here in SL. SB: So Krystal Epic was RL brought to SL - how is it different from what you have in RL? EZ: Well KE is really a fictional universe I'm still working on, but at the same time in SL, it's actually also a business entity. KE in RL before I came to SL was mostly in the form of concert music with backstory written for it, and I've been working on the main core story which I have just recently released the first chapter of it at my

SB: Has SL given you additional freedoms to express your talents as an actor, and musician and filmmaker? Have you done anything with film in SL? EZ: Well it has definitely done that for me as a musician and a filmmaker with the easy and low cost setups for musical performances and as a filmmaker to make machinimas cheaply, so it definitely has. As an actor, not so much, but I have gotten opportunities to direct an SL machinima and live theatre productions like Hamlet as well as other projects, so it was nice to get these opportunities. SB: I've done some directing in RL - and it's a challenge - can you tell me how different directing avatars from around the world is different here in SL? What different challenges do you encounter

Best Artist in the Performing Arts here as opposed to RL? EZ: Well directing in RL to me is a lot easier then doing that in SL. For one thing getting movements out of AV’s (avatars) are much more difficult and if they don't have certain animations, certain expressions just won't be made, whereas in RL, I can really make my actors do things with much ease. Also with not being physically there in the same space, it's hard to communicate with actors in SL, and as such sometimes there's delay in communication because over the course of hours, people tend to leave their computer and take a few min breaks without you knowing, and so you are in essence talking to no one in SL, and that adds to the frustration when you're trying to get things done in a timely manner. That and also because a lot of people in SL who act are not disciplined actors and don't quite get that they need to be on top of things and be there.

14 SB: Sounds like some real challenges - so how do you finally overcome them to actually produce a machinima? EZ: Depends on which ones, like the one for Krystal Traveler Art series, it's less about people, more about art, so it's much easier to deal with inanimate objects or objects that are not AV’s. But with the Affirmative Cube Film Project with a bunch of people running wild, it was a hoot. We had to shoot a near min documentary in a matter of hours. Basically my machinimatographer just kept shooting the entire time, and it was all in the editing of the work, basically cutting up the 5 sec, 10 sec, 30 sec bits and pieces of things that will work and then piecing them together. It's really like putting a gigantic puzzle together and you have no idea what the big picture is and the pieces don't have any real fits that will give you any clue. It kinda reminds me of those people who do puzzles with every piece turned upside down...except, mine is more like there's 10,000 pieces and only 1,000 of them work, and you have no clue which is which ‘cause there is no picture to really follow. And on top of that, you have to cut the pieces to fit them together. SB: Where do you think you work the hardest - RL or SL? EZ: Well, I don't like to make that kind of distinction, I don't think of RL and SL really as separate entities, I treat SL as a part of my RL, and a part of my overall career, it's more of a networking opportunity and also a way to reach out to more people, so I give it all that I can when I can, but in the end, my focus has to be where the money is as I have bills to pay. So of course I have to sacrifice SL for RL, not because SL is on a lower plane, but there just isn't the money here to justify me sacrificing RL for SL. I do art in both, and I don’t' see that as selling out, it's just a part of life; one has to be practical sometimes. It’s not that I want to have money dictate everything that I do, but with no money, there's very little that I can do. Basically right now, all my income comes from my creative or creative related endeavors, so I don't plan on becoming a waiter ever, so I have to do what I can to keep me

Best Artist in the Performing Arts afloat. SB: Yes I can understand about the financial requirements needing you to sustain an income in RL. But if all were equal financially, would you prefer the work you do in SL or the work you do in RL? I know you said there is no real separation -but in which environment do you prefer to work? EZ: It depends on which art endeavor I'm doing. I think for the music side of me, I much prefer SL over that of RL. I like the more intimate SL environment that at the same time allows me to reach out across the globe, and also for some reason I donâ&#x20AC;&#x2122;t get nervous in SL. Also with music, SL lowers cost of venues significantly so that I can really be much more experimental in my performances and not have to worry about being able to sustain a venue and answers to producers. But with acting, I much prefer RL, voice acting is fine, and even if we can create motion capture technology which would be fun and something that a friend of mine is trying to achieve, it still can't replace live actors, and I love the live interaction with people. With machinima/filmmaking, it's half and half. I like real people and real things, but then at the same time, making things in SL allows for things that you can't really

15 do in RL, and that will cost tons of money to do if it was an animated project. I don't think I would ever abandon RL for SL, but at the same time SL offers certain things that is just much better then RL SB: Do you think you would have gotten to where you are in RL without SL? EZ: Well I think at this point my RL career hasn't been directly affected by my endeavors in SL in terms of jobs I'm landing as an actor there, but the knowledge I have gained and experience I have gained here certainly has helped me become a better artist in both realms. I do hope that one day I can say that SL has significantly furthered my career as an artist in RL, which is partly a reason why I have invested so much into SL. SB: So what do you answer when newbies or people unfamiliar with SL ask "SL - isn't that a game?" EZ: Life is a game, if you so treat it as one. SL is the same. Itâ&#x20AC;&#x2122;s a game if you think of everything you do online is a game. But to some it's a serious business and to some it's a networking opportunity, and to some is a fun past-time, and to some - so on and so forth. In the end, SL is what you want it to be, as all it is, is just an empty virtual space. Â¤

Best Artist in the Performing Arts Fau Ferdinand Interview by Sunnie Beaumont SB: First, congratulations on being part of the Best Artist in Performing Arts award. How does that make you feel? FF: I know people who are much better than me. SB: What made you come to SL? FF: I've been waiting for a good VR [Virtual Realty] to happen. I was involved with VR's. SB: So is SL everything you had hoped it would be? FF: No, LOL, but I love SL. I loved AW [Active Worlds]. One day we wouldn't need to teleport. The whole world will be mapped into VR. I work here at the moment and every time I have to use the tube on rush hour I bless my luck. SB: What is involved in the designing your performances? How did you discover what the avatar can do in some of the performance pieces FF: For me it's a slow process, I get stuff, play with it and things evolve. Cooperating with Wirx [Wirxli Flimflam] was great. We've set a frame work and worked around it. SB: I noticed that it must involve a huge amount of cooperation between artists and performers - how do you find that to be regarding rehearsing and performing?

Best of Second Life Art... BOSLA FACT ...was inspired by a similar project by Enniv Zarf’s friend Xavier Mohr who was planning the Best of Second Life Project.

FF: RL was sometimes forcing us to find solutions. SB: Without SL - would you have just found other avenues in which to express yourself? Has SL made it easier? FF: SL makes it easier to meet like-minded people. You get to talk to so many people. SL is like speed dating. SB: What made you come to SL Fau? FF: I'm a VR veteran. SB: It’s been said you use a lot of animation and visuals in your performances. I saw one of the video performances whose web site you posted in your profile. [All noobs are Sailors http://www.youtube.com/watch?v=6gSPgkmzmas] When and how did you discover some of the art practices that you use in your art? FF: Thank you. I only see what I did wrong when I look at that vid. I usually pit one or two animations against each other. I mean two or 3. SB: How do you practice for your performances - do you improvise or have specific movements you choreograph before hand? FF: I improvise on a basic structure. There's no way everything will work as planned. So I try not to plan too much. SB: Are you a performing artist in RL as well or is SL the medium you use to be a performing artist? FF: I did RL performance art, but now SL is the medium. My RL is inseparable from SL at the moment. I work here. SB: You say in your profile that it is unsafe to develop art practices that exist only in SL. What do you wish you could do in SL that you can’t now? And what do you wish you could do in RL that you can only do in SL? FF: I say I'm doing the unsafe thing hehe. SB: Any SL technical issues you encounter that interfere with your performances? FF: Oh we crash sims every time we perform.

Best Artist in the Performing Arts SB: So when Linden upgrades to the next release that will significantly reduce crashes - does that put you back to square one? FF: Naa we'll find a way to crash it. SB: You perform as an individual as well as with Second Front - do you also collaborate with other artists on your individual works? FF: I was cooperating with Wirxli before I've done my solo performance and later joined SF [Second Front]. Now I'm working with a young Italian director on his second movie. I do plan to cooperate with Zeb Vindaloo in the future once we're done with the movie. SB: When can we expect to see that? FF: Summer 2008.

17 SB: The movie - is that the name of the movie - Zeb and nnoiz? FF: No. The name of the movie is Fly Me. Zeb is my RL hubby. Nnoiz is a German musician he cooperates with. They both want me to cooperate with them. SB: So is Zeb also involved with your SL work? FF: here and there. He's going to do a small role in the promo. Italian cop lol. SB: What would you like to do in SL if there were no limitations? FF: I would like to be able to import stuff in and stuff out without needing to hack. Anyway SL is my RL. As real as anything else I do. I can't separate the two. ¤

SB: How do you book your solo performances - do you have a network of venues you work with? FF: Not really. Through personal contacts but that will change. A man wants to introduce me to RL gallerists. SB: How would that work? FF: Guess I'll meet them in RL, have a chat, exchange details, and wait. Oh I forgot to mention that the vid you've seen was a cooperation with Gazira Babeli, another SF member and Evo Szuyuan a machinimist I still cooperate with. SB: In your profile to mention you like to read in RL - what do you read, and how does any of that influence your work here? FF: I read literature. If you look at the vid [All noobs are Sailors] I'm wearing a chat bubble that says my mother is a fish. It's a quote from Falkner's “As I Lay Dying,” which is about logic failure and it fit my mood at the time. SB: Sounds great. What is next for you? FF: What’s next for me is SF, the movie , Zeb and Nnoiz in summer.

Question Courtesy of Enniv Zarf & Krystal Epic

Best Artist in the Performing Arts Wirxli Flimflam Interview by Sunnie Beaumont SB: What made you come to SL? WF: Well, I have been a virtual worlds artist in RL since about 2001. So I have been a performance artist in different virtual worlds before SL. I got my account in SL in early 2006 but my RL computer could not handle it back then so I was dormant for awhile. Then Ars Virtua in SL had a call for the AVAIR residency and they allowed performance art. So in late 2006, I managed to make it into SL and began my practice and blog here. A few days later, I started Second Front - there are 9 of us now. I am a cofounder because the membership increased so quickly after inviting people, they are also considered founders. In early 2007, I joined the Avatar Orchestra Metaverse as well as Second Front. SB: What does Second Front and Avatar Orchestra Metaverse do? WF: Ok, this might take a sec. One is a "performance art" group, and the other is a "performing arts" group. There is a distinction.

18 SB: Congratulations on your nomination as Best Artist in Performing Art. Have you also won awards for your RL performances and art? WF: With Second Front, we focus on Performance as a distinct art practice like Fluxus in RL. An example might be throwing a bloody meat dress onto a canvas. Art for art's sake. The Avatar Orchestra Metaverse is a "new music" or "contemporary classical" performing arts ensemble. We all compose our own pieces and have regular rehearsals and even develop a repertoire. Second Front also has a repertoire but it is more dynamic because there are no classical scores. And rely more on audience participation than in the orchestra. SB: Do you prefer working in one to another - do you find you can express yourself differently in one or the other? WF: I think the latter portion of your question is more correct. Each group expresses different aspects of my personality. I need 2 outlets. Fau [Ferdinand] is also in Second Front, by the way. SB: Thank you for inviting me to your performance today. Can you describe how you create your performance art? WF: Well what you saw today was not performance art - performance art is Second Front. Today was the Avatar Orchestra Metaverse.

Ved Bredden Courtesy of Raspirit Heron & Art Sanctuary

SB: How do you create? WF: Well, that is a really long story. I mean we all email and IM [Instant Message] each other some ideas. We all contribute ideas and then we all discuss them. I am talking about SF [Second Front] here, not AOM [Avatar Orchestra Metaverse] Then we vote on them. It is actually a democratic process.

Best Artist in the Performing Arts SB: So how does AOM differ in process of how you create? WF: Well, the AOM is more like a traditional orchestra. We have distinct composers and the rest of the orchestra follows the strict rules. SB: As an artist you clearly identify your RL self in SL. Do you differentiate between SL & RL and how do you do that? WF: Well, my RL work is my SL work. My main medium is virtual worlds performance, so this is my RL art practice. SB: What is involved in the designing these creations? How did you discover what the avatar can do in some of the performance pieces? WF: Well, I research alot of earlier virtual worlds to see what is possible for performance. I even performed in pre-packaged video game environments where there is not much freedom and only "narrow windows of custom content" (my phrase) in the game (not SL which is not a game) {Fau Ferdinand was also present at the interview} Fau Ferdinand: Cooperating with Wirx was great WF: likewise, Fau. As you can see - Second Front is a mutual appreciation elite. Fau Ferdinand: We've set a frame work and worked around it SB: I noticed that it must involve a huge amount of cooperation between artists and performers - how do you find that regarding rehearsing and performing? WF: it can be frustrating at times. LOL! In SF, there are 9 members. In AOM like 15. RL dictates everything. SB: Do you have a specific meaning in mind you want to portray when you create your pieces or does the piece create the meaning as you go? WF: well, for Second Front there are at least two aspects

19 we consider. 1) the site specific context of the place we are performing in. 2) the audience and their reaction. Oh and 3) our ego-gratification. The context created the meaning. SB: You describe yourself as a curator - could you tell me more about that aspect of what you do? WF: Well, I only curate a little bit. I really just curated one major festival in SL. I curated the LIVE Biennial of Performance Art in Vancouver. Well, the SL component of it. I used to be their events coordinator in RL. Fau was one of the artists in it. http://secondlive2007.blogspot.com. I am still compiling performance video archives of that. It was good though. LIVE is the first Biennale of its kind, even before PERFORMA in NYC, which SF [Second Front] happened to perform in, by the way. Also, LIVE's mandate has an aboriginal performance component, so I invited the guest curator Xox Voyager (Skawennati Tricia Fragnito) from AbTec to curate some aboriginal artists. Another curator was Rubaiyat Shatner from Ars Virtua. SB: How does RL influence SL - it's obvious you can do things in SL that can't be done in RL - so where do you get your inspiration for your ideas? WF: Well, in SL, I use ALTs [Alternates] to express different sides of my RL personality. SB: Without SL - would you have just found other avenues in which to express yourself? Has SL made it easier? WF: Yes, I would have expressed myself in other avie worlds like I have before SL. Yeah, for the record, I have done online performances since 1996 as well. 1996 is the year everything got going. Chat rooms since '96, virtual worlds since '01? SB: Can you explain what a Snow Crash is? WB: Snow Crash is a novel and more. [Referring to Neal Stephensonâ&#x20AC;&#x2122;s novel], SL was built around Snow Crash directly.

