Showing posts with label Miso Susanowa. Show all posts
Showing posts with label Miso Susanowa. Show all posts

Wednesday, May 11, 2011

Miso and the Wolf

Miso and the Wolf
A Children's Story

Soundtrack by Sergei Prokofiev


One fine May Day Miso was out gallivanting, enjoying making pretty thingies and chattering to all the other animals in the forest when she heard the twitter of many birds telling her that a Wolf was on her track, oh noes!

She laughed, telling the birds that surely she was not afraid of a Wolf, especially because she had spent a great deal of time investigating the history of this particular forest and was well-acquainted with the Wolf in question, who actually used to make sensible speeches long ago before unsuccessfully trying to blow down the 3rd Little Pig's house because he was too dim-witted to tell a brick house from straw. This incident seemed to break something inside the Wolf's mind and begin a long spiral into the Wolf's present-day madness.

*-*-*-*-*-*-*-*-*-*-*-*-*


This Wolf was a pitiful thing. Despite bragging about going to the finest schools, the Wolf's conversation was filled with not only unsupportable slurs but obvious fabrication, dissemblings and assertions that were easily shown to be false and in language that most educated people would consider a very low-class sort of speech, fit for scurrilous tabloids, sailor's bars and the questionable tracts of unbalanced zealots and crazies [Miso wondered if the Wolf kissed her mother with that mouth].


For instance, the Wolf claimed that Miso was a chatterbox (which was well-known to all and sundry, so 2pts for obviousness) and that Miso chattered much, much more than the Wolf; the Wolf insinuated that this made anything she said suspect and questionable, because persons of good taste, like the Wolf of course, tried for succinctness in their verbiage. Miso thought this hilarious [having suffered through some pretty swampy and stenchy speeches by the Wolf] and she called her magical Word Count Fairies to come and judge the truth of this matter.

She allowed the fairies complete freedom, opening her Diary to them and pointing them to the Wolf's own voluminous speeches and asking for a fair account of word usage. After a bit of time, the fairies returned with the following results of their meticulous counting of recent entries in both the Wolf's and Miso's diaries:

Miso's longest entry to date had been 3,456 words [this was a big Dear Diary day!] but the Wolf's entry complaining about Miso talking so much was 3994 words. "Ok," thought Miso, "this was kinda close. Maybe the Wolf has a point." The fairies cracked up, hooting and guffawing so loudly that they disturbed a Bear, who was trying to wake up after the long winter nap and hadn't had coffee yet and was grumbly. The fairies entertained the bear with the Wolf's story, continuing to report their results:

MS: 2146
Wolf: 4610

MS: 1602
Wolf: 3344

MS: 1048
Wolf: 9426

"Wow!" said Miso at that last one, "And I thought I was a chatterbox!" And she looked ruefully at her Chatty Cathy Charter Club Member Card that she usually displayed proudly. This made all the birds, fairies, elves and even the grumpy Bear laugh [which is what Miso liked to do, make her friends laugh]

*-*-*-*-*-*-*-*-*-*-*-*-*


The Wolf, hearing all this fun and happiness, came stumping through the woods, growling and snapping. "What's all this ******* fun about?!?! You are disturbing my rentals, which bring me money, money, money with your technocommunist babbling!" The Wolf proceeded to make one of his usual windy speeches in which he claimed many absurd and impossible things, such as being able to read Miso's mind and that in true democracy [as envisioned by the Wolf] people like the Wolf would be free to express their opinions on anything, irregardless of conflicting facts and that in this Wolf-democracy, every right-thinking being would of course agree with the Wolf. People who did not agree with the Wolf's idea of democracy should be shot or perhaps burned at the stake for the Wolf's gratification and entertainment because they were members of a horrible conspiracy of technocommunistic anarchists.


Miso and her friends kindly tried to point out to the Wolf various elementary problems and conflicts of both logic and fact in the Wolf's speech [even the squirrels chimed in, and we all know squirrels aren't the best of scholars, suffering from ADHD and often being distracted -"Oooo! Human!"]. The Wolf continued to argue, although most of the animals agreed that "argument" and "debate" to the Wolf meant bullying with made-up "facts" and a foul-mouthed delivery that would have Miss Manners [as well as any fledgling journalist] blanching in dismay at this morass of viperish bombast and bile.


