Some Virtual Prehistory for Earth Science Week

October 14-20, 2018 is Earth Science Week. It includes National Fossil Day, October 17, and International Archaeology Day, October 20. The short 15 years of Second Life's existence is barely likely to have given us any layers of prehistory to peel back.

However, if one earth day is equivalent to six SL night/day cycles (3 hrs Day and 1hr night), then perhaps we should be thinking of SL as more like 90 years old ... And yet, if this is a world where a small town or forest can spring up in a few minutes, time is even more accelerated and so it's only right to speak in terms of it having a 'prehistory'.

There are posts to be written about how we can do 'digital archaeology' on our mainland sims, to discover 'what was here before', and I like to get into that as part of having an immersive experience here. There is also much to be explored inworld that preserves a sense of SL history, like the Temple of the Prim in Kwaito.

Continents came into being in a certain order, moved about, settled, were changed again in ways not dissimilar to those on planet earth. Explorers can still happen upon the odd prim from 2006, like lost relics. But it is also part of the 'sense of place' that aeons of continuity is 'built in' to the virtual world. Textures can carry hundreds of years in their cracked and worn patinas. Ancient temples and ruins are places where our avatars love to linger. Virtual architecture can simulate passing time.

It was only a matter of time before I'd want to hunt for fossils here. Some choice specimens are on display at my Virtual Topohilia Lab in the Mars Tower at Sedge.

Other signs of prehistoric life on the grid are far too big to bring back to the lab, but they must be the first port of call on any paleontological itinerary.

Firstly, three huge dinosaur skeletons are presented, museum style, on their own island in protected waters at Brenner, Sansara.

These giants were created by ahkenatan Grommet, way back when prims ruled (hundreds of them in the case of these bones). Their relatively isolated location keeps them in a space where they can be viewed from all angles and they fill the skyline.

Secondly, rather more stuck where it fell, is the partially submerged skeleton of Leviathan at Ahab's Haunt.

Like any water break in shallow seas, it has become an atoll. The ribcage is so vast you can fly a plane through it and it now shelters a tranquil harbour. Also remote, and best approached by sea or air, the skeleton provides an ideal location for passing sailors to make port, explore, relax and enjoy wonderful sunrises.

Finally, in our itinerary, there's a little known fossil that can be seen by anyone daring enough to brave The Wastelands. Like Leviathan, the skeleton has been repurposed for its architectural value.

The petrified and heat-baked bones look rusty and could be mistaken for pieces of abandoned machinery. Looking closer, you can pick out jutting ribs and barrel-like vertebrae, where it has created a dimple in the clay and some shelter for avatars in the war-torn landscape.

All these locations are thrilling because they feed the story-making parts of our imaginations, hinting that something happened here long before us and will be here long after our transient avatars have left. Perhaps we need these touchstones of permanance in a virtual world where a whole city can be de-rezzed in a few seconds.

SLURLS
Temple of the Prim: http://maps.secondlife.com/secondlife/Kwaito/146/107/180
Virtual Topophilia Lab: http://maps.secondlife.com/secondlife/Sedge/180/159/3515
ahkenatan Grommet's dinosaurs: http://maps.secondlife.com/secondlife/Brenner/176/158/26
Leviathan skeleton: http://maps.secondlife.com/secondlife/Ahab's%20Haunt/118/139/22
Wastelands skeleton: http://maps.secondlife.com/secondlife/The%20Wastelands/205/199/71

512: Ratzu's (Dahana)

On the north coast of Heterocera Atoll, alongside Route 2 at Dahana, there s a steeply sloping parcel that has been in the current owner's hands since 2011. In addition to being on a very steep slope, it is one of the most oddly shaped parcels I have ever seen. I'd balk at doing anything with the challenges this 512 presents and it's a credit to the 'Ratzu' for creating a unique sense of place there.

Spiritual ascent
Previous VT posts have noted the appeal of verticality and speculated how it may come from an upwards orientation of the mind. From the road one climbs a staircase to reach a platform where there is a place to sit and look at the view. It invokes a coming away from the bustle below to pause and take in a wider view. A staircase coming down onto a road always seems more inviting to my curiosity than a junction in the road.