Best Artist in the Performing Arts SB: What do you wish you could do in SL that you can’t now? And what do you wish you could do in RL that you can only do in SL? WF: Performing strictly in SL could make you go (snow) blind (referring to Snow Crash - the novel SL was based upon) Well, performance art transcends any single world or medium. It is potentially transdimensional. But performing in SL only is ok if you have enough lines to keep you busy during the downtime(s). SB: Any SL technical issues you encounter that interfere with your performances? WF: Yes, SL is one big technical issue. Super laggy. For Second Front, one of my proposals is called "Chariots of Lag", where we run on a racetrack with torches and lag the sim enough so we run in slow motion. I am sure it will be easy enough to execute. Did we mention the DVD yet? It is a "best of" of early Second Front. We have done new performances since then. All machinima edits of our live performances. SB: What is next for you? WF: Well, what is next for me is Second Front gigs. We have a big one for Art Basel Miami on Dec 6th, part of the Telecultures with Pace Digital Gallery. I can focus on SF now. SF is busy busy busy. No time for solo work until maybe 2008....maybe ;-) My site is: http://wirxliflimflam.blogspot.com, and our sites are: http://www.secondfront.org & http://avatarorchestra.org. ¤

Enniv Zarf, Creator of BOSLA... BOSLA FACT ....entered the virtual world of Second Life in January 2007 because of an audition for an acting job in a documentary about Second Life.

Kronos Kirkorian Interview by Sunnie Beaumont SB: What made you come to SL? KK: I was curious because I had some experience with VR [Virtual Reality] environments like MUDs [MultiUser Dimension] and MOOs [MUD Object Oriented] made to play games - totally text based games. The Internet Public Library created a MOO where you could go meet a librarian to do reference work or for a social environment. So I got involved with that from the time it started up and when I heard there was a 3D virtual version I had to check it out. I’ve been a photographer forever and was amazed at being able to place the camera anywhere I wanted to place it. That and all the interesting characters running around. And it’s so easy to take pictures in SL and that led to machinima. I was very interested in that SL could collaborate with writer, director and actors all being in different areas at the same time. SB: You give a definition of machinima in your profile, but would you explain that further and how you got involved in this fascinating medium? KK: It’s basically what they coined to making movies in a 3D environment like SL. [Machine + Cinema = Machinima]. It’s actually like telling a story, like making a movie in Second Life. It came about from the games. People would be playing a game and would want to record the “great kill” at some level. I think Doom was the first level this was done in. SB: How did you discover this art form in SL and what did it take for you to get it started? Is there special equipment or software you need to produce machinima? KK: I just discovered you could do it - there is a function in SL that allows you to take movies. So I started

Best Artist in the Performing Arts experimenting on the Mac. But most people use Fraps which allow you to do screen captures. With that you can capture video and audio. The one in SL does not capture audio. But that’s not a problem because audio is usually separate any way. SB: How did you do the audio? KK: “Lip Flap” http://kronostv.com/Machinima_Links1.html was done on the Mac. I used Foley effects for Lip Flap. Foley effects create the natural sound effect in a film - like any sound an actor makes - walking across a room, for example. These sounds are made in a Foley studio. SB: How has your RL influenced what you do in SL? Are you involved in photography or video in RL as well? KK: My background is in theatre initially and film as well. I’ve worked as a camera man - principle camera for a PBS show about the gallery scene in NY. I have experience as a videographer, and I have always been a photographer. I used to steal my mother’s camera off the counter to take pictures. My wife and I teach acting for the camera at NYU [New York University] so I’m shooting with real life students all the time. So it’s like I was grooming myself to do this in SL. We teach at Stone Street studios Linda and I. SB: You quote from Christopher Isherwood’s book Goodbye to Berlin in you profile. Has he been an influence in your life? KK: I did the play, “I Am a Camera.” It’s from the Berlin stories. I was doing it in summer stock when they announced they were going to make a musical out of it and that musical turned out to be Cabaret. SB: What do you hope to accomplish or contribute or achieve in SL? KK: I do art or commercial work. To justify my involvement here in SL I have to get some kind of return for it. I’d like to do more artist stuff. I’d love to tell storiesnarrative pieces - like Broadway Live and Lip Flap. I’d love to do a short series or continuing series in SL. That would be a real challenge. I’d love to be the 1st to do that. SB: In some of your videos, who do you get to be the actors? Are you also the director? If so, what is it like to direct avatars in a virtual reality? KK: In most of the cases it’s just people I’ve met in SL. The big thing about being an actor in a machinima piece is they have to be patient. Mostly sitting and watching your avatar going through some animation over and over again and repeating actions to get them from different angles. I’d rather have someone easy going and patient than an actor. The voice doesn’t have to be the actor. Working with avatars

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Best Artist in the Performing Arts will make you crazy - it’s very hard to do - like herding cats. So you have to learn how to work with avatars. It’s easy to shoot the buildings. What makes it interesting are the people. To get that you have to repeat it over and over again, then shoot as much as you can and hope you got what you need. It’s more important that they are good puppeteers rather than actors. It’s also difficult to schedule with time frames. The actors can be anywhere in the world. In Lip flap the actress was in Sydney, the actor in CA and me in NY. My wife and I were the voices of the characters that were added in later. But it is easy to create in SL - cause I can move to any location in a minute or two. It makes it easier than in RL. SB: Outside of SL, do you do machinima in other virtual environments? KK: I’m probably going to start teaching machinima in SL. I started a few courses so far. I do teach in RL and I’ve done some voice-overs on 30 Rock and I’m always looking at doing more. The machinimas for RL companies is what’s driving my business now. Companies hire me to create a machinima about SL. My

Flayer (192, 19, 86)

22 work in machinima in SL pays in real dollars. Most of the things I’m doing now are commercial pieces - like the Apple Store - basically the company built a duplicate in NYC. They wanted me to make a machinima about the build. They wanted to do a piece to show it off for people who will never set foot in SL. So they can see what’s going on without having to go into SL. I’m not supporting myself but it is worth my time. I also do pictures for events just to keep my name out there. I enjoy taking them and it isn’t worth the hassle of charging for them, so I give them away free. SB: So what’s next for you? KK: I will continue doing machinima in SL. My thing is that it has to be Second Life. It doesn’t work well as a platform to do general story telling. Most people who look at machinima and look at that and CGI - computer generated imagery - like “Shrek” and “Toy story.” My work has to have something to do with SL. Stories that take place in SL. I don’t really consider myself much of a writer but my experience as an actor and a director is what drives that. I’m also acting in SL - I auditioned for Hamlet. We did a machinima of Act 1 Scene 1. I played the ghost, but I’m not sure I can afford the time to do that. SB: Knowing some of the other artists that were nominated for the Best Artist in Performing Arts, how did you feel about being nominated? KK: It’s very flattering to be nominated. I’m amazed that as many people see my work as they do, since I’m just sitting in my living room. The Apple piece on YouTube - has had over 7500 viewers. That’s more people who have ever seen me on stage. ¤

Best Artist in the Performing Arts Phorkyad Acropolis Interview by Dale Innis DI: First off, what's your background in art? What are your main interests, and what would you like to say about how you acquired them? PA: In RL I have been doing theatre for a long time, and have a Ph.D . in the field. (I teach theatre and direct productions on to a university campus.) As a playwright, I have had some of my one-acts produced, and have performed my own monologue, IMMACULATE MISCONCEPTIONS, my tales of Catholic school. As a poet (mostly SL), I have appeared at numerous readings, and have also published three anthologies of poetry. THE ABSENCE OF SHADOWS and IMAGINING DESIRE are collections of SL poets. THE FUTURE'S PASSED contains only my work, and I have been performing poems from it, and including spoken word tracks backed by music that I have available on a RL CD release, SONGS FROM THE ST. VITUS SCHOOL OF DANCE. Comments have been very positive about these performances.

23 immersive alternate life, or both or neither? PA: For me it is an extension of RL. My profile lists the real me, and in RL newspaper articles, Phorkyad Acropolis and the creator of the avatar are clearly linked. However, SL allows me to do things I can't do in RL. I don't mean just fly and teleport - I never thought of myself as a poet in RL. Here in SL, I am known primarily as a poet, and welcome this Second Life to express a different part of my personality and another aspect of my creativity. Also, SL is another performance venue for me, as I plan to bring students into SL in Spring 2008 for a Theatre Technology course, and then stage Euripides' THE BACCHAE at the newly built Greek Theater (Cookie 58,28,32). RL is also an extension of my SL, since my virtually-published anthologies in SL are also available in RL on www.cafepress.com/musofyr (and /musofyr2 and /musofyr3).

DI: Before we get to specific questions about your doings, what's your overall impression of Second Life as a place for art and artists? What impact is it having, or do you expect to have, on the art world? PA: I think it's an excellent place to find a new audience. DI: Next, what's your SL background? When did you start, Some of us don't live in places where our art, music or how much are you inworld, and so on? poetry is appreciated or even known. SL offers a wider, PA: I began in August of 2006, after I discovered some perhaps global, audience for performers. It also offers a more colleagues in theatre were planning some research into SL diverse choice for those seeking art, who may also be limited performance. While becoming acquainted with SL, I geographically. attended a poetry reading, and "read" a poem using text. In spite of the virtual world, it seemed quite real (And even I DI: You're being recognized as one of Second Life's best artists in the performing arts. Tell us something about your a long-time RL performer, felt nervous). I kept doing art, how you came to do this kind of work, the philosophy readings and received good reviews, and then expanded my appearances. During the summer of 2007, when I was behind it, or whatever else you'd like to discuss. PA: There's the poetry and the theatre. I mentioned a little of directing a one-act play (THE PERM) and preparing poetry performances in-world, I was on daily. Now, during each above - how they started. I think theatre in SL has great potential as a new expressive medium. We can't just the semester, I am on much less, but still manage to reproduce RL theatre in. schedule performances. SL; there are too many differences. But finding out how DI: Do you see SL as an extension of real life, an theatre USES the conventions of SL in performance is most

Best Artist in the Performing Arts interesting to me. SL is perfect for recreating 3D walkthroughs of places such as Epidauros, an ancient Greek Theatre, and the Elizabethan Globe Theatre, for educational purposes (bringing in students to let them experience the structure). Then, blending the historical structure and modern performance in a virtual environment that links the past/traditional theatre with modern/cybertheatre will make creating exciting art possible. DI: Where and when can our readers see your work? What challenges does SL pose for performing artists in particular in getting your art seen by people? PA: I have an outdoor stage at my shop, Faust's Study (Changmi 36,83 120). I am being booked into various venues to do poetry at various times, with no set schedule. Visitors to my shop will find vendors for the various anthologies. Anyone can join the groups DRAHMA Institute or EPIDAUROS and receive announcements of my performances. DI: As an artist yourself, what advice would you give to someone starting out in the SL art scene, and/or to someone with more experience looking to widen their opportunities, as an artist, a patron, or an appreciator? PA: Attend similar events in SL, see what others are doing and then do your own thing. Perform whenever you can, and get feedback. Never worry about doing everything yourself, but if you can, find collaborators you can trust to help you out. More here: http://www.musofyr.com/Phorkyad/SLPerformance/SLPerformance.html ¤

24 background. Or maybe I am a program to remember them. I’m interested in changing the idea, the manner, the language and the point of view without changing direction. DI: Next, what's your SL background? When did you start, how much are you inworld, and so on? GB: March 2006. I learn scripting building weapons. I made 'unauthorized' performances everywhere and 'authorized' with Second Front. I made a retrospective show in Odyssey which was seen by 1200 real visitors. I played equally with tradition and avant-garde. I shot a movie in the desert. Yes, I spent quite a lot of time inworld, in a year and a half I was connected ten years. DI: Do you see SL as an extension of real life, an immersive alternate life, or both or neither? GB: The only certain thing on this is that the quality of life on SL is better than the one in Microsoft Office Life, Web Browser Life, Email Client Life, etc.