For instance, the Wolf claimed that a Clock Miso had made had "planets" in it. When Miso politely pointed out that there were no planets in the Clock, the Wolf insisted there were; when Miso asked what exactly the Wolf thought were "planets" the Wolf pointed to 4 circles made up of the serpent Ouroboros, which Miso had cleverly worked into the Clock as a comment on the cycles of Time [which was what a Clock was all about anyway] which Miso assumed an educated person would have recognized. The Wolf also made sarcastic comments about "wondering if the Clock actually told time." This was funny to Miso and her friends, as no person who had ever bought the Clock from Miso in the two years and more that it had been offered for sale had had the least difficulty actually reading the readily-available notecard about the Clock, which would have informed the Wolf that it indeed told Time in adjustable timezones and declinations...

*-*-*-*-*-*-*-*-*-*-*-*-*


On and on it went; for every mistaken or invented distortion of the Wolf's, Miso attempted in good humor to bring the Wolf's attention to actual facts, but the Wolf was in a frenzy and would brook no "opposition." Miso was reminded of the argument Alice had with Humpty Dumpty:

"'When I use a word,' Humpty Dumpty said in rather a scornful tone, 'it means just what I choose it to mean -- neither more nor less.'

'The question is,' said Alice, 'whether you can make words mean so many different things.'

'The question is,' said Humpty Dumpty, 'which is to be master - - that's all.'"


She recalled that this Wolf had boasted "I'm happy to hold grudges in Second Life -- indeed, as long as it takes, if not forever" and had also admitted the despicable practice of gathering freebies [flowers and nuts and fruits from the generous elves, Architects and Builders in the forest and offered freely for anyone for the taking] and reselling these free things for profit; a practice frowned on by most people of any sort of taste and ethical leanings. She also happened to notice that the Wolf was using other people's images and elements in his Diary pages by stealing these items from other places and not even acknowledging that fact, which seemed sort-of two-faced on the Wolf's part [who ranted and railed against free offerings and yet was not troubled at all by taking such benefits from his professed enemies and turning them into a profiteering opportunity].


Miso's attempts to show the Wolf his logical contradictions using his own words went nowhere; the Wolf insisted that these were "lies and distortions" despite being taken from his own speeches and the Wolf, like Humpty Dumpty, was the only person qualified to know what a democracy was and what was proper and right thinking for a democracy, which was of course whatever the Wolf said. The Wolf, growing bored with a conversation he couldn't follow due to the nature of logic and the Wolf's feeble grasp of the fine points of Debate, took umbrage and stalked off in high dudgeon to look for a kitten to kick.

*-*-*-*-*-*-*-*-*-*-*-*-*

After awhile, the Bear leaned over to Miso and whispered, "Don't you remember the story of the Tar Baby? You'll never be able to talk sensibly to this Wolf; everyone in the forest knows this Wolf is an insane, vindictive, vituperative, foul-mouthed, lying yellow-bellied coward, inflated with his own opinion of himself and revealing with every slimy slander and lie the constipated and mentally-disturbed nature of the husk of a mind once facile but corrupted now and decaying into pond slime and leaf mould."


Miso blinked at this statement; the Bear looked at her solemnly... and then they both cracked up! Miso hugged the Bear for making her laugh with a witty parody of the Wolf's speeches and the cleverness of the Bear in avoiding the guttersnipe words the Wolf so dearly loved to use while retaining the disgruntled and hyperbolic delivery of the Wolf's ravings.


The Bear pointed out to Miso that the Wolf loved to ladle and lather his speeches with references to many unrelated and repetetive words to fool the Search Fairies into driving traffic to his lair so he could collect some pitiful pennies off misdirected people; that this Wolf, in fact, far from being the Champion Of All Things Right And Proper [which is what the Wolf thought of himself in his own mind] was merely a petty highwayman, laying in wait for travelers; creating bog-traps to ensnare and deadfalls to bludgeon, all to profit off of anger, misery, verbal violence, content theft, defamation of character, slander and the rest of the arsenal of low-bred persons who use quasi-academic verbal bullying to defend a position that is unable to withstand even elementary debate or questions as to statements of fact contained therein.