The seating area is further furnished with a singing bowl and some wind chimes. These are symbolic objects that say 'meditation' and thereby key the visitor into the intended purpose of the space.

Animal animation
The parcel is a haven for wild animals. A squirrel, a raccoon, and a couple of rabbits hide in the grass, and butterflies are in constant motion overhead. Even the static creatures provide a sense of life, a living presence on the parcel. Spending time there, one is not alone.

Virtual wildlife comes in two varieties: animated and static. While it is to be expected that a moving animal will be more lifelike than a 'statue', I have found this is really not the case. High-quality, lifelike detail in fur and eyes will give an animal a living presence in a virtual space more than movement will. We expect more from our pets, of course, but when animals are there as scenery and for ambiance, they may be on a different ticket. The implications here for virtual topophilia will be interesting to explore. Perhaps, avatars come into a space with more of an expectation that it is timeless and frozen. We expect the sense that we are on a stage set or inside a painted scene.

Symbolic placements
Sitting on the bench gives a view in the middle distance of a cottage and marina below and the eye is drawn out to sea in the direction of the setting sun. However, in the immediate foreground, and placed deliberately (it seems) in line of sight is a log with an axe stuck in it.

While contemplating the beautiful, open vista this object also draws the attention back in. My money is on this placement deliberately as a reminder of the Zen maxim:

"Before enlightenment, chop wood, carry water. After enlightenment, chop wood, carry water."

Spending time here I became aware of the careful means by which it was ensured that my visit to the parcel reflected a spiritual journey: turning aside from the road and ascending to a timeless space, becoming attuned to a contemplative atmosphere by sounds, in pausing being encouraged to let the eye travel out towards the numinous ocean and setting sun and back in to he mundane simplicities of basic tasks.

In respect to virtual topophilia, this opens up the question of how a space can be so arranged that it has a coded purpose, or a narrative in which to participate, and in so doing it can teach, tell, comment, or enlighten. This land is a page to read.

http://maps.secondlife.com/secondlife/Dahana/96/175/45

512: Montara Bridge Works (Montara)

All too easily missed as one crosses Montara Bridge in the mid-west of Sansara, or jumps up to the Montara Bridge Works Gallery in the sky or to any of the destinations highlighted in the information available on the parcel, this little waterside haven is a rewarding place to linger. The land description says, "Welcome friends and gentle avatars. The gallery is in the sky; ground level is by the water with a meditation pillow, reading quilt and more art. Pod boats go by in both directions. Posters for exploring other destinations."

The unique location and the care that has obviously been taken in furnishing this parcel give it a distinctive sense of place that has inspired a few useful observations on my continuing investigation into how to use 512 square meters of virtual space. 

Hubbing
I'm going to call it "hubbing" when a place positions itself as a departure point (hub) for multiple other locations. If this practice contributes to a sense of place, it does so by giving a context that is more than the immediate surroundings.

There is a wall to the east of the shack, displaying posters and giving landmarks for other locations on the SecondLife mainland continents. An information card picked up from the news vendor highlights several more places to visit. A box of posters for still more destinations can be picked up for free, and there is a teleporter to the art gallery in the sky above the parcel. 

The pod route that plys the waterway in front of the parcel only emphasizes how much this place is part of a living world. All this places the parcel in relation to a web of other places and weaves it into the fabric of our virtual world.

Minimal Palette
Like a painting, the plot makes use of a definite but limited range of hues in various shades. Nothing clashes. Blues and greens and earthy reds, for the most part, are dotted into the yellow sand and set against the weathered white of the building.

In particular, a line of blue runs from the news vendor, through the picture on the wall of the shack, taking in the hollyhocks and the papasan chair and bouncing off the skin of the elephant sculpture before filling the foreground of the water channel.

While the palette may be a conscious choice, I like to think that these lines of color tend not to result from deliberate design but come about from deeper aesthetic instincts. They are worth looking out for.

Informality
Of all the parcels examined so for, this one got the highest possible rating for "Informal". It's not very scientific, but this parcel felt like it fitted "informal" very well. A few things probably contribute to a sense of informality that might be identifiable here.