DI: Before we get to specific questions about your doings, what's your overall impression of Second Life as a place for art and artists? What impact is it having, or do you expect to have, on the art world? DI: First off, what's your background in art? What are your main interests, GB: Art is based on various forms of and what would you like to say about how you acquired them? GB: I drew a bison on the wall of a cave; the tribe found it gastronomically representation, imitation, falsification, abstraction, alterity etc. Being SL based incorrect. They wanted to kill me, but I had fun. I painted a prostitute entirely on these forms, it’s paradoxical and because there were no more deities; the colleagues found it academically fascinating for an artist. As for your second incorrect and tried to ignore me. But I had fun. A shop-owner said: "it’s a bottle dryer" and I decided I would not buy bottle that day; so I was haunted question, I am not able to answer because I call "art word" any place I am and I walk, by nonsense question for the rest of my life. But I had fun. I jumped from not the rest. the window, I was not harmed. I had fun. These are some memories of my

Gazira Babeli Interview by Dale Innis

Best Artist in the Performing Arts DI: You're being recognized as one of Second Life's best artists in the performing arts. Tell us something about your art, how you came to do this kind of work, the philosophy behind it, or whatever else you'd like to discuss. GB: Performance is a very open word, which I use also for my 'traditional' sculptures because they too are performing something. I think Iâ&#x20AC;&#x2122;m inspired by conscious or unconscious forms of self-censorship, so I react, I have an idea and I realize it immediately with objects or acts. DI: Where and when can our readers see your work? What challenges does SL pose for performing artists in particular in getting your art seen by people? GB: I have an archive in the region Locusolus. The challenge is the audience itself. The audience of SL is amazing and its reality, quality and presence is at present superior to that of "RL". DI: As an artist yourself, what advice would you give to someone starting out in the SL art scene, and/or to someone with more experience looking to widen their opportunities, as an artist, a patron, or an appreciator? GB: 1. Ignore the art scene. 2. Imagine a new one. 3. Create it. 4. Invite everyone from the old one in the new one. 5. Going back to point. DI: What else would you like to tell us, about your art, yourself, or anything else we've forgotten to ask? GB: Yes, "How are you Gaz?" Â¤

Best Artist in the Performing Arts Inarra Saarinen Interview by Dale Innis

(search for "Olmannnen",) Second Life Ballet is currently performing our second original ballet, "Windows", with an original score by Louis Volare, Wednesdays and Sundays at 5pm SLT DI: First off, what's your background in art? What are your main interests, and what would you like to say about how you acquired them? and Tuesdays at 3pm SLT (our Euro Cast for our European colleagues). We have a home theatre IS: I am a First Life professional dancer and choreographer. I studied in Quat, but our performances are currently at with the Joffrey Ballet and performed with a number of ballet, jazz, our IBM theatre in IBM 10. Our Holiday Ballet modern companies as well as on tour in the United States and Japan. My choreography has been seen in the National Ballet Competition, on will be announced shortly. tour, with Miami City Ballet, in musical theatre, on TV, and so on. DI: As an artist yourself, what advice would you DI: Next, what's your SL background? When did you start, how much give to someone starting out in the SL art scene, and/or to someone with more experience looking are you inworld, and so on? to widen their opportunities, as an artist, a IS: I was born on January 22, 2006. I am in-world constantly and patron, or an appreciator? Second Life Ballet is my full-time job. IS: Dream big, but act slowly. And surround DI: Do you see SL as an extension of real life, an immersive alternate yourself by great people. life, or both or neither? DI: What else would you like to tell us, about IS: Both. And that is why alts are nice. your art, yourself, or anything else we've DI: Before we get to specific questions about your doings, what's your forgotten to ask? overall impression of Second Life as a place for art and artists? What IS: I like a good Cabernet. I live in Japan and impact is it having, or do you expect to have, on the art world? Hawai`i and Second Life. I have an extreme and IS: I think Second Life has innumberable unique opportunities for the all-consuming passion for what I do. And I am art world. I do no see it utilized much as such at the present time. one lucky person to live the life I do, to be able to explore and communicate with others about DI: You're being recognized as one of Second Life's best artists in the performing arts. Tell us something about your art, how you came to do our world and experiences, and to work with this kind of work, the philosophy behind it, or whatever else you'd like such talented people. 造 to discuss. IS: I founded Second Life Ballet to bring dance and movement into Second Life (without poseballs, I am interested in exploring the intersection and interaction of physical and virtual dance and movement and in defining an new aesthetic and vocabulary for vitual dance. In the future, as we develop and grow, I plan to merge the two. DI: Where and when can our readers see your work? What challenges does SL pose for performing artists in particular in getting your art seen by people IS: Our first original ballet was "Olmannen" as can be seen on YouTube

Second Life Ballet Photo by Enniv Zarf

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Most Influential Venue & Owner Oyster Bay Sculpture Garden and Aquarium - Morris Vig Interview by Dreamingen Writer DW: Well can you tell me a little about you? MV: OK - I'm a failed "mini-Chung" wannabe land baron turned SL sculpture garden owner. DW: Haha. So you started out in SL buying land? MV: I purchased a wonderful waterfront parcel in Oyster and found myself forced to purchase the neighbor's property to avoid garish development Yes, that was my initial vocation in SL. So with all of this land, I had to figure out what to do with it. I thought art would be pleasant, so I contacted this SL sculptor I met along the way, a gent named Cheen Pitney. This was about a year ago.

DW: Ah! Wow! MV: Cheen had this cool "glassblower" sculpture that I wanted to show. So he was the first sculptor to commit to Oyster Bay - a leap of faith on his part - and remains a foundational presence. Oyster Bay officially opened on January 10, 2007. DW: That is wonderful, you have an impressive gallery. MV: Thank you. I'm a bit biased, but it has a special place in my heart regardless. Hopefully that shows in the place itself. DW: I like that you honored the first artist that believed in you MV: Well Cheen's the man. DW: Friends are so important and nice to be able to work together in SL. How did you find SL? MV: I've made a number of great friends through Oyster Bay. I think I found SL through a weblog that I was looking at for work. Something about virtual worlds. This SL thing, thought I'd try. DW: Yes, an amazing rabbit hole. MV: And how!

Crystal Dragon Photograph by Enniv Zarf

DW: Do you talk or want to talk about what you do in RL? Or would you like to discuss some event that stands in your mind about Oyster Bay? MV: Probably should stick to Oyster Bay, as there's so much to talk about there.

Most Influential Venue & Owner DW: Yes. MV: We're at a Komuso show. Komuso Tokugawa has a fascinating role in Oyster Bay's development. He played the first concert ever at Oyster Bay, a gig at the bottom of the Bay outside the underwater aquarium. Then he did an ArtTalk, where he shared his experiences and expertise in music and SL. Lastly, he was the headliner at the Black Tie and Blues party to celebrate the release of Kronos Kirkorian's Oyster Bay machinima. Three incredible experiences. DW: Yes those do sound great! MV: And they keep coming - different artists, different topics, 3 totally different Oyster Bay builds.

of SL arts. Never too much of any one style, but a representative sample of as many styles as I can identify. Prims, scripts, sculpties, textures, high prim, low prim. Goes on and on. DW: So many possibilities MV: Exactly, and people continue to push the limits. DW: Where do you see Oyster Bay going into its second year? MV: Wow - that's a great question. I've had a change of RL work situations, which impacts my personal involvement. DW: Well I had to come up with something you have great answers. MV: Haha. I think that I'm fairly well convinced that Oyster Bay will stick around and largely continue its role as a "sampler" of the Second Arts. I'd like to expand Second Arts Photography a little - so much great work is being done in photography, and I don't have enough space to show it off. I'll likely run another series of ArtTalks. They were quite popular - the Sasun Steinbeck ArtTalk was the basis of one of ArtWorld Market's SLArt magazines. That, and the artists loved the experience. I'll never forget Madcow Cosmos' 3-hour exposition of his inventory.

DW: What is the most fun about running Oyster Bay for you? MV: The creativity from such impressive people. Oyster Bay is about the "Second Arts" - artwork that is unique to Second Life. DW: Yes this really is a special place with such amazing people. MV: SL sculpture and SL photography at the Second Arts Photography gallery. DW: Ah okay, I was not aware of that. MV: You simply can't make the art I show without SL. SL is the medium. And I've leveraged the waterfront position of Oyster Bay to show off the art of some incredible people to total newcomers who are simply cruising the waterfront. Oyster Bay is a "sampler"

Horse

Photograph by Enniv Zarf

Most Influential Venue & Owner

DW: Ah, great panel. MV: Just need to ask #4. But as for the future, I hope to keep Oyster Bay ever-changing. People have come to expect it from the place. New art, new events, new concepts, new BUILDS, etc. DW: Sounds like a full season and a long life for Oyster bay. MV: Hope so. As long as Linden Lab keeps the griefers at bay. DW: Is there anything that you would want someone to know about Oyster Bay that they may not. MV: Best dang sunsets in SL. All in a PG sim. Who knew? DW: Thank you so much for you time. MV: Thank you! And pass along my best to Enniv and Cyanide. DW: I will do for sure sir, please keep up the great work. MV: "Sir" - classic.

Scrap Metal Photograph by Enniv Zarf DW: I bet that was quite interesting. MV: THOUSANDS of prims on display, coming at participants like tidal waves. But Sunn Thunders' balloons from the first ArtTalk were the stimulus for the Oyster Bay Balloon Festival. And Cheen, of course, had plenty to show. I'm just now starting to put together a special panel discussion - a joint ArtTalk that should be quite interesting. Hope to announce it soon. DW: Ah, leaving me with suspense. Good! MV: I've got 3 of my 4 preferred participants committed: Cheen Pitney, Madcow Cosmos and Gracie Kendal.

DW: And I hope that art investers come in troves here and all the artist will live like google employees. MV: A wise person told me, you'll never get rich in SL art. It's so true. That being the case, artists (and art venue owners) need to look for other motivations. I live in awe of the creativity around me at Oyster Bay. That's enough. And thanks again, I'm honored. DW: Good point, some say i am a dreamer MV: SL is made by dreamers. Rosedale is a dreamer. And it goes on from there. Oh yes We'll be talking about SL like early web people talk about The Well. Mark my words. 造

Most Influential Venue & Owner Crescent Moon Gallery - Tayzia Abbatoir Interview by Dreamingen Writer First of all, it is an honor to have been nominated for this award even though I try my hardest to avoid such contests. I think all of the venues in SL that support the arts should receive the award as one. I am a lover of arts, and avid fan of the artists; therefore I own and curate the oldest art museum in SL. I decided to begin the museum after joining SL and discovering a small sculpture garden in Avalon in 2004. In the sculpture garden I found “Flat Pain” by Launa Fauna and “Sand in your Face” by Starax Statosky.

Crescent Moon Photograph by Enniv Zarf

46 The different emotions that each of these pieces evoked intrigued me. One was of power and struggle, the other of whimsical anxiety. I was awed by the talents that these two artists possessed to create such beauty using SL as a medium. It became clear to me that I needed to begin a museum to exhibit the talents of all the artists in SL, so everyone could enjoy the beauty of their creations. Besides the Crescent Moon, that started out in the Sim of Crescent, I also curate the Aho Museum on the NMC campus. While the Aho aspires to showcase the finest examples of art that can be found in SL, the Crescent Moon exhibits art from both the new avatar just exploring art in SL and the experienced artist, creating pieces of amazing quality. Both the Crescent and the Aho are beautiful works of art in their own essence. The Crescent Moon building was created by Random Calliope, and the Aho by CJ Carnot. It is an honor to curate each of them. I am acutely aware that art can be anything and everything, from buildings to fountains, sculpture, light and sound effects, flowers, jewelry, and so on. What I consider art, you may not. What evokes a powerful feeling from deep within someone; another may look upon and be confused as to why others enjoy it so.

Most Influential Venue & Owner An artist is someone that creates from the feelings they have within, or from what they see and experience around them. It can be one prim twisted and tortured, or 500 prims strategically placed to create a monumental sculpture or beautiful piece of artistic jewelry. One just cannot compare the single prim piece created from a deep emotion to a re-creation of a real life sculpture, or an exhibit of light and sound. Each is a piece of amazing beauty, and should not be compared.

Life in SL. I should stress again that it is an honor to be able to display and share the art from these amazing artists with the rest of the SL community. It is my pleasure to work with other museums and galleries, to share the art and bring attention to the deserving artists. 造

I will continue to support the arts in SL forever, however long that may be. SL for me is about creative outlet, networking, meeting the most amazing people you would have never gotten to meet before. If I had a magic wand, I would extend time, so I could spend more of it with the SL friends I have made. I have so many that I barely get a chance to say hello to it seems. My favorite things to do in sl is to spend one on one time with my artists and friends, and to explore the grid and discover new art and artists, as well as support and help with Relay for

Old World Anew Photograph by Enniv Zarf

Most Influential Venue & Owner Artisan Galleria - Jordan Morgenrote Interview by Cyanide Seelowe CS: I'm gonna throw a few fairly generic questions at you and expand here and there. Should be painless, hopefully. JM: Sure - I'll give it my best shot. CS: Give me a brief biography of the gallery. I understand that it's undergone quite a few stages of evolution to get to the structural and social state that it holds now. JM: Well, i rezzed in SL about a year ago. About a month later I decided that I loved art - I'm a creative person in general - and I would love to open a gallery. I don't create "fine art" I'm a graphic designer by trade - but I met up

with Gracie Kendal, and my very good friend Sinsaber Holgado is an awesome photographer. I wanted a place that would showcase their work. Primarily because Sin had just rezzed inworld a little after me. I wanted people to see his work. CS: Sin Monier? JM: but when i started branching out and getting to know SL more, and see how creative everyone could be. Sinsaber Holgado = Sin (nickname). CS: Ah! Okay. JM: I wanted a place that showcased that creativity. I started with a small plot in Lota on Linden mainland laggy as all get out, and i don't mind saying that a huge amount of it was (gasp!) temp-rezzed. But i wanted a beautiful

Artisan Square Photograph by Enniv Zarf

Most Influential Venue & Owner

build to showcase the works it contained. It was small, homey, and it was a labor of love. That lasted. I guess until May - so five months. Lota had become pretty popular and i felt it was ready to expand, so i found land in Bellatrix, here, and got my friend Muzicole Undertone to build a gorgeous glass tower to contain the art. One tower became two, and I always intended it as a homage to the world trade center. They were approximately 80m in height, each and i was very proud of that build, as I was of Lota. Around that time, galleries started blooming all over the place in second life and frankly, it hurt some of the larger galleries. I think and felt a need to scale back. I had expanded too quickly, maybe. In addition to which I found that the build, with all its glass and curves, was extremely laggy. Add to that all the textures of all the art contained within it was really hell sometimes. In August we tore down that build and went in this direction. The Skyline Art Experience. Two artists really inspired me. Douglas Story and Finny Yates. I loved their space, the immersive art experience, and i was so happy to have them here, along with all the artists who had stuck by me since Lota, too. As well as newer ones, like Elko Schufang and Blue Tzuki. So we built this - 10 different artist, 10 different immersive art experiences all under one roof, and even less lag than the previous builds. But just as texture and script intense, if not more. Whew! CS: Wow, what a rich history! JM: In a relatively short amount of time I think. But i think SL art scene is always changing people are always pushing the envelope here, creatively its exciting! That probsably was a whole lot more than you really wanted, but that's the history. CS: Definitely! It's very apparent with the work on display here - I've seen each of the exhibits, and it's one amazing environment after another. JM: Hehe. That being said, I should tell you that i've announced the closing of this gallery for December 8th. CS: Is that so? What's the situation behind that? JM: Well, the situation is multiple. It takes an awful lot of time and energy to be a gallery owner. Something I'm finding less and less of lately. RL demands, other SL pursuits. CS: I understand completely.