The Bear showed Miso many instances of the Wolf asserting that he "did not have time to read/view/explore or investigate some situation or object or fact" and then go on at great length with opinions, fabrications and fantastic words put in other people's mouths to defend his idea of what a thing was, or was about, or meant... having, of course, no idea at all [given the above admissions].


The Bear then demonstrated to Miso that almost everything the Wolf said about other people could be easily shown to be the Wolf's own position as regards to almost any issue; that while declaiming to support free speech and individual rights, the Wolf in fact displayed a fascistic and rigid mental structure which would not tolerate any information contrary to the Wolf's own thoughts. [Miso wondered privately if the poor Wolf had hemmorrhoids or scabies or was constipated or something and helpfully started a list of herbal cures for various conditions and problems that might be responsible for the Wolf's mental anguish]


The Bear finished by pointing out that the statements of the Wolf regarding shadowy enemies of Order and Progress [the FIC] were remarkably similar to paranoias and lunacies like The Elders of Zion, The Illuminati, The Grey Aliens, the Reptilians of Zeta Prime, the Knights Templar, Rosicrucians, the Vril Society, Jesuits, Black Helicopters, the Secret Team and a host of other wacky conspiracy theories.


By this time, all the animals at the tea party were laughing hysterically and ran to get costumes and spend the rest of the lovely afternoon playing Spy Vs Spy, Aliens Vs Humans, The X Files [Miso of course being Agent Scully] and other games of silliness and intrigue. And a wonderful time was had by all.


[at Midnight, Agent Miso slipped away to confer with her fellow FOCers and report that the voodoo doll of the Wolf appeared to be functioning quite satisfactorily and recommended a pin in a place "where the Moon don't shine" to further the descent of the Wolf into the heartbreak of psoriasis and insanity]

Certified Word Fairy Count: 1,929

DISCLAIMER: The preceeding was a fictional story of alleged entertainment! Any resemblance to persons living, dead or blogging is merely coincidence, happenstance or the fiendish machinations of a vast diabolically-clever conspiracy designed solely for the purpose of shadowing men's minds and ruling the world.

PS: As a kindness to Wolves who might have trouble with English as a Second Language, here is a Russian translation of this post:
Ты мне надоел, сумасшедшая старуха.

Sunday, October 10, 2010

Apollo Manga's Burn2 Preview Machinima

Apollo Manga has done a great machinima previewing some of the more spectacular Burn2 builds.You can find it here:


Featuring the work of:

Edanna Spiritweaver
Caro Fayray
Kere Delcon
Nish Mip
Loki Elliot
Elenora Scribe
Aamira Aeon
JeanBaptiste Eilde
Moeuhane Sandalwood
Ub Yifu
Xaan Allen
Ultraviolet Alter
me

Wednesday, November 11, 2009

Interactive - The Vanishing

Interactive is open, so now I can talk about it. Without giving too many clues and hints, I'd like to write a bit about the project, give my thoughts about the creation process and the underlying structure.



Arrival

When you arrive, you arrive in a replica of the Second Life Help Island, almost the first place any noobie arrives after the tutorial (that is, if they aren't an alt). You are given an opportunity to choose your shape and gender just like in the tutorial. You are also given some nice freebie clothes to begin your adventure. Continuing down the path, you are introduced to the storyline... and then you encounter my Maze.



The Maze

I have had many comments on this structure, so I will explain not only about the Maze itself, but about the meaning behind it.

When you approach the Maze, you see several things: the "sculpture" of translucent columns on the roof, the opening of the Maze featuring the very platform you just stepped off of and a series of footprints.

The Maze was designed as a microcosm of the Second Life experience, particularly that of a noobie. It's hard to cam around in. The "artwork" on the rising columns are photos from SL itself, the most common first exposure to this world: Freebies... Free Lindens... Free Sex...

Kinda dull isn't it? It's supposed to be. Because at first login, SL looks bland, dated, boring; it's difficult to use the cam, lousy textures... we all know this. But we fool ourselves into forgetting it.