At the highest level, 'formal' is about alignment and elements of symmetry. Informal implies a looser placement of elements. The objects on the beach look as if they have been tipped out of the shack like thrown dice. Inside the shack, it is neat and tidy but elements of 'openness' and 'comfort' are also contributing to the informality. The fabrics on the seat and wall hanging are homey and slightly worn. These subtle choices of design have an equally subtle effect on how the place is experienced.

Distribution of Scale
This parcel, for the first time, highlighted another element that I think is significant in a way that it makes me what to go back and look again at previous 512 analyses. For want of a better term (and there must be technical words for this), I'll call it 'distribution of scale'. This is when the size of things in the visual environment is well distributed from large to small. In other words, there are some very big things, some big, some mid sized, some small and some tiny.

Very close, and to the south of the parcel is one enormous foot of the, even greater, Montara Bridge. The beach is almost tucked in below the bridge and completely dwarfed by it. Trees and the shack fill the next step down in size, followed by the wall, the hollyhocks, the furniture, down through to the parts of the 3D artwork and the very small items of ornamental glassware. In ones sense it seems obvious that there are different scales applying to different objects but it feels as if, on some level, a sense of the distribution of scale has influenced, for instance, how big to make the hollyhocks.

There's an analogy for this in music. You need Soprano, Alto, Tenor and Bass to create harmony. Too many bass instruments muddy the sound  and too many high-pitched ones make it tinny and screechy. For testing in the future, is the idea that balance across scales of magnitude creates visual harmony.

http://maps.secondlife.com/secondlife/Montara/52/197/22

512: Shipton Rest Area (Shipton)

On the Eastern Board of Heterocera Atoll, between Spangle, the Plusia Interchange and Melanthia, the SLRR passes through Shipton where this unusual rest area is worth alighting for.

The land description lists what the traveller can expect here, and it's plainly offered with the explorer or art collector in mind: "Travellers rest, train watching, sunrise watching, art collection in the birdhouse, train station pics in lower level of house for sale, free box of destination posters with LMs, friendly people make yourself at home."

It's a quirky, personal space that nevertheless feels open and comfortable for the visitor. It's a traveler's haven. We are expected to pause as we pass through.The first impression is given by a seemingly random collection of scattered objects and buildings, but on closer inspection it furnishes a lot of interest and everything is placed for a reason: rich pickings for this inquiry.

Reference to surroundings

In the 512 parcels I have blogged so far, I've noted it as a strength when a parcel's contents refer to the surrounding area. This location mirrors and refracts the surroundings very carefully. The location seems chosen for its function, or the owner has responded to what can plainly be seen in the landscape nearby.

A small bus shelter faces the tracks, offering a place to sit and wait for the next train. It is decorated with posters giving LMs to other locations to explore. A set of travel posters is offered from a box on the ground nearby.

The railway is further referenced by a couple of cable rolls lying on the ground and some apparent 'junk' that one might find beside a railway (in fact a select and ususual assortment). However, inside the house, a highly collectible series of 24 pictures of SLRR stations by artist, Pearl Grey, is offered to view, and individual pictures can be bought. Every SLRR station is a unique piece of architecture and the individuality of each is captured well and complemented by the varieties of the size and frame used.

The coastal setting is reflected by the placement of several palm trees. The Mediterranean atmosphere that I often sense along this coast seems to be fixed in the patina of the walls and the choice of colors and plants. 

Rooms with views

While the objects on a parcel can reference the surroundings, a place further interacts with the wider landscape in the views that it allows.

From several positions on the parcel, where seating is strategically placed, the tropical houses, on the other side of the tracks, and the sea beyond are framed through doorways or windows,or from the balcony or through the portholes of the bird house. The vista is to the east and gets the very best of the sunrises.

Particularly unusual and pleasing is the high-angle circular framing of the coastline from inside the birdhouse.

Placement, assymetry, and minimalism

The house has the SLRR station gallery on the lower floor and a bedroom upstairs. These rooms are very spacious and could fit a lot of furniture in them. Instead there are just a few pieces chosen and placed where they can be appreciated. 

I'm at pains to analyse why the balance of placement is so satisfying. A typical 'golden ratio' or 'rule of thirds' does not seem to apply to, for example, the table on the edge of the rug - but it is in the 'right' place. In part, I think the effect comes from making sure that lines of sight, at least from seating, pick up other features on and off the parcel(because it is best appreciated in mouselook).