JM: And I just think it's time. All of us associated with Artisan Gallerias have come a long way, I think, creatively, reputationwise. Many of the artists here are involved in other pursuits within the art world, and I think that is wonderful! Its time for me to pursue my own creative outlet, which is making jewelry. Its a lot less pressure on me. I find it hard when there are people depending on me to "do" something and Iâ&#x20AC;&#x2122;m

Most Influential Venue & Owner

very hard on myself when I feel I may have let them down. their efforts at all! But I think that someone who is new to the art scene benefits by getting into the larger galleries and CS: It's a tough bag, directing so many people. But it really get INTO the scene. I think they are really plugged sounds like you'll be moving forward as you pursue your into the art scene in Second Life. And most of the larger own artwork, so it sounds like a beneficial move. places have been around a while. Why not benefit from JM: Well, it will simplify things to a certain extent. But I their experiences? plan on still being VERY involved in the art world. I'd like to combine art events with charitable ones, for instance. CS: That's definitely something for everyone to consider! I also plan on developing an SL Film Festival along the So after you close the gallery here, where do you see your lines of Sundance and finally, I'd like to have some free Second Life "career" going. Where will you be a year from time to help out my friend who is also a gallery owner, now? Morris Vig with Oyster Bay, a venue I totally believe in JM: A year from now? Probably right back into the art and am very enthusiastic to support so I'll be around. scene. Whether it be as a gallery owner, or just an events coordiantor, I'm not sure. Probably as a gallery owner. But CS: Certainly, another excellent venue that has undergone in the meantime, I want to pursue my jewelry creations, amazing evolution. I'm glad to see that other artists value and the charity and film festival events. collaborative efforts! JM: Gallery owners learn a lot from each other's successes CS: It sounds like it's going to be a blast. I can't wait to and failures. We have a remarkable group - so diverse see what you do in that regard. as diverse as the artists themselves! You know, I'd like to JM: Actually - I can't wait, either! I love doing BIG events. make apoint about that, if i may? CS: This may be a little off topic, but I'm curious. Describe CS: Please do! your relationship with Gracie Kendal. I don't know if it's JM: An artist should carefully consider the venues they just me, but I can't hear about either of you without show in because of that diversity. Go with the place that thinking about the other. you feel "fits" with your artwork, not just the best "deal." JM: Wow - Gracie. Gracie Kendal is a trip! Go with a place that's been around a while, and with a CS: Haha, what a great answer! venue that has a reputation for fairness and JM: She is so creative - so incredibly enthusiastic about enthusiastically supports their artists with events. There is art. Whether it is her art or celebrating the creation of something to be said for the larger galleries. They have another artist. That woman lives and breathes art, and she many people to help do stuff like that, striking out and is so selfless in sharing her knowledge of it. I've learned having one's "own" gallery is great. But I truly believe it SO much from her. She has challenged me to look at art takes a community, a village (sorry!) to make the most of critically - But expand my previously narrow view of it. "what is art." I still can't answer it, except to say that I CS: A valuable piece of advice, to be sure. so you feel that know it when i see it. Filthy made a great observation some may be secluding themselves by starting their own earlier tonight, that after viewing art, he feels changed and galleries? I think that is appropriate. JM: Yeah, I honestly do, and I'm not trying to minimize CS: Agreed!

Most Influential Venue & Owner JM: But Gracie tirelessly promotes herself. We kid her all the time about it, "shameless self promotion." But she's probably the third person I met in Second Life. And we've been friends since that time, and that's been a year now. We talk on the phone almost daily and she's been with my galleries since the beginning. And actually curated much if not most of it at times. She's my "art scout' as well as a loyal and wonderful friend. CS: It sounds like an extremely harmonious friendship. JM: It is. She's a very good friend and i'm so lucky to have her as one. CS: Wonderful! Is there anything I missed? Or anything additional that you'd like to say? JM: Yes, just one other thing. No one can ever really accomplish something "big" like a gallery like this alone. It takes friends (like Gracie, and my other good friends) and supporters, as well as other experienced artists and gallery owners for feedback. Others to help build, script. I could never have accomplished all i have done alone, and I am grateful to every single one of them. They know who they are. They've enriched my second life, and my "real life," and that distinction becomes more blurry with each passing day i know them. CS: I couldn't agree with you more. Well, this has certainly been an enlightening interview! thank you so much for your time, Jordan. JM: You're very welcome, thanks for the interview! I can't tell you how floored I am to be one of the finalists. ¤

BOSLA 2007 Magazine...

BOSLA FACT

...was the first magazine Enniv Zarf acted as Editor in Chief for in either Second Life or Real Life.

Sliterary - Ina Centaur Interview by Dreamingen Writer DW: Well it is a general tell me about you, do you have a website that I could get familiar with your work. IC: Not yet.. I've been meaning to spend time on a website. DW: Ah okay. IC: Pretty much everything is just scattered everywhere. Maybe you can help pull things together into a coherent form. DW: Well i want this to be easy and fun for you. Yes wonderful. Well can you tell me a little about yourself here in SL. IC: It's really difficult where to start. I basically do everything. DW: Haha yes. I can imagine. Maybe starting by telling me what would you want people to say there goes Ina Centaur, she (blank). [Ina Centaur's at it again!] I like that. You must be heavily invovled in the arts. Tell me about that. IC: Let's see. I started out as a builder. But also experimented with my own black & white sketches art gallery. I built a number of clubs by commission, and casinos. DW: Ah, interesting. IC: Became self-made SL millionaire. DW: Wow, congratulations! IC: Before my 23rd birthday in june. DW: Wow, that is great! IC: So well, arts. I guess I am known for sLiterary. SLiterary started as a literary magazine that exists to promote and foster the budding genre of metaverse fiction But it's gone a “long” way from my tiny 512m2 newbie plot to its own sim at sLiterary.

Most Influential Venue & Owner DW: Wow, fantastic! IC: Right now, it is on its way to becoming a 501(c)3 nonprofit. SLiterary's goal is to help bring literary and artistic culture into SL and to create it where it does not exist. DW: That is great, so that provided your base for you to create more? So sLiterary is where you send most of your time in SL? If you are busy now we can pick this up another time, I want this to be fun and somthng you can do it when you have time IC: If you're fine, I can just sort of answer your questions while multitasking? That's typically best. DW: Sure. I just did not want to be that pesky IM tab blinking. IC: Well, i also spend some time making and configuring custom avs for www.SLface.com. DW: Oooh nice. O am so glad to meet you. IC: And also IC-skins, and IC-eyes, and IC-doors, and several other IC-'s. I still have to officially make into stores. DW: Ah fantastic! A little background on me, I am an artist and a business school grad that is in law school now. You really have many talents. IC: Oh law school! Why law btw? DW: I had the chance, and I have always loved philosophy and law is where that naturally goes. But in all honest I had the opprotunity to go, I did well on the lsat and got in. IC: Technically I'm a physics major taking

Trojan Photograph by Enniv Zarf

Most Influential Venue & Owner

an extended year off grad school.

IC: Not really. Theoretical physics is mainly messing with abstract spaces and obscure math theories that are perfectly completely useless in RL.

DW: Ah wow, very cool. IC: I don't actually have any official formal background in art. It's mainly been a hobby type of thing. DW: A fun place to take a year off, if you call what you are doing off. Interesting. IC: I started www.two.com's back in high school. DW: You are an entrepreunal sort. IC: So I have a sort of background in biz and tech. But am kinda out of it since I went the wild path and spent some time in academia/theoretical physics - the farthest thing from that! DW: Haha, yes pretty far out. Has the physics helped your understanding of this world. I mean here in SL?

DW: Ah and in SL their importance really shines? May I ask what prompted you to go into that field? We can continue tomorrow, such an interesting avatar. Thank you for you time. IC: No, nothing I learned in school actually helps in SL. DW: Wow, that is an interesting statment. IC: It's just part of my long dark past. DW: Oh do tell. IC: Why did I go into physics? I honestly don't know! It was just a phase. DW: Ah I understand, being in a law phase myself. 造

SLiterary Photograph by Enniv Zarf

Most Influential Venue & Owner Cetus Gallery District - Xander Ruttan Interview by Dale Innis DI: First off, what's your background in art? What are your main interests, and what would you like to say about how you acquired them? XR: In real life I’m a former gallery director, art collection curator, and nonprofit arts organization founder. Currently I am an arts & culture writer, art consultant, contemporary painter, and musician based in California. My mother is a professional RL mural artist, so creativity was encouraged during my upbringing. I taught myself to paint and play piano. SL’s drop-in-and-go spirit – along with its tools – reflect my own self-taught approach to things, and intuitively appeal to my sense of selfdetermination (read: “control freak!)”. DI: Next, what's your SL background? When did you start, how much are you inworld, and so on? XR: I stumbled onto Second Life via the Washington Post back in August 2006. Suzanne Vega had just performed, and the Post featured a story on her show. SL sounded interesting, so I checked it out. I was hooked almost immediately. Now I’m in-world almost daily for Cetus Gallery District events, art openings, concerts, lectures, meetings, visiting with friends, artists talks, showing property to prospective gallery and residential loft tenants, etc. DI: Do you see SL as an extension of real life, an immersive alternate life, or both or neither? XR: SL is great for both and more – extending, altering, avoiding, mimicking, contradicting and improving real life. It has RL value in helping to keep in touch with RL friends, making new SL ones, and for conceiving new professional projects that are hybrids of RL and SL, or

just one of those. For example, recently I introduced associates at a real life museum to acquaintances at a similar SL museum devoted to the identical theme. Now those counterparts are collaborating. So SL can be a place to serve as a catalyst to help others to do their thing. Contrary to SL critics’ accusations, SL is much more than some shortcut to utopia or a life in denial. Connections made here can result in very strong ties, and represent a quickening, a mode of networking that is a vital link where worthwhile, legitimate things can happen in SL, in RL, or both in equal measure. One world is not more valid than the other. (But in SL can you experiment with identity and see what it’s like to be incredibly handsome and sexy, experiences that RL doesn’t offer as much.) If missionaries meet real life needs by offering food and other basic necessities, will virtual worlds someday be considered a legitimate mission field whose people’s needs are met not with irrelevant physical needs, but with networking assistance, building and scripting advice, virtual career counseling, etc.? My interest in SL stems from two main functions of art. SL tools offer the ability to conceive entirely new worlds, and to recreate the real world mimetically via some metaphorical approximation. The former is what most contemporary art does, but the latter traditionalism seems to be where most SL builders have taken our virtual world. Ours seems to be an arena where people want a practice run at reality, or some parallel akin to it – rather than something that is entirely fantastical or revolutionary or radically different. We’re playing out narratives that may represent some aspects of fantasy, but we often create virtual lives that also might be close to viable in our first ones. Here in SL, the fantasy just beyond our grasp seems much more compelling than the far-fetched one that is completely unattainable. Perhaps SL is “stickiest” for those of us whose unrequited desires are closer at hand

Most Influential Venue & Owner than we realize. When I first came to SL, I was thrilled with the possibilities of a whole separate existence discrete from my real life (and I really like my real life a lot, so SL is not escapism for me). And SL’s daily absurdities kept me laughing; it seemed like every day some wacky thing would happen. My neighbor and I would pull crazy stuff out of our inventories trying to one up the other: If I pulled out my giant sparkly pink pig, he’d pull out his medieval bonfire and roast it. A phallic piece of giant produce would meet an incredible array of tools to ward it away. We would hover high over Cetus pulling sily stunts like this on each other just because we could, laughing the night away. SL was the perfect Theater of the Absurd for swift and improbable whimsy. Ironically, my early experience marked by joie de vivre has been replaced mostly by serious work, much like RL including building facilities, promoting artists, hosting events – all which in my first life happen almost identically. So, at this point I am more of an Augmentationist, but I have fond memories of early Immersionist play time and wide-eyed wonder at what millions of possibilities SL offered that no other real or virtual world could match. Ah, those were the simple days.

55 (thereby bypassing the RL biases which might separate us by gender, age, class, sexual orientation, culture, etc.). But the real life art world is known for various snobberies that could limit its acceptance of SL as an art platform: The uppity might find it undesirable to mingle among our Immersionists (a more judgmental term for whom might be “wannabes”). Hipsters and art world shakers are often obsessed with stature, appearances, trendiness, etc. They might jump in early, but bail quickly in favor of the next big thing – of the next hottest virtual world that springs up to cater more specifically to their preconceptions. In contrast, SL’s do-it-yourself ethos is all about bypassing censors and tastemakers and angling for yourself; conversely the art world is all about pedigree and prestige, critical acceptance and social climbing. It’s often less about actual talent. Ironically, the art world is often a place where artists and art are often merely a vanity strategy. But happily, those more vainglorious aspects are pleasantly minimized in of SL – for now. It is worth noting that some SL art probably wouldn’t have much audience or success in the real world. After all, the art world machine does weed out a lot of sincere but inept art.