The decor on the walls and floor should be a huge clue: stylized computer circuits and motherboards. The artwork is what you encountered countless times when first finding your way around SL. You see "Dating" and "Shopping" and "Dance Party!" and "Camping" and... all the dull, stupid, surface-level AOL-chatroom type junk that makes the casual sampler say, "ooo this is fun for like, two days ok i'm outta here gotta go play WoW." In the words of one avatar, "I've played a lot of games, so when I first logged on I was like what is this BS?"

Here's the words of one reviewer -


"People just don't have that kind of patience in SL. 99% of the time, "art lovers" are looking to be entertained and also to experience fantastic visuals, so when presented with an obstacle at the very beginning of a sim-wide show, and unless they know you and don't want to disappoint you, they are just going to TP out, or fly past it or..."

or LOG OFF AND GO PLAY WOW. Yep. And that is the heart of the matter we are addressing in Interactive.

[btw - First day opening: 120 unique visitors - Average time of stay: 2 hours - Longest time of stay: 5 hrs - Minimal time of visit: 70 minutes - Repeats: 62 separate avatars. Most positive feedback: from the mother of an autistic child who was ecstatic over the "game." Most negative feedback: "I am going to have to come back several times; there is so much to explore here!" (from many avatars)]



The Environment

I was helping to create and creating in the grandmothers of Second Life in 1996-1999 [ Alphaworld and Black Sun, among others] and come from a huge RP and gaming background. The VR worlds sprang from this background, so don't be so fast to discount it. When interest flagged in virtual worlds, it was the game community that held the line and was most instrumental in the progress of 3D virtual spaces and environments. And through the game worlds and the role-playing community the concept of a living world, a digital universe, was expanded and knitted together and grown. If you don't believe this, you don't know the history of digital worlds.

The first worlds were extremely interactive, as are many game worlds. They were not passive worlds. Everything was new. What most people think of as "SL" stuff was present 13 years ago: changing visuals on "prim surfaces," audio sounds linked to spaces and objects, even primitive video feeds; web page links were quite common; the entire space was loaded with tie-ins and cross-referencing and information transmission. This was the promise of VR (virtual reality); not to mimic some terrestrial billboard or gallery presentation but to transcend it, using the strengths and peculiarities of this new medium. After all, the strength and uniqueness of the network is in its' cross-connections and routing.

Remember, this is not a physical world where you might be surrounded by randomness and accidental object left by the passage of years or 10,000 people - every single element you see on a computer monitor has been deliberately crafted and placed. There are no "insignificant" elements. Objects and textures have been painstakingly placed, either to assist the storyline, provide sensual feedback, confirmation, stimulation or atmosphere. The making and positioning of them has taken many hours of work.

So when you encounter something in such a digital reality, the first thing you need to do is the exact same thing you do when visiting a new city or environment: pay attention! Look around! (er, that is if mutant alien beings or zombies aren't shooting at you).




Back To The Maze

At the very beginning of the Maze is a series of footprints. Hmmm. If this was a mystery (and we tell you it is at the very beginning), such footprints would be a glaring, nay, hackneyed and obvious clue. Since this is Second Life, and in SL many things react to you, you'd probably want to CLICK THEM.

Or, if you didn't, and you went through the Maze with only surface attention, impatient to get through it and get to something else without regarding the Maze as a work of art, to be pondered and thought about... you'd exit at the rear by the (relatively simple) pathway. At that point, if you were actively engaged in the artwork, you'd notice that the footprints changed color. You'd probably investigate them for sure at that point. You might find something quite helpful also.

At another point in the Maze, you can go down a hallway that has a transparent wall in it, which shows you a space beyond the wall, with a rather pointed sign on the wall, almost a "hey silly!" clue to remind you of where you are... and what you are doing. Both audio and chat feedback (along with the ever-helpful Mysterious Footprints) will give you some hints, but it is your own willingness to engage yourself which will help you out best (this is a rather good approach to use with any artwork).