Outside, too, the objects have a strong assymetry that runs with the triangular shape of the parcel, much heavier features being put  towards the narrowest 'base' of the triangle.

Open/closed - Up/down

In previous posts I have asked how space is enclosed and concluded that some sort of barrier is often needed to give a sense of place as distinct from the surroundings. However, this parcel can be approached and entered from any side. You can just walk onto it. There are no paths to say "start here". 

Much of the land immediately surrounding is empty, so one comes upon it like an oasis. It feels odd to me to just walk in, but it does make for a wide and welcoming atmosphere.

I have also noted the use of 'verticality' and speculated a bit on why we like to go upwards. A very interesting expression of upwardsness is found in the bird house, here, There's nothing quite like it. Accessed by teleport, there are two levels once you are up in the bird house, and there is ample space for the average SL avatar. There's a further selection of art to look at, and the second level has an especially birdy theme to it. 

I think this parcel achieves a sense of place by being very true to its geographical and topological setting, while offering an array of curiosities that will keep the restless traveller looking around and and give the resting traveller some lovely places to sit.

http://maps.secondlife.com/secondlife/Shipton/23/110/31

512: Paradise for a Rose (Cayuga)

This little bit of paradise literally sticks out for miles around. Found in Cayuga on Sansara, it is perched 130m up, on top of a pinnacle of sculpty rock, which immediately gives it an air of glorious isolation. Views north and west look across mountain terrain, and south and east across a valley that drops towards an inland waterway.

This parcel feels like a very personal space but the presence of a tip jar (sheep) suggests that the owner hopes for visitors. The land description touts it as "A little bit of paradise to enjoy in every life.  From a crushed rose to a sweet fragrance, take time to smell the roses...."

There's a strong sense of place here. How is it achieved?

Up up up
Through previous topophilia posts, I've been becoming more conscious of references to upward space. Within the limitations of a 512, it's not surprising that stacking occurs. Additionally, the "tower" seems to be an archetype in the human imagination - one could even say it's an "architype" (an architectural archetype).

For Gaston Bachelard, vertical space separates rationality from irrationality: "Verticality is ensured by the polarity of cellar and attic, the marks of which are so deep that, in a way, they open up two very different perspectives for a phenomenology of the imagination. Indeed, it is possible, almost without commentary, to oppose the rationality of the roof to the irrationality of the cellar" (The Poetics of Space). These upwards spaces immediately invoke clarity, vision, and perspective. The sense of remoteness enhances objectivity. Visions happen on mountain tops, and great works issue from the apex of "ivory towers".

In a virtual environment, it is not at all surprising that we see endless expressions of ascent.

Not only is this parcel placed on a remote pinnacle of rock but it also has three distinct levels, each furnished with space for the avatar to be still. The western face of the pinnacle is covered with a waterfall. A smaller waterfall is above this, and there is a sitting area down in the hollow next to the plunge pool. Above this a plateau holds a social area with chair and table for four friends alongside a path that zig zags up to a third level with a canopy and cushions where a variety of tasty treats are on offer. There is a stone sculpture of a sleeping woman, on the middle level.

Using more than one level is not only economical with space but also makes spaces that seem to suit different frames of mind or activities. Unlike rooms, the open divisions of space by plateaus or terraces mean that other parts of a place can be seen from wherever you are, and I think that this gives a more satisfying sense of unity to a parcel.

Open/Closed
Another theme that repeatedly emerges in my exploration of virtual topophilia is the balance of open and closed space. What seems satisfying is a bit of both: privacy and outlook, isolation and context, protection and exposure. The tower of rock is a brilliant hack that delivers both in equal measure. While it is open to the sky and offers broad vistas of the surroundings, this parcel is a miniature kingdom, enclosed upon itself by being on top of a sheer, unclimbable wall.

A sky platform or box lacks the context of nevertheless being attached to the land, and it is amazing what a difference this makes.

I'm in a Picture
Unlike the parcel in my previous post, there's no topographical consistency with the surroundings. It's extremely unlikely we'd find this sort of place in the real world.

Furthermore, the underlying structure of the habitable part of the parcel is provided by a prefabricated sculpt; this is not even subject to the limits of terraforming. The texture of the ground feels soft, almost hand-painted and the trees by Hayabusa have a characteristic texture of crayon work.