But SL is only a medium; I believe that SL is a perfect DI: Before we get to specific questions about your doings, metaphor for RL, that amateurs and pros can both inhabit what's your overall impression of Second Life as a place for this world just as they each occupy the real world, albeit art and artists? What impact is it having, or do you expect divergently so. Over time, I expect SL venues will begin to have, on the art world? to divide along amateur and professional lines just as the XR: Second Life works two different ways for RL art world divides up. As hundreds or even thousands Immersionists and Augmentationists: Immersionists can of art venues spring up, some kind of quality filter becomes indulge their fantasies of being important artists or art more essential for those who seek the best art destinations world players; Augmentationists probably have the greater in SL, for the best art available. This is in part why Cetus traction and potential for actual influence, but also the less- Gallery District was conceived, and our plan is to court the tapped potential in SL. That is, the RL art world has barely best we can find from both SL and RL sources. scratched SL’s potential for things like international promotion of artists, experimentation for exhibition design, DI: You're being recognized as being responsible for one of Second Life's most influential art venues, the Cetus Gallery unlikely collaboration and cross-fertilization due to the District; how did it get its start? Was it an accident, or identity boundaries that are easily erased or minimized

Most Influential Venue & Owner carefully planned? XR:Cetus was begotten by the curious bedfellows fluke and caprice. I bought a lot in Cetus from Suzi Kiama. I was building a home along the Cetus River, which I also built. Then I decided, hey! I want a room for showing my own RL paintings. Then my neighbor, Stranger Momiji and I said, hey, what if it were like a museum? So we built a museum onto the house. Then others began asking me to build galleries for them, so I assembled nine more adjacent parcels. Early on, I met Tricia Aferdita who shared this unfolding vision for an entire neighborhood devoted to art and culture. She was the first SL gallery owner to relocate to Cetus in December, 2006, and is now the president of the Cetus Gallery District Association, our local group that markets and promotes the community. (Bing & Binder, Nils Ophelia, Marion Rickenbacker Photography, and Elektra Spark of the eponymous gallery are also among the longstanding members of the community). So it was an organically developing place, not something hatched out as wholly conceived. We now have almost 30 galleries and residents, many of whom are artists in RL. Many residents are art lovers who just want a loft home where they can live and show their art collections. DI: What artwork or artist are you especially proud of having shown or otherwise encouraged? XR: Some of the most exciting shows are still in the works in Cetus Gallery District and have arisen from RL crossover: An artist who was a protégé of both Matisse and Picasso; a show of ancient documents which are among the world’s oldest known, a joint exhibition in the works with a RL museum in Tokyo. But I am most proud of every one of our Cetus artists who hang their souls out there every day for people to take or leave. Accepting whatever response may come takes courage and confidence no matter what level of talent. And we have some of the best talent to be found. I’m proud to know these brave and gifted people here in Cetus. And their artwork has been incredibly well received by many thousands of visitors over the course of our first year in Second Life. We have received a lot

Most Influential Venue & Owner of favorable real life and Second Life press, and our artists were the major reason why Cetus was popularly voted “Best Cultural Place in Second Life” in the Vauxhallsponsored competition back in June. The first time I Googled Cetus Gallery District, I was amazed to see how this thing has taken on a life of its own outside the confines of our neighborhood, outside of SL, even. Next week I will be speaking to an international group of RL art museum and education professionals about the nature and value of virtual art communities, a further blurring of the line between my physical and virtual lives. DI: As a venue owner, what advice would you give to someone starting out in the SL art scene, and/or to someone with more experience looking to widen their opportunities, as an artist, a patron, or an appreciator? XR: This question is worth an entire book, so I’ll abridge best I can! Tip A) Make sure you’re ready. The ease of getting a show may be tempting, but budding talent needs to be gently nurtured like a seedling. Don’t subject yourself to needless forces of criticism in too-early stages that might prove too discouraging or enervating. Your talent may be worth showing, but it’s also worth protecting if you’re not ready. Don’t be lured too soon by SL’s ease of access. If RL art venues don’t warm to your art, SL venues may not either. Tip B) Know why you’re doing it. If it’s only for the money, you might be disappointed. SL is not yet a powerhouse sales vehicle, although that is changing. It is, however, great as a cost-effective channel for building international awareness of your own or others’ art -- and doing it in real time, to boot. The 2-D internet seems lonely and dead compared to moving around and viewing art along with others experiencing it simultaneously. For the first time in history we can gather around art from all over the world while interacting, encouraging, inspiring, and uniting others. That is a powerful, historical development with implications not just for art or technology, but for humanity. Tip C) Notice what is happening in the real art world. Read

57 magazines like Frieze, Art in America, Artforum. Online, hit artnet.com, or Saatchi’s website. The SL art world will broaden as it synergizes with art currents around the real one. Then the art will become more compelling, too. Importing more great RL art will only improve things. But that said, artists can also ask themselves: What tools and dynamics are uniquely available here in SL that would yield an indigenous, authentic art that speaks to the realities and possibilities of our SL culture and experiences? What profound or unprecedented art can happen at SL’s thrilling intersection of sound, motion, surface texture, and implied three-dimensionality that is more than a mere formal exercise, or sum of those parts? I can hardly wait for more of that! (Note to SL sculptors: Just because it can spin doesn’t mean it should. Don’t confuse SL’s unique capabilities with original, meaningful concepts. An art professor once ironically said, “If it’s no good, make it red. If it’s still no good, make it big and red.” The SL translation: “If it’s no good, make it red. If it’s still no good, make it big, red and spinny.” See? Doesn’t help.) DI: What else would you like to tell us, about your venue, yourself, or anything else we've forgotten to ask? XR: Cetus artists and art dealers understand that active promotion and networking are essential to success – whether SL or RL: That is what Cetus is all about. The connections we form here are just as important to our joy as connecting with the art. Passive, absentee mall-dwelling artists are antithetical to who we are. Our people participate. Cetus has hundreds of visitors per week and our events attract throngs. But when a prospective artist or gallery owner expresses interest mainly in our traffic counts, I can usually spot someone who will prove to be a limited asset to the community. We are a living, vibrant community of diverse collaborators whose common goals are: a) to work together collectively for the benefit of art and our residents; b) to serve as a conduit between RL and SL art worlds; c) to foster a really challenging and engaging conversation about

Most Influential Venue & Owner what art is most important and why; and d) to explore what images and objects embody meaning within a virtual world, and to sort out what that all means when reflected back to us here in the real world. Cetus is a microcosm of the RL art world and reflects its professional practices. There are no distracting or irrelevant settings, no theme park attractions nor gimmicks that would distract visitors or compete with the display of the art. In fact, our design was inspired by urban art gallery districts that have arisen from historic industrial neighborhoods like Chelsea in New York or the Pearl District in Portland, Oregon (where I lived for 20 years). Like SL at large, Cetus is about connecting and creating bonds using the interests that unite us. While games like MMPORGs appeal to peopleâ&#x20AC;&#x2122;s appetite for competition, destruction and tribalism, SL is better adept at fostering the creative impulse. The latter, better aspect of human nature is at the core of Cetus, of our mission, and the primary basis of our value. With residents from throughout Europe, Asia and the Americas, Cetus Gallery District is characterized by a lingua franca and common currency of creativity, community and collaboration. Â¤

Eldertreet Courtesy of Raspirit Heron & Art Sanctuary

Angel Dorei Museum - Razi Semple Interview by Dale Innis DI: First off, what's your background in art? What are your main interests, and what would you like to say about how you acquired them? RS: I would have to say my art background is one of pure interest and appreciation of art. I have indulged in some study of art and through personal experience have gotten to see some of the old and new classics. As for Second Life art I would have to say my main interest is in prim sculpture although I fully enjoy and try to support all forms of art. The ability to translate into prims emotions or even movement still amazes me. I would say I have acquired my love of art as a deep appreciation for ones ability to see things with a unique eye and translate that into a media so others can see the vision as well. My affection for art is as much interest in the works themselves as it is absolute respect for the talent it takes to create them. DI: Next, what's your SL background? When did you start, how much are you inworld, and so on? RS: I have been in Second life since August 8th 2005, at first I was as lost as the next person. Thanks to some helpful residents I was able to learn to change my clothing and walk about without injuring anyone. It did not take long to discover the wonderful world of Second life and its residents. My interests in Second Life lie primarily in the appreciation and support of

Most Influential Venue & Owner cultural and artistic development. I have been involved with the Arts Council of Second Life and a member of the Second Life Mentors. I work diligently at building and occasionally get one right. DI: Do you see SL as an extension of real life, an immersive alternate life, or both or neither? RS: It has been my observation that Second Life is different things to different people. So it is both depending on the individual. For myself Second life is an immersive alternate life, it has become a large part of my daily social interactions. In Second Life I am able to interact on a daily basis with interesting talented people from all around the world. These interactions not only intrigue but educate and that is always a good thing.

serious leaps forward in the past year. Artists are making a serious cross over from Second Life to real life with there works. You are seeing institutions of higher learning engaging themselves in virtual classrooms and museums. Second Life is becoming a venue for artists around the world to interact and grow. I look forward to seeing what will come next.

DI: You're being recognized as being responsible for one of Second Life's most influential art venues, the Angel Dorei Museum; how did it get its start? Was it an accident, or carefully planned? RS: To call Angel Dorei Museum carefully planned would not be accurate, however it was planned. First off the inspiration to build and open a museum in the first place came from my dear friend Tayzia Abittoir curator of Second DI: Before we get to specific questions about your doings, Life's oldest museum Crescent Moon. The original Museum what's your overall impression of Second Life as a place was built by my dear and constant companion Amari Gable for art and artists? What impact is it having, or do you and was placed in Matsushima Sim. Angel Dorei Museum expect to have, on the art world? has never been just a building, it has always been a complete RS: The full potential of how Second Life can impact art ambiance of peaceful landscape and Asian influenced builds. and artists is yet to be reached but it has made some very About 6 months after opening Angel Dorei Museum was

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Most Influential Venue & Owner moved to its current location Solaris, an entire Sim dedicated to art, romance and peaceful reflection. Since the first day Angel Dorei Museum opened it has been just that a Museum. Angel Dorei Museum is a not for profit venue. Works are rotated monthly and usualy five or six artists are featured each rotation. Angel Dorei is mine and Amari's gift to the residents of Second Life.

appreciator is “Explore” Sl is a wonderous place get out there and discover it. DI: What else would you like to tell us, about your venue, yourself, or anything else we've forgotten to ask? RS: If you have any follow up questions or wish to have anything clarified please contact me. Warmest Regards. ¤

DI: What artwork or artist are you especially proud of having shown or otherwise encouraged? RS: Now this is a “loaded” question and I am not going to bite. We have been very proud to show every artists works here at Angel Dorei Museum. Each one brilliant in there own light. Each time we find a artist new to SL and they get to show there work it is a wonderful thing. DI: As a venue owner, what advice would you give to someone starting out in the SL art scene, and/or to someone with more experience looking to widen their opportunities, as an artist, a patron, or an appreciator? RS: I may get shot for saying this or at least chased by an angry mob but I feel SL is a much better venue for show casing art than it is for selling art. With that said, there is a definite growing market in SL for artists to cross over sales to RL and this is an area that I believe will grow in the future. As a venue owner I feel it is important to keep the museum constantly fresh by rotating works. This gives patrons a reason to come back each month and see what is new. Sadly we do not have a quick start guide for artists in SL but we desperately need one. My advice to new artists is do not be afraid to show your work but be very wary of those who would ask you to hand over your work with full permissions. Lastly my advice to the art

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Most Influential Venue & Owner SLART Gallery - Artworld Market Interview by Dale Innis DI: First off, what's your background in art? What are your main interests, and what would you like to say about how you acquired them? AM: With over 40 years as as an artist, my RL work is in museums and collections around the world. I've always been interested in everything. I'm also an entrepreneur in the art sector, and a publisher. You can see my RL work at http://minsky.com. DI: Next, what's your SL background? When did you start, how much are you inworld, and so on? AM: Been in SL since November 2006, sometimes for many hours in a day, other times can miss several days. DI: Do you see SL as an extension of real life, an immersive alternate life, or both or neither? AM: It's all real. DI: Before we get to specific questions about your doings, what's your overall impression of Second Life as a place for art and artists? What impact is it having, or do you expect to have, on the art world? AM: It's both a new medium and a new marketing tool. It's already having impact on the art world, with interworld events and RL sales via SL. DI: You're being recognized as being responsible for one of Second Life's most influential art venues, the SLART Gallery, and also as one of Second Life's most influential patrons, collectors, curators &/or volunteers. Tell us something about any or all of these, the Gallery and its origin, how you came to your particular role, the philosophy behind your art activities, or whatever else you'd like to discuss.