If you, however, pay minimal attention to where you are and to the fact that this is an art installation called "Interactive" and not a movie or a walk in some sunny virtual park with birdies tweeting merrily amidst golden (laggy) sunbeams, you will eventually find a hallway with representative works of the collaboration's artists that leads to a treasure room filled with fun interactive toys and artwork. Most importantly, you will find the first Journal, which will give you the full backstory and provide other clues for the continuation of your adventure. Since it is titled "Vol. I" you'd naturally assume there is a Vol. II...


If you elect to skip the Maze as somehow being insignificant, you can always follow the footprints that lead up a slanted door at the entrance to the roof and wander amidst the columns of light... which will then sing due to your presence. This may provide some clue to you that things possibly might not be what they seem, and it would be helpful to start thinking about what you are doing and what the point of the installation is...

The roof of the Maze also makes a moving sculpture based on the movements of people inside the Maze. Those inside the Maze cannot see the sculpture but an outside observer can. The roof also sings better when several people join in to play, reinforcing the idea that interaction and collaboration produces fun and interesting effects.



Reflections and Metaphors

You might also want to take a sharp look around after exiting the Maze by either Way before you ascend the path. The seemingly-scenic Well by FreeWee Ling should jolt your brain into considering its message of reflection and depth.

The same "wandering around" metaphor of the Maze is reflected in Ali's Forest area, although in this case Ali has opened the area up and provided you with a taste of the mystery and enchantment that is possible in SL by digging and going a little further along the road of exploration. Such exploration is an active process, not a passive viewing.

[When you first come to SL, it may take you some time of wading through DJ clubs and acres of faux-townhouses before you encounter something like "The Far Away" by AM Radio or a work by Adam Ramona, Glyph Graves, White Lebed or... Alizarin Goldflake]

Around the path, a small offshoot leads to a mysterious house. Prominently displayed on the wall over an altar/shrine, is a picture of a guru. Interacting with this guru will provide you with a glaring and major clue, as will interacting with the simple-seeming wooden block hovering outside and the hilariously-funny Twister board by FreeWee, who also helpfully provides a heavy wake-up call along the path to the forest *laughing*

If you merely view it... it might not seem so interesting, in the same way a book seems a pretty dull thing - two pasteboard covers enclosing a mass of crushed and pressed wood pulp stained with ink. Without opening the book, you have no idea what is inside: the mind-numbing and lulling bodice-ripping prose of Danielle Steel or the electrifying and stimulating mirrors of James Joyce.



Engagement


Interaction up until this point has been mostly up to the traveler and many elements will react to the mere passing or proximity of the viewer, leaving deeper and more meaningful displays hidden or unremarked unless actively engaged. But past the forest and the Cabaret is a crossroads: three paths diverge. One goes high, one low, the other straight on. The traveler is confronted by the first forced choice of pathways in the installation and must choose.

This is the midway point in the adventure and a comment on Second Life and VR worlds in particular; if one is not to remain a passive consumer of stimuli, reducing the metaverse to just another television show or eye-candy billboard, one must participate in choices, and not just of what outfit to buy or what shoes to wear. Treating the metaverse in this way is a reduction and a lessening of the potential inherent in the medium. This is not a duplication of physical reality in clever pixels: the metaverse is a new universe and needs to be treated as such.



Crossroads

From this Crossroads, the "action" speeds up and many more opportunities are presented to the traveler to actively participate in jostling, touching, acting upon and changing the environment and thus their perception of themselves as a mere sightseer to one of an active intelligence investigating and manipulating the surrounding environment.
The metaphor of virtual reality is underscored and emphasised.


Artistides' SeaDome demands you make the effort to find a way in (and a way out) and her Musician's Chair exposes you as a Creator. FreeWee's Tower provides you with a choice that can have grave consequences and her marvelous miniature village, with Art Laxness' gigantic figures peering over the surrounding mountains while you play god to the little people show you the microcosm again - worlds within worlds. Such is the metaverse.

Almost everything in the undersea Mine will react to the presence of the traveler. Many more things will give the traveler storybook clues as to hir real situation: one may enter a picture, give permission to be loved by a giant, gain a magic storied sword, have a gumball, be Venus for a photo-op. Shakespeare floats in the depths just out of reach; the Playwright's presence is revealed. The typical questions of noobs float over your head, reminding you that you are in Second Life, not under the sea.