Finally, the land is so delineated from the surroundings that, seen from any angle, it is framed by the sky or the horizon. Taken together, these factors mean that standing in this little bit of paradise feels very much like becoming part of a painting. I think that is another key to the simple stillness that can be experienced here.

http://maps.secondlife.com/secondlife/Cayuga/72/226/137

512: The Garden of Peace (Neumoegen)

This is the 4th post in my 512 project series. Broadly  it's an enquiry into how a sense of place can be created in a bounded 3D virtual space. You can read more about it here.

"Hidden behind Neumoegen Train Station. Serving breakfast for weary travelers." I've kept an interest in this garden of peace since it was bought two months ago, because it's the best place on the mainland to enjoy an al-fresco breakfast with a good sunrise.

In spite of being within a stone's throw from Neumoegen station on the Heterocera SLRR The parcel is hidden and has a "sunken" feel to it. It lies below a series of terraces that jut from the knees of the the Neumoegen wall and is surrounded on two and a half sides by pines. It is easier to get to since the banlines have been removed to the north and it can now be reached from the Grand Staircase by a gentle stroll across abandoned land or by a walled path. It also has access by open land down onto Route 1 and the local Stargate is The Rusty Gates of Neumoegen on the Alteran System. 

It is an inviting and satisfying place to spend some time. With the exception of the rare and unusual sculpture by Haveit Neox, it's assembled with commonplace objects (rather than super-cute gachas) that won't break the bank. It's peaceful and a little bit quirky/magical by virtue of the mushrooms, sculpture and fireflies.

for the 512 project, there are a few things that have given me food for thought.

Consistency and Variation

Since it inception, the garden of peace has undergone seasonal variation, with some elements being changed, and most recently the addition of a striking piece of sculpture. In spite of this, the familiar 'backbone' of the parcel has remained: the stream and bridge, the rocks, bench, and breakfast table. On repeat visits, it is always nice to see what's new, while essential and familiar features are maintained to give a sense of continuum.  

Many Sits

You can sit on the toadstools, on the rocks, at the table or on the bench (which also has couple sits). This offers a good selection for the lone visitor to find a spot that sits their mood or offers a different  angle of view. Furthermore, given that there's room for maybe seven or eight avatars to take the weight off their feet, this would make a nice casual venue for a get together or storytelling event.

Zoning

I became aware on this parcel of the creator having taken a 'zoning' approach to the design. This is a great concept to be aware of while putting a place together. The zones loosely divide into six areas of approximately equal size, arranged around the cruciform structure of the stream and bridge. 

There is the breakfast area, mirrored across the stream by the magical zone (toadstools, fireflies, rocks and bright flowers). The bench and a bare tree seem to form a piece, counterpointed over the bridge by the sculpture zone. At the bottom of the parcel, a family of foxes occupies  the rocks in one area across from a stand of pine trees.

Following the stream W to E, from the top to the bottom of the parcel, the space goes from open, to more enclosed, light to dense. So, while it's easy to enter the top, it's not easy to walk out at the bottom. This is a pleasing transition that, once again, makes for a lot of variety within a small space.

Topographical Realism

The stretch of stream errupts from under the rocks at the top, runs under the bridge and then disappears under more rocks. This detail makes sense. It seems very natural that a stream should surface here and disappear again, suggesting that the designer has considered how to make the topography self-contained and yet consistent with the surroundings. The course of the stream really does give a sense of flow, too: this parcel has a beginning, middle and end.

The Sculpture

I've left mention of the sculpture until last because, according to expectation, it should completely dominate the area. It is bright with orange, red and blue, and it stands tall - echoing the orange tower at Shin Moebaru station, which pokes above the trees to the south. While it certainly draws the eye and makes a passerby more likely to come and investigate, it also seems to harmonize well with the surroundings. This piece actually has a ethereal lightness and verticality to it that sort of scatters upwards and seems to be more part of the atmosphere over the parcel than a weight on the ground.

While the garden of peace provides a lovely setting for a curious and upliifting piece of art, it is not the overwhelming focus, and there's a peaceful welcome for anyone here.

http://maps.secondlife.com/secondlife/Neumoegen/166/87/54