61 When I entered SL there was no critical review. Searching for art might land you in a mall with cat pictures, reproductions of old masters and other works (in violation of copyright) and occasionally there was something interesting happening. Even some of the interesting things were issued in formats that were improper. I decided to start a gallery that featured the interesting things I had found, to educate the art world of SL about the business of art, to publish electronic and real world materials that feature and critically review virtual art, and to create a brand that would be identified with looking at virtual art as an important new medium that is contributing to global culture. SLART™ Gallery was the first construction, followed a few days later with the SLART™ website. Then came the SLART™ Blog. Now I am organizing the SLART™ Festival and the SLART™ Academy. DI: What artwork(s) or artist(s) are you especially proud of having shown or otherwise encouraged? AM: DanCoyote Antonelli, jjccc Coronet, Bathsheba Dorn, Filthy Fluno, Jacque Quijote, Sasun Steinbeck, Sabine Stonebender, Seifert Surface, Nomasha Syaka. DI: As a venue owner and active community member, what advice would you give to someone starting out in the SL art scene, and/or to someone with more experience looking to widen their opportunities, as an artist, a patron, or an appreciator? AM: Read SLART™. Read my paper The Art World Market of Second Life, which was presented at the SLCC Chicago in August. It's a free pdf at http://slartmagazine.com. Over 5,000 copies downloaded in the three months since I presented it. There are a lot of pitfalls that are unique to SL. DI: What else would you like to tell us, about your venue, yourself, or anything else we've forgotten to ask? AM: You can order the beautifully printed RL Archival Limited Edition of SLART™ and see photos of it at http://slartmagazine.com/subscription.htm ¤

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Most Influential Patron, Collector, Curator &/or Volunteer Sasun Steinbeck Interview by Kety Vita KV: How would you describe the importance of patronage, curatorship and the promotion, collection and display of art within SL? SS: All of those roles are really important to the art ecosystem in SL - all of them are very different but necessary to make art in SL successful. KV: Ecosystem, interesting way of describing it. Interdependent, I understand. SS: Patrons like Cyanide Seelow of the Virtual Artist alliance are crucial for organizing groups of artists together to work toward a common goal, curators help with the business of running a gallery and are critical for the big gallery owners, and of course the gallery owners that promote their artists with events and so forth, all of these pieces need to be in place to spread the good word about all the great art in SL.

64 KV: One group depends on the other. SS: Yes and these different roles need to be aware of each other and what each brings to the table. For example, one of the best things a new gallery owner can do is to search out who the organizing forces are in the art world and get plugged in, get involved, join the right groups, attend some events. The patrons need to know who the gallery owners are, and get to know the curators of the big galleries that can help organize large-scale events in SL related to art. There's so much opportunity for those roles to work together to really promote art in SL. KV: It is interesting how the role of the patron has not greatly changed over the centuries. And now in SL. SS: Yes a lot of preconceptions need to be left at the login screen when you come into SL.

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KV: Ok let's move on. If you would like to add more later, please do. Apart from being venues for the exhibition of art, what are other roles and functions that can be delivered by a museum and gallery in SL? SS: I'm really fascinated by the social aspects of the art scene in SL, and I think the galleries, the physical spaces, play a critical role in that. Wonderful things happen when you get groups of artists/curators/patrons/gallery owners together and start brainstorming ideas

Most Influential Patron, Collector, Curator &/or Volunteer on how to promote the art scene in SL and help the various roles do their thing. KV: Yes. SS: Galleries not only house a collection of art but are social gathering spaces. Get a bunch of people together and go on a gallery tour, or host a social event, or a meeting to discuss some current event, and art galleries play a key role. On the smaller scale, as an art lover checking out a few art galleries, bumping into people at the same gallery is a wonderful opportunity to make a new friend with a common interest. These social spaces are such a critical element to the art scene KV: How do you think galleries and museums might be important places for those not a part of the art world. SS: Good question, I think that they can be a real eye opener to someone that simply doesn't realize how much incredible art there is in SL, that there's more to SL than finding the hottest dance club, that there are talented, creative people that are creating things they'd never see in RL. It's a great way to discover art in SL, by wandering into a gallery next to some shopping center, or finding a list of galleries somewhere and exploring a few places. Suddenly you find this whole new world! KV: I am continually amazed by the level of creativity and imagination in SL. SS: It's absolutely amazing, and what really fascinates me is exactly how SL inspires people that would never have happened in RL. It is making possible whole new types of art, for example the intersection of scripting and building is really where it's at with the cool stuff in SL. You just can't script a bunch of prims in RL to do something really fascinating. Great example: go visit the Gallery of Reflexive Architecture and you'll see exactly what I'm talking about. Amend that to "Keystone Bouchard's Gallery of Reflexive Architecture." You'll never see that in RL. KV: the opportunity to experiment and take "mental" risks in creativity is here.

Most Influential Patron, Collector, Curator &/or Volunteer SS: Yes exactly. KV: Relate your perception of the relationship between SL and RL art-making. (Similarities, differences, how each may complement the other.) KV: We have sort of touched on this, but I sure you could add. SS: I think being an artist in SL almost requires some new skills. The things that SL brings to the artists palette are things they weren't taught in art school: twisting prims, scripting, texture effects, particles, things like that. These are like whole new tools that they shouldn't ignore, they need to pick them up, be curious, and learn a few of them and how they might integrate into how you think about art. They are also powerful sources of inspiration. Getting a new toy is a great way to get reinvigorated and take your art in new directions! KV: A new medium. SS: The most interesting to me as I've mentioned is scripting, which is also quite a tough nut to crack and get good at. But someone that really knows the possibilities and limitations of scripting in SL AND has the ability to express themselves, and some art training, can really do some amazing stuff in SL. Or, collaborate with a scripter/builder, that's another great way to marry the two worlds and come up with some amazing things. Douglas Story's Flowerball pops to mind as a fascinating collaboration between a wonderful artist and some great scripting.

66 how would you like to see yourself placed in this vision? SS: I'm really interested to see how art in SL becomes more of a recognized, important force in the RL world. Today there are really only a few key bridges between those worlds. People like ArtWorld Market and Filthy Fluno have done some GREAT things to raise awareness of the art world in SL. As more people learn about some of the cool things going on and word spreads, big things are going to happen for the art world in SL. The NMC organization (www.nmc.org) has also been a huge driving force to bridge the two worlds for some time now and bring awareness in both directions. I think we need to be more organized and deliberate in how we bridge those two worlds. More experiments to see what works! KV: I am certainly learning a thing or 2 during this interview. SS: Oh good! The role I've chosen for myself is to bring the art lovers (and potential art lovers) and the art galleries together.

KV: SL is playing an important role in many areas of RL. SS: I've spent a lot of time creating and maintaining my list of art galleries, and the art gallery tour HUDs, KV: Oh yes indeed, I have great respect for those who can and now my new website script well, coupled with creative flair the sky is the limit! (http://sl-artgalleries.blogspot.com) to make it easy SS: absolutely, and I see that as a huge unexplored territory! I'm and fun for art lovers to simply FIND art in SL. telling you, the best of SL art is yet to come, we've just barely seen the tip of the iceberg. KV: Thanks, I will check it out later. KV: For sure, more and more people are feeling inspired. Are you ready for the last question, Sasun. SS: Sure! KV: What vision do you hold for the future of art in SL and

SS: By bringing those two worlds together, art lovers can spend oodles of time exploring art and finding new and fascinating things in SL. This is good for the artists so that they can make a few sales and support their creative process, and it's so important for artists to get

Most Influential Patron, Collector, Curator &/or Volunteer feedback on their art, a nice word of appreciation, even just noticing people “in” their gallery gives artists the encouragement they need to keep in that creative groove and keep their art available for people to enjoy. KV: Positive feedback is so important. Encouragement and support also. SS: I'm also a connector, I know a lot of gallery owners and can connect people that have a particular need or want to organize some kind of event or project. I also really enjoy helping organize large art events and am always more than happy to contribute to make things like that happen. So that's what I

do today, my chosen role, and I'm sure I'll continue to do those things for some time to come. KV: Making connections, connecting with individuals, thoughts, oneself is integral to SL. SS: Yes exactly. KV: Ok let's finish up now, is there anything else you would like to add? SS: Nope, I've blathered on long enough. I really enjoyed talking to you, I really hope that some artist somewhere gets excited about exploring new areas of opportunity in SL, gets inspired, and does something amazing for us all to enjoy. Amend that, I really hope that some artist reading my words somewhere gets excited." KV: Sasun, I have really enjoyed our chat! I wish you the best of luck, now and in the future. SS: Thank you! I really appreciate all YOU are doing with all these interviews, this is great stuff. ¤

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Most Influential Patron, Collector, Curator &/or Volunteer Tayzia Abbatoir Interview by Kety Vita KV: Hi TA: A Pleasure meeting you. KV: Every interviewee so far has worn black and white!! TA: Haha! That is strange. You are wearing it also. KV: I thought of it first! TA: We are a colorless bunch that wants to exhibit and show color perhaps?

68 KV: How would you describe the importance of patronage, curatorship and the promotion, collection and display of art within SL? TA: It is very important to promote and display the arts in SL, just as it is RL. The biggest problem in SL for prim artists is prim space of course, so for the museums and galleries to offer a place for the artists to exhibit is a necessity. I find that many artists do not have the time to, or are a bit to reclusive or humble to promote their own work. I am honored to promote them and exhibit their art so everyone can see their amazing talent. KV: Prim space seems to be an issue, and RL artists can be reclusive. It is very difficult to let it all hang out.. Yes I think the same goes for SL. TA: Yes indeed it does. Also many are very humble, and dont feel comfortable doing their own promoting.

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KV: Same issues. Although SL is a place to move out of ones comfort zone. Apart from being venues for the exhibition of art, what are other roles and functions that can be delivered by a museum and gallery in SL? TA: The museums and galleries are promoting the arts and artists, not just exhibiting, to a large new community. The extended network of artists here and those interested in the arts is vast. The venues offer exhibitions, promotion and encouragement of creativity.

Most Influential Patron, Collector, Curator &/or Volunteer KV: Yes! How do you think the wider community is placed here. Those ordinarily interested or participating in the arts. Not ordinarily TA: As compared to the arts, or how do they fit in with the arts in SL? KV: How they fit in or interact with the arts. TA: They actually interact with the arts in every way, wether they are aware of it or not..it is in the architecture, the terraforming, the machinima, the body shapes. The art is all around. They may not all participate by visiting the museums, but they listen to the live music, or purchase a beautiful piece of artistically created jewellery, or enjoy a beautiful garden in SL. Art isnt just about sculpture, or a painting. KV: Yes SL is all about creativity, imagination. TA: SL is creativity. Imagine what it was, the plain grid before anyone entered. KV: I understand you have been around a while. You must have seen quite a bit of change. TA: I have, it has grown so, the community as a whole is so full of talented people. I can remember when we celebrated grid wide one day, because there were 8k people in world. Imagine that and what it is today. With new updates, and new inclusions such as flexi, mega prims, and the like, creativity continues to have endless opportunities.

terraforming, all of it a form of art and beauty. The artists can explore new ways in SL to create art, using SL tools as a medium is a whole new world. However, they can also bring their RL work into SL, and exhibit it as it is in this amazing network of artists, or add a whole new dimension to it . KV: Yes that seems to be the thread, a new medium. TA: For example an artist named Douglas Story, he used his real life photography, and created a huge flower ball, one you could fly into, included sound, it is a beautiful immersive piece. KV: Extrapolating from what is known to something new. Fantastic. TA: Yes indeed. I am fascinated, even to this day, constantly from what I see created in SL. KV: I am in awe! TA: As am I. I shall take you to see some places sometime soon. KV: That would be wonderful, thank you. TA: I run around SL like a wide-eyed child, ohhing and ahhing! KV: Yes me too!! Like a child at play, very serious stuff. TA: Yes!

KV: I seem to have arrived at a good time. TA: You did indeed. Oh, and I saw live streaming come inworld KV: Well, before we conclude, is there any at all you too, so that added the live music, what a plus for SL and the would like to add? musicians. TA: Some artists have been able to use SL as a tool to promote their work to the outside world even more so, KV: I have attended a number of academic presentations. Very and are doing very well, Filthy FLuno is a great interesting. Ok let's continue. Relate your perception of the example of that. SL itself is an amazing new venue for relationship between SL and RL art-making. (similarities, all artists. I think it has connected the art world in a differences, how each may complement the other.) TA: There are so many types of art in SL, some the same as RL way that no other previous media or network has been able to. It enables artists to gather and create, and to and some very different. There is machinima, sculpture, introduce and network their art in a way that was not architecture, light and sound installations, body shaping,

Most Influential Patron, Collector, Curator &/or Volunteer possible before. I think it will continue to do so and play a big part in the art world in RL. KV: SL is a great connector. RL world is very small in SL. TA: Yes, I have told so many people just that, so is a great connector. The only thing I wish to add is that I am honored to have been nominated, even though I try my hardest to avoid such contests. I think all of the venues in SL that support the arts should receive the award as one. I am honored to be able to display and promote for these amazing artists.

Cyanide Seelowe Interview by Kety Vita KV: How would you describe the importance of patronage, curatorship and the promotion, collection and display of art within SL? CS: Well, all of us involved in the art community of Second Life definitely have our niches. I can't make art worth a damn in Second Life quite yet, so I've decided to do the next best thing and promote the works of others, as well as provide resources and venues of communication for aspiring and established artists. KV: So you would like to make art in SL. I would to but there is a skill issue. Apart from being venues for the exhibition of art, what are other roles and functions that can be delivered by a museum and gallery in SL? CS: I definitely use the Virtual Artist Alliance gallery for more than the exhibition of art,

KV: Well you have an impressive reputation. It was certainly my pleasure meeting and chatting with you! TA: The pleasure was all mine Kety, I think we shall be fast friends. KV: Thank you so much. 造

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Most Influential Patron, Collector, Curator &/or Volunteer that's for sure, haha. Galleries and museums tend to gather communities of people and give them a place to comfortably discuss art with one another-- art venues in Second Life are responsible for the growth of knowledge and support in our community, I think.

CS: Absolutely. You'd have to be crazy to not take risks in a place where you can fall from a thousand meters without breaking a single bone in your body.