Apotheosis

At the end of the ocean plain, James Bond, Man of Adventure, guards the Intake Pipe of Lollito's Factory, sucking the traveler up into the machinery of the build. At the top landing, one may still choose the tourists' life, sitting for a picnic, going fishing with a rather apologetic avatar or talking to the seals and the teddy bear... "Tra la la," as David Bowie playing Jareth in 'The Labyrinth' would say.

If one continues into the (square) Factory, s/he may sit in the Controller's Chair (echoes of "The Wizard Of Oz") and wreak havoc among the machinery. A hidden (but clearly marked) Open Sesame (fairytale) door leads to a passageway beneath the sim (surface) to an Alice In Wonderland (storybook) room. A bed in the room transports the traveler into the Dream, which reveales the Dream Master (puppetmaster) pulling the strings (the reflection of Shakespeare in the depths of the sea). The ascending stairway echoes the moving barrier walls of the Maze, but this time the prims are stable and lead not into conflicting passageways but circle the Dream Master (recalling the circular structure of the Forest and the very beginning Welcome Area) and lead upward to the final destination. The Square has become the Circle.




Dénouement

A magical sphere takes the traveler on a god-like ride high above the sim, tethered to a star. The sim is shown as what it truly is: a small island in a sea of emptiness; a self-contained story consisting of "chapters" and "characters" made up of "prims" which are actually made up of data - representations of code given form on a computer screen by the shifting of light on a computer monitor.

At the end of this ride, the traveler is deposited in a giant sphere (echoing FreeWee's little snowglobe in the Maze's treasure room) filled with the true treasures of Second Life (and the metaverse) - links to groups, information, artworks; people, places and activities to interact with. The End Game Sphere (gumball) is the higher reflection of the humble Maze which began the traveler's journey and also provides the final clue and resolution of our story. All is revealed - the artists themselves, the final Journal, the story structure. Our main point of engagement is made clear:

A virtual world is a world indeed, and a living world demands participation and interaction. Virtual reality is not "television in 3d" where you are a passive consumer of what is presented to you; the possibilities for significant interaction and choice are wide-open and only wait for your hand to wield a creator's brush and reveal yourself as Artist and Playwright.



"If we shadows have offended,
Think but this, and all is mended,
That you have but slumber'd here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend:
if you pardon, we will mend:
And, as I am an honest Puck,
If we have unearned luck
Now to 'scape the serpent's tongue,
We will make amends ere long;
Else the Puck a liar call;
So, good night unto you all.
Give me your hands, if we be friends,
And Robin shall restore amends."

- William Shakespeare, "A Midsummer Night's Dream"

^_^

Saturday, November 7, 2009

The Vanishing - An Interactive Collaboration




The Vanishing - Grand Opening Sunday, Nov. 8 @1pmSLT

A Noob enters the virtual world and vanishes... it is up to you to find the clues to hir disappearance and determine hir fate...

A major collaborative work months in the making, Interactive is a sim-wide adventure-story engaging sight, sound and touch, leading the explorer through many areas and types of interaction with the virtual world. The Vanishing explores the role that interaction plays in a virtual environment, presented as a story and allegory of how we all began in Second Life.

You are encouraged and required to INTERACT! The overall design discourages mere passive viewing and is designed to place YOU in the central role of the story. Along the way you will meet with mystery, danger, thoughtful situations, sublime beauty, humorous engagements, dancing, musical structures and treasures.

Can you solve the mystery of the missing Noob?

Caerleon artists Alizarin Goldflake, Artistide Despres, FreeWee Ling, Lollito Larkham, Mencius Watts, Miso Susanowa, Pete Jiminy and Pixels Sideways, with contributions by Art Laxness, Artemiss Luminos, Cae Sands, Feathers Boa, Goose Wycliffe, Kolor Fall, Physeter Nicholls, Sabrinaa Nightfire & Thoth Jantzen unite to present this journey through the possibilities of virtual reality.

URL: Koinup Storyboard


You can also take a look at the Journals I made to be found within the sim and maybe get some clues...


Have fun! ^_^