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Artists from four continents are represented in a strong exhibition celebrating the opening of Justice Commons.

Above: Foreground: elros Tuominen: We should be the sameV.05. To the left is the gallery with 2D art, including Teen Winners and Filthy Fluno.
 In back: DanCoyote's Crystaline Monolith and ShatterSphere

When viewing this exhibition be sure to take the notecards that are available. On first looking at Adam Ramona's Basilica I saw it as a purely abstract interactive sound sculpture. A notecard that is dispensed on touching a nearby sign contains what amounts to a short philosophical treatise on theories of global justice. We learn not only how the title and colors of the sculpture relate to justice issues, but also the sounds:

 I have sourced the sounds of gunshots (in particular the AK47, a symbol to some of the global terror movement), bomb explosions and screams, manipulating the harmonics according to a rational scale of my own devising, to create a compellingly beautiful yet haunting sonic system.

Adam Ramona's Basilica

Tuna Oddfellow and Shava Suntzu created a large sphere containing symbolic photographs and imagery with barbed wire strung across the middle of it. Wear your antigrav and fly up to 550 meters, or use the landmark provided on the notecard you received on entering the exhibition. This is at the 550 meter level.

At 550 meters you can visit the foreground sphere by Tuna Oddfellow and Shava Suntzu, the sphere behind it by Josina Burgess, Junivers Stockholm, Velazquez Bonetto, and DanCoyote's Hyperformalist Flat Panels.

A chilling sculpture that is also humorous is Tooter Claxton's insideOutJail002.

This interactive work identifies you and shows a series of vaguely threatening security messages in chat windows. It appears to have access to much of your personal history, mixing bits of accessible real data with fictional entries. Creepy and mesmerizing.

A notecard is also needed to find a connection between Global Justice and Nest of Light by Juria Yoshikawa. Flying into the dark globe that is not far above ground level, I felt like I was surrounded by masses of graffiti in both visual and soundscapes. Be sure to use a flight feather or other antigravity device when you are at this exhibition, as you will need to hover at certain altitudes.

Inside Nest of Light by Juria Yoshikawa

Juria writes, "The word "justice" can mean many things but to me, most of all, it starts with being true to myself and searching for an internal spark I believe is the beginning of creative truth."

After you go through the gallery of 2D works, there is a ramp inside that leads upward, as though to a second floor. But is you go up this you find yourself outdoors, and the ramp simply ends.

A ramp leads from the interior of the gallery toward the sky

This is an excellent example of SL architecture. The next place to go from here is up. Although you have just been in what appears to be a traditional real-world style building, quite appropriate for 2D works made in RL and imported to SL, you now will put on your antigrav and fly up, so the ramp sets you in that direction.

Or you can simply fall off the end, which is what I did. Falling from heights is such a pleasure in Second Life. When I landed the next work I saw was Pavig Lok's The Intellectual Property Garden

This totally black sculpture creates a silhouette from every angle. Silhouettes are fascinating because all the detail must be crated by your imagination. In this animated sculpture, a child appears to be blowing bubbles, but the bubbles are copyright symbols: ©. The plants are growing, and their flowers are also ©'s. 

What does it mean? Again a notecard comes to the rescue. Pavig tells us:

A child is seen in a field blowing a dandelion. The flower and seeds are composed of copyright symbols, which can also be seen growing wild in the field. To the child the dandelion represents making a wish. To the adult it is a garden pest which stifles the growth of preferred plants. 

Following this is a lengthy and interesting polemic on intellectual property law.

AM Radio approached the subject by looking at the government's response to victims of natural disasters. Katrina (left) portrays the remnants of a house after the hurricane, where all that's left is exposed framing, wiring and insulation. Or is that as far as they got in trying to rebuild?

Each of the works has a sign that puts the question to the viewer.

In Barbed Wire (below), AM portrays a farmscape using a painted backdrop and a highly detailed sculpture of a fencepost, barbed wire and a wire setting tool. The detail photo, shot an at angle, helps show the quality of workmanship. The juxtaposition of high realism in the sculpture with the impressionist landscape creates a dreamlike space. It's not Surrealism, though it has some roots there. 

It is a form that could exist in real life, but seems natural here in Second Life, where a mix of reality and imagination is the norm.




Teleport now to Justice Commons


©2009 Richard Minsky