KV: That is for sure!! What vision do you hold for the future of art in SL and how would you like to see yourself placed in this vision? KV: Growth of knowledge, SL certainly has the potential for CS: The Second Life art community is growing very that. What about those who presently have not an appreciation rapidly, and it can only get better from here with the for or background in the arts? momentum that is has behind it. As the founder of the CS: I imagine people who do not have an appreciation for the Virtual Artist Alliance, I hope to be at the forefront of arts in SL are here for clubs and shopping - SL is at a point information, communication and resources for Second where if one wants to participate in the art community, they Life's artists-- I have a feeling that we'll be getting a need to be specifically in search of it... but myself and quite a lot more new artists in the years to come, and I'll few of my peers have been taking steps to make the art community in SL a feature as opposed to an afterthought. As far certainly be here ready to help them get their start. as having artistic background - well, this is "Second Life" after KV: I am quite amazed at the amount of art and all. There are many many tools and resources available for creativity occurring. It is certainly worth encouraging people to learn how to make art in Second Life without having and supporting. Is there anything else you would like artistic background. to add before we finish up? CS: Not at all. KV: I think the arts are slowly becoming a feature. CS: I certainly hope so. A lot of us are working our a**es off to KV: Ok then, it was really great chatting with you make it that way, haha. Cyanide. 造 KV: I can see that! Relate your perception of the relationship between SL and RL art-making. (similarities, differences, how each may complement the other.) CS: I've spoken with quite a few artists in Second Life who consider the program to be a medium in and of itself - I completely agree with them. A lot of us are bringing our real world artistic knowledge into Second Life to help us create. But that also creates a problem: Second Life is not Real Life, and so we often create with the rules of our first lives in mind (such as physics and time and the like)-- it takes quite a bit of extra effort to shake off logic in order to create art, and that's what can separate a good artist from an astounding artist in Second Life. KV: Interesting, I think sl is a place to take "mental and creative" risks.

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KV: How would you describe the importance of patronage, curatorship and the promotion, collection and display of art within SL? EZ: Well I think patronage is the fastest way to get art to grow in SL. Private patrons are the best way as usually they move much quicker and there are a lot less strings attached versus an entity as they usually have other things they are after when supporting project. I do think that SL is a great way to promote works of lesser known artists in RL due to the limitations of resources that they usually have. So I think with all the groups and networks in SL, it's wonderful for artists to do a lot of self-promotion.

KV: SL is a venue with a great deal of flexibility. EZ: Yes, and there's much potential here, but at the same time it's not without its flaws.

KV: Yes I agree EZ: But in the end, the artist KV: Now, I will give you the question, but please feel free to deviate, slightly. I may ask have to first start their promo, you further questions, just for elaboration. I would really like to give you the opportunity and then just as in RL, build up a team of people to further to express yourself. their works. EZ: Sure.

KV: Patronage throughout the ages has been pivotal when promoting artists. EZ: But of course supporters should also help with promo of artists as it'll give artists

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KV: Of course. EZ: As for collection and display of art in SL, it's wonderful to see art collected, and it's important in the longer run to get a good understanding of the historical development of art in SL. The only problem in being a collector is that we are at the mercy of LL and possible inventory loss. KV: Unfortunately in our digital world we must experience flaky environments. You seem to have mentioned some good points regarding Q2 perhaps you would like to elaborate further. Apart from being venues for the exhibition of art, what are other roles and functions that can be delivered by a museum and gallery in SL? EZ: I think museum in SL

Most Influential Patron, Collector, Curator &/or Volunteer have a great opportunity to really cross genre and explore all of Art that a traditional museum does not necessarily allow for. KV: Certainly EZ: Virtual reality allows for more complex works of art in multi-media to be easily created and maintained, thus I think museums and galleries here in SL have to stop thinking in traditional terms and really explore possibilities. I think also they should function as mediums to bring artists across disciplines together to really explore and create unique SL art. KV: Yes I see, EZ: Networking functions and other means of support for artists I think are ways museum and galleries can help with the futherment of art in SL in general. KV: Do you think galleries and museums have any part to play in the SL of those who may not be engaged in the arts? EZ: I think that is a tough thing for them to do here to bring art to those who may not already be. I think it is more up to larger networking groups to do such things as a lot of these museums have a tough time paying tiers to begin with. I think idealistically they should be doing that, and of course doing outreach is good for them. But in the end, museum and galleries have to focus their attention to target those whom they know already cares and loves the art as they will be the ones donating and supporting the art. It's an unfortunate reality. But I do think though creative people in SL can definitely find ways to bring all sorts of people into the art who are not already in it by using very little funds, but willing to spend the time to do such outreach. But I think it should be a band of museums and galleries coming together to do that. There were attempts to do so this year that I have attended meetings of, but they ended up not realized. Hopefully we will have more people in the future dedicated to the outreach of art to those in SL who are not already engaged in them. Ultimately though I think this should fall in the responsibility of the Lindens, to promote the art scene in SL as a whole as I believe it is something they need to do to help Second Life gain more positive exposure to those outside

of SL. KV: Hmm your response is making me think. Ok we can chat more about this later.. the next question. EZ: Sure. KV: Relate your perception of the relationship between SL and RL art-making. (similarities, differences, how each may complement the other.) EZ: I think there are definite differences in SL versus RL art-making. There are very few genuinely unique to SL art. most art uses SL as a delivery mechanism and also as a hosting platform. This of course is the beginning of new mediums/platforms. there are of course the obvious sculptures we see in abundance in SL, and other people exploring music and other artforms unique to SL. But the bulk is really either uploaded works or streamed performances. however I think in those areas, SL presents itself as a very important evolution in the process of art presentation and its ability to interact with its audience. SL provides much more interactive possibilities along with a much more accessible means of communication with artists. For example, people in SL are much more open to communicating with an artist they like immediately whereas in RL, that is almost never the case. The majority of art opens or music concerts ends with the audience having experience the art but never making a personal interaction with the artist. SL with IM's and text somehow lowers that barrier, and audience are much more eager to approach artist they like or even dislike. KV: Very interesting comments, I can understand that. EZ: And I think this personal connection helps retain audience as well as gives artist more honest and truthful feedbacks KV: Perhaps SL might be a means of broadening the

Most Influential Patron, Collector, Curator &/or Volunteer experiences of those who may not have been exposed to the arts in general? EZ: Well with connecting SL & RL art, I do think though there are benefits of using SL as a way to reach a global audience whereas it's much more expensive and difficult otherwise. Yes, definitely, SL will help many who may not be more open, and also the fact that they can venue hop so easily makes it more accessible. when it's only a click away, people are more inclined to check it out versus in RL, they may have to drive 20 minutes or longer to get to the show. So in this respect, RL shows, could benefit by having a SL version of their show on display to encourage people to check out the virtual version, grab their interest and then they may come and see the show knowing what is actually there. KV: I think the potential for SL to enhance so many areas of RL is enormous. Now for the 4th question. What vision do you hold for the future of art in SL and how would you like to see yourself placed in this vision? EZ: Well for the future of SL art, it's anyone's guess. It is a fragile thing, and I think can go either way. It really though will depend on LLâ&#x20AC;&#x2122;s (Linden Lab's) support or lack of support. I think LL needs to step up in supporting the arts overall in SL as it is the one thing that is a light among all the chaos in the financial sectors and the sex and other illegal activities that SL have been accused of housing. I see an increasing amount of solo artists coming into SL using it in hopes of being discovered, but in the end, in order for SL art to truly flourish, we need something major. There hasn't really been any major art production in SL that has gained much of any attention from RL press. There have been a couple here and there

that were on the brink, but we need something monumental in order for it to take off. I think that will only be possible if LL actually fully backs a project in some shape or form. KV: Perhaps the arts might "bind" the SL community? Without a doubt the arts struggle in competitions to other "pass times." Art has reconnected disconnected groups. EZ: Art has done a lot to bring people together in SL. In essence all of SL is but a work of art, in a matter of speaking, but the concept of treating it as art is not something everyone associate it with. It's like people play other video games never thinking of any of them as works of art, but they are. KV: Hmm yes, I think that maybe so. It is creativity. EZ: SL is a work of art created by the mass, parts of it is just not as

Most Influential Patron, Collector, Curator &/or Volunteer pretty as the other part, and the parts that has real cultural value and academic significant is just overshadowed. KV: Not all art is pretty. Art performs many functions. Not just to decorate. EZ: As for where I see myself, it's hard to say. I just do whatever comes to me. I really don't know where I will be. I hope I'll be on the top, someone who is contributory, but SL sometimes gives me so much frustrations with the problems to deal with at times I wonder if its something I want to deal with or focus back on my RL works which is also steadily increasing. So it's just a matter of juggling a balance. It's hard to completely commit to SL art because the funds are simply not here, the economy here is just not strong enough to support fulltime RL artists who live in metropolitan cities like me in Los Angeles, where I got bills to pay. KV: And of course, RL is RL and SL is SL. I understand completely. EZ: I know I will always have a presence in SL, just a matter of how active can I be in SL personally. As they say, time is money, a reality of life that can't be ignored. But I don't think I would ever leave SL, I just may be more sporadic in my activities here during busy RL season and more active when RL is slow. Like this last month and also in Dec, I have been turning down a lot of gigs because of the many projects I'm involved in RL, whereas in the summer and in Sept and early Oct, I was playing multiple concerts a week. KV: Well that is how it may be, with everyone. EZ: Exactly, so I can't say where I will end up being in SL, i just have to play it by ear and go with the flow.

KV: Enniv, I think we have covered a great deal. It was certainly a very interesting time chatting with you. Is there anything you would like to add before we conclude this chat? EZ: I think that's about it, I just think that art does need to be supported, and i think that it will require both everyone who loves art in SL to voice their love and want to LL and have them become more supportive of the arts in SL. even the ones that may not seem to generate tons of press coverage immediately, that the strong the entire art community is, the better it reflects on SL, and the press will eventually catch on to that. I really hope that LL will understand that sometimes they should invest in more long term beneficial industries in SL rather then only going for those that have immediate short term gratification. KV: With all things it is the big picture that counts. EZ: Yes, definitely. Alright, It's very late for me now, I need to go, thanks for doing the interview. KV: Ok Enniv thank you very much. have a good day. EZ: You too, later. 造

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Most Influential Patron, Collector, Curator &/or Volunteer Bettina Tizzy Interview by Kety Vita KV: Hi BT: Welcome to the Far Away. I'm so glad to introduce you to it. It was built by AM Radio. KV: Are you serious, fantastic. BT: This land is raising money to buy cows for people in RL. Just $100 US away from a third cow! I'm not much for sitting in sl, but there are chairs right behind me. I used to belong to the poseball allergic group. KV: Haha. How would you describe the importance of patronage, curatorship and the promotion, collection and display of art within SL? BT: These are functions of art appreciation, and more importantly, they create opportunities for others to see and understand great art in Second Life. Second Life is an immense place. It is not possible to see everything here, so the active identification, sharing and promotion of the very best works is critical, not only for the art and the artist, but also because it helps to secure and retain the interest of people who are here

76 for a higher purpose and their own personal growth. KV: Yes. Certainly the arts in general has been representative of higher order purpose and thinking. BT: Aye! KV: The arts has had an interactive relationship with curators and patrons throughout history. BT: There is of course another very important aspect to this. Artists, like everyone else, need a roof over their heads and food on their table. As SL matures, so will its art market. KV: Another use of the patron. BT: Which will enable artists to make an actual living in virtual worlds KV: And of course the public. BT: Some already do. KV: It is wonderful. BT: Many of the NPIRLers do already.

Chakrynez Photograph by Enniv Zarf

KV: Apart from being venues for the exhibition of art, what are other roles and functions that can be delivered by a museum and gallery in SL? BT: Again, because Second Life is so vast, museums and galleries make it possible for

Most Influential Patron, Collector, Curator &/or Volunteer us to more easily discover the artists who are creating beauty and interest in our virtual world. Second Life is now old enough to make it necessary for us to have venues that review and showcase the body of an artist's work retrospectively. In some rare but extremely important cases, the artist has left Second Life, and their work is hard to see because there are only a few instances of it. It would be a shame if others did not have the opportunity to see it. I am particularly worried about the inventories of some of our museum owners. Take Tayzia Abattoir's inventory. She has in her possession many items that don't exist anywhere else. What if her inventory were to be lost due to asset server issues? It would be a travesty. I want to advocate for some way to preserve her inventory and that of a few others. KV: It had never occurred to me, I must admit. BT: I imagine you will interview Tayzia as well. Ask her! It is incredibly important. KV: The loss of creativity, knowledge, great works has always been the human races tragedy. BT: She's been in world since 2004, and during all this time she has actively collected art that is not only beautiful but historical. And in several instances, the artist has disappeared. She probably has the largest collection of Starax works in SL, and Starax is gone.

77 thinking about it, not that I could find a solution. BT: This all came to my attention when Arcadia Asylum had serious issues with her inventory. Hang on, let me fetch my blog piece on that. http://npirl.blogspot.com/2007/09/arcadia-asylumsinventory-its-gone.html KV: One thing though, if and artist transfer a work with no copy, perhaps that is the intention. BT: The intention - when given to Tayzia - is so that she may rez and move these pieces at her museum. Rather than the artist having to come over every time. KV: Relate your perception of the relationship between SL and RL art-making. (Similarities, differences, how each may complement the other.) BT: Like a rose, an artist is an artist is an artist. BUT, something magical happens to some people in Second Life. They blossom here, and discover their own creativity in ways that were not possible in real life.

KV: We have touched on this, but i sure you will be able to add. BT: There are artists like Douglas Story, who uses textures/photographs of flowers to make beautiful interactive art here. Truth is, I'm not fond of RL art in SL. I'd rather see it in RL. For me, SL makes it possible for us to do things that we cannot do in RL. KV: And it sits in her personal inventory? BT: Yes. Over the years, artists have developed a trust in her. So Why replicate it here when we can do things that are possible only here? rather than just rez their work at her museum, they give her no trans, no copy versions. All sitting in that one magnificent KV: Yet seeing RL art in SL is superior to seeing it on incredible inventory of hers. the net or in books. BT: Of course, there is always the argument that KV: Oh so this may require a "technical" solution. people may not be able to travel and see the art in RL. BT: Exactly! I have been researching this and it seems that it But the quality of RL art replication is not where it would be difficult to back up just one person's inventory. But I needs to be here. Take the Dresden Museum, feel certain there is a solution which we have missed. Of for instance. An astounding copy of the RL version, course, Tayzia is just one example. down to the trash cans. But if you look at the art, it is KV: Well thanks for that, I learned something, and will do some still a bit fuzzy. Better to look at an art book, if you

Most Influential Patron, Collector, Curator &/or Volunteer cannot go personally. KV: What vision do you hold for the future of art in SL and how would you like to see yourself placed in this vision? BT: We are only limited by our tools now. The better the tools, the better the art. Also, more people are joining the metaverse and discovering its potential as the ULTIMATE CREATION TOOL. I really believe this. Speaking for myself, I wish only to enable and nurture artists and builders by making them aware of every building tool available to them, by advocating for better tools, and by sharing and showcasing what is best. So that all may discover it. And of course, my focus is always on art. KV: A medium in its own right? BT: That is not possible in Real Life. It is a medium in its own right, yes, but it also encompasses so much that is only possible here. Take architecture for instance, there is a heated debate right now, what is its purpose in SL? We don't â&#x20AC;&#x153;reallyâ&#x20AC;? need a roof over our heads, or showers, or kitchens or any of the things that we consider essential in real life. Wo what does it need to be? KV: We basically exist in our heads. BT: Well, we also have the ability to carry our houses and stores with us. In our inventories! KV: It seems humorous now that you have put it that way. BT: There is much to consider and reconsider. Because the very purpose is challenged and stretched here. KV: So what directions in SL would you like to see, or even predict? BT: More people, better tools, an explosion of art. KV: What is your vision? BT: My vision is so distinctly clear to me. I embrace art which is not possible in RL. KV: More emphasis on the creative act. BT: And advocate for it at every opportunity. I also formed a

agroup called NOt Possible IRL that is a very hard working group. KV: Your passion is evident!! BT: And another called Impossible in RL so that they may also share in our discoveries. We have been accused of being exclusionary because the group is now closed, no new members. But there is a reason for that. KV: Why is that? BT: This is MY group, and I treat every one of our members as if they were my clients. I try to stay on top of what they are doing and what they need to complete their projects, and do all I can to serve as a catalyst for them. 150 is already too many! But it is the perfect number. Keeps me stretched in all the right ways. KV: I understand that management issues would arise, especially if you wish to seriously interactive with each member. BT: It boils down to time. I also work in RL. Only so many hours in a day. And of course there is still RL and time to consider. No RL, no SL. So hard! That is going to be one of the biggest challenges in the years to come. I am particularly worried about balance. Our physical bodies can only take so much of this. We need to move and eat and sleep. But many push themselves too hard. For me, it is going to become one of the most significant societal and medical issues in the years to come. Because I do see SL as the 3D internet. It will be the standard, the metaverse will. Not just sl, but many others. KV: I heard recently that China is investing millions on virtual worlds, for education and other purposes. BT: Yes. There are very loud rumours that SL is working with the Chinese even now. And there is Hipihi, which I have blogged about. And then there is OpenSim!

Most Influential Patron, Collector, Curator &/or Volunteer I like to think that we are playing into the future of art, yes, and creating a foundation for it. KV: Betty, I think we must round up now, is there anything else you would like to add before we conclude? BT: One other thought, just this last one. I'm all for QUALITY, in everythng we do. Whether that is in the fabrication of clothing, or particles, or BDSM sims, at least do a good job. Make it the best that it can be, blow us away. But don't settle for junk, whatever your interest and following. And the biggest danger is the introduction of companies, who think they must have a presence here and are throwing things together in a thoughtless and slapdash manner, or even worse, mimic RL, when so much more can be accomplished here. Okay, getting off of my soap box.

79 Jordan Morgenrote Interview by Dale Innis DI: First off, what's your background in art? What are your main interests, and what would you like to say about how you acquired them? JM: I have no real official background in "art" - at least not the fine arts in RL. I am a graphic designer by trade, but to me that is different than the people who live and breathe art for a living. I have been artistic all my life and have learned to appreciate art in all forms. But nothing formal.

DI: Next, what's your SL background? When did you start, how much are you inworld, and so on? JM: My SL background. I rezzed in November of KV: I think they usually attempt to mimic real life, the 2007, and I don't think I've missed a day since. I'm a costumers feel most comfortable. hardcare SecondLifer. I opened my first gallery, in BT: That is fine. But if they are going to do that, for heavens Lota, in January 2008, and have had three variations sake do it well. Look at Scope Cleaver's work. That is a of the gallery including the first. The second build standard I would like to see. were two huge glass towers - absolutely gorgeous KV: I think the most powerful thing about SL is that it is a place it displayed the artwork great, but there were some to take mental and creative risks, move out of the "comfort technical difficulties with that build and SL metrics. I zone." decided to take down the towers, despite how much I BT: Could not agree with you more. Because it is only loved them, they weren't working. I rebuilt the gallery uncomfortable for a short while, and then you begin to realize 500meters up, for technical reasons, and then we that you are only limited by your ideas. opened our Skyline Art Experience in August. It features 10 artists and 10 unique immersive art KV: It has been absolutely a pleasure chatting with you!! expereiences all under one roof. BT: Same here! 造

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DI: Do you see SL as an extension of real life, an immersive alternate life, or both or neither? JM: Both. SL is an extension of real life as much as people allow that to happen. Beyond that, it can't help but be an extension, too, because of human nature. DI: Before we get to specific questions about your doings, what's your overall impression of Second Life as a place for art and artists? What impact is it having,

Most Influential Patron, Collector, Curator &/or Volunteer or do you expect to have, on the art world? JM: I honestly couldn't say what kind of impact it would have on the art world in RL. I'm not a visionary, I guess... but SL as aplace for art and artists -- its a natural fit. The entire world has been created by artists of some type. If you don't like the word "artist", substitute "creative". The entire grid has been built by creative people, just look around at the content! Nearly every single thing in SL has been created by someone. Is that any less an "artistic endeavor"? DI: You're being recognized as one of Second Life's most influential patrons, collectors, curators &/or volunteers. Tell us something about which of these you are, how you came to your particular role, the philosophy behind your art activities, or whatever else you'd like to discuss.

Blue Distortion

Courtesy of Enniv Zarf and Krystal Epic

80 JM: I'd guess i'm an enthusiast, and a curator. This last gallery creation, Skyline Art Experience, features 10 immersive art exhibits all under one roof. Curating that was fun -- a lot of the artists who have been with me for the long haul have never delved into that, so challenging them to come up with creative art ENVIRONMENTS was fun. It was easier for some, more difficult for others, but it was FUN. I'm very proud of the outcome, and the artists, as they should be of themselves! DI: What one particular contribution to the SL art world that you're proudest of? And what would you most like to do that you haven't yet done? JM:One of my very good friends, Sinsaber Holgado, did a photographic collection of models who had suffered from eating disorders. It was called "Fading Away." It was a photoeditorial. Some models overcame their eating disorders, some died from them. It is very hard to explain the emotions one went thru while viewing the exhibit... but at the opening, the discussion went on for hours. Not just the normal "oohing and aahing"

Most Influential Patron, Collector, Curator &/or Volunteer that you'd experience at most of the art openings in SL (or RL for that matter). It was not an ego stroking time, visitors recognized this as an opportunity to open their minds and discuss was is a very real problem for some people. Some of the images were hauntingly beautiful, others disturbing, but they all evoked emotion. Mounting that show for him was the proudest contribution I've made to the SL art world aside from my galleries. DI: As an active member of the arts community, what advice would you give to someone starting out in the SL art scene, and/or to someone with more experience looking to widen their opportunities, as an artist, a patron, or an appreciator? JM: As an artist, its the same as in RL, persevere. Shamelessly self promote. Take pride in your work, and count each little victory along the way. But - above all - create it for yourself. If you think you're gonna get rich doing art in ANY fashion in SL, you're dead wrong. I admire the artists of second life. I admire that they put their creativity out there - that's not an easy thing. It takes courage to expose yourself that way, and leave it open for interpretation, misinterpretation, possible criticism and accolades. The accolades are the easy part, the misinterpretation is frustrating. The criticism - well, its all how each one of us handles that, I guess - but it is all a learning experience and broadens us as creative beings. DI: What else would you like to tell us, about your work, yourself, or anything else we've forgotten to ask? JM: I asked Jordan for permission to answer this question for her. One thing that isn't prominent in Jordan's accomplishments is the tremendous heart she puts into everything she does. The hours of blood, sweat, and tears. The labouring over each detail to best promote the artists she so admires. She never looks at her gallery as hers alone. Implicit in all she does is the recognition she gives to the artists. Some gallery owners forget that their purpose is to showcase the art. Overdone galleries that overshadow the works they house. It never occurs to Jordan that a gallery could be anything BUT a showcase. It was always about the artists and their creations. Randy DeVinna 造

Jurin Juran Interview by Dale Innis DI: First off, what's your background in art? What are your main interests, and what would you like to say about how you acquired them? JJ: While I have created a few works of art in RL, my main activity consists of being an avid collector of art. In RL, my personal art collection includes hundreds of sculptures, and this carried over into my SL, where I still collect sculptures! Once a patron, always a patron, I suppose. DI: Next, what's your SL background? When did you start, how much are you inworld, and so on? JJ: I am inworld daily, hours at a time. I've been active in this account not quite a year yet, and it has become my main account out of necessity. DI: Do you see SL as an extension of real life, an immersive alternate life, or both or neither? JJ: SL is an extension of RL for me, another way to experience, express, and to grow. It is also quite immersive! DI: Before we get to specific questions about your doings, what's your overall impression of Second Life as a place for art and artists? What impact is it having, or do you expect to have, on the art world? JJ: I see much growth ahead in SL for artists of all types; and the art world has expanded into virtual environments. DI: You're being recognized as one of Second Life's most influential patrons, collectors, curators &/or volunteers. Tell us something about which of these you are, how you came to your particular role, the philosophy behind your art activities, or whatever else you'd like to discuss.

Most Influential Patron, Collector, Curator &/or Volunteer JJ: I'm not sure how I got this recognition. I DO have hundreds, probably thousands of art pieces in my inventory. Originally, I had a sandbox area for one of my main artists, Masterful Escape; but it grew into a display sim of others works also. I now have a gallery, the Blackwater gallery, to show some of them. Although it is expanded over a sim and a half, the gallery still cannot hold all my inventory at once! I managed to get another sim from Rezzable to show one of my more prim intensive artists works: the Stratos Legend Rezzable sim. That is a display for Madcow Cosmos' dinosaurs, dragons, and related works. I just simply didn't have the prims for all those pieces at my gallery! I do believe art needs to be seen, and I love to show people what is possible in art in SL! DI: What one particular contribution to the SL art world that you're proudest of? And what would you most like to do that you haven't yet done? JJ: I guess my one contribution would be the money

and space for the artists to display. What I most would like to do is to have dozens of sims, in order to better display the individual works. DI: As an active member of the arts community, what advice would you give to someone starting out in the SL art scene, and/or to someone with more experience looking to widen their opportunities, as an artist, a patron, or an appreciator? JJ: Please pay the artists for their work, don't ask for donations of pieces for display. Artists work hard and deserve to be recognized. When you see a work that you like, send a message to the creator to let them know how much you like it. Tip live artists well. And be sure to visit all of SL's great art galleries, and attend all the live music events you can, to see all there is to offer! DI: What else would you like to tell us, about your work, yourself, or anything else we've forgotten to ask? JJ: Please continue to contribute to quality rich content in SL! 造

Earth Courtesy of Heni Hefferman & A Virtual Vision

07 08

Best of Second Life Art 2007

Thank you for everyoneâ&#x20AC;&#x2122;s support of this yearâ&#x20AC;&#x2122;s Best of SL Art project. Thank you for everyone who have participated in any way to make this such a wonderful success. Thank you to all the artists, their supporters, venues and their owners, contributors to this project, sponsors and of course everyone of you who value the outcome of this project.

Also, please let all our sponsors know when you visit them that you have learned about them through BOSLA and thank them for their support of the work we do. We plan on bringing this again to the Art community of Second Life again in 2008. In order to do so, we need your continual support of our work both in the terms of spreading the word of this project, this publication as well as directing potential business and individual sponsors to us.

Our outlook for 2008 is to publish both this annual e-zine publication as well as a midyear review. Please keep an eye out for BOSLA 2008 information at the various art related groups as well as the Krystal Epic groups for information regarding these coming projects. Enniv Zarf Editor in Chief

BOSLA 2008 OUTLOOK:

1) BOSLA 2008 Midyear Review August 1, 2008 2) BOSLA 2008 E-Zine Publication February 1, 2009

VG Dew Rose Courtesy of Texanna Schumann

Chief Executive Officer & Editor in Chief Enniv Zarf Public Relations Cyanide Seelowe

Marketing Advisor Xavier Mohr

Contributing Writers Dale Innis, Dreamingen Writer Kety Vita Sunnie Beaumont Xavier Soderstrom ,

Contributing Artists Raspirit Heron, Elros Tuominen Heni Hefferman, Texanna Schumann

COMING SOON!

Sponsored by: Krystal Epic Virtual Artist Alliance MH Motors and YOU!!! Created by Enniv Zarf

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