Idle Rogue Productions presents Guerilla Burlesque. Winter sea-son commences Friday, November 7 at midnight.

Cat Questionnaire by Cat Boccaccio. Iono Allen, a talented Second Lifemachinima artist, dares to answer Cat Boccaccio’s 14 leading questions.

Jami Mills Photography

Bryn Oh Retrospective Text and Photos by Jami Mills. Jami Mills of-fers an insight into Bryn Oh's retrospective installation in Second Lifeand includes an interview with the multi-talented Bryn Oh.

Bryn Oh Retrospective Text and Photos by Jami Mills. Jami Mills offers an insight into Bryn Oh's retro-spective installation in Second Life and includes an interview with the multi-talented Bryn Oh.

Bryn Oh Retrospective Text and Photos by Jami Mills. Jami Mills offers an insight into Bryn Oh's retro-spective installation in Second Life and includes an interview with the multi-talented Bryn Oh.

his is not so much a retrospectiveas it is a reunion, where we’re rein-troduced to old friends and

creatures we no longer get to see on aregular basis. All of our favorite char-acters come to life once again, liber-ated from the cobwebs of Bryn’s attic,cleaned up, a bit of polish here andthere, and put on display again for ourenjoyment. You won’t want to missthis unique opportunity to view aunique, original SL talent, our veryown Bryn Oh.

The first thing my eyes land on as I ar-rive at Bryn’s Retrospective is a sculp-ture entitled Duradent Tooth Spray,promising protection against tooth de-cay. And so we drop into the unpre-dictable, sometimes wacky, but alwaysentertaining world of Bryn Oh,Toronto-based oil painter in real life,and one of SL’s most beloved and cel-ebrated installation artists while she’shere with us inworld.

In an introductory row of early works(2007) created for the Swedish Em-bassy, which had just opened inSecond Life, we encounter advertise-ments for Zinger, the Rocket Dog (“Thefirst PowerPet in a line of Clone-bots”), Test Monkey #4683 (‘”Back in1999, we tied 5000 monkeys to antiquetypewriters”), Retelevise (“Why super-vise when you can ‘Retelevise’?), SlinksShelterball (“When the bombs pop, I’mnot sticking around”), and Slinks

Breathing Accessories (“Slinks brand gasmasks are not just superior function-ally, they are also fashionable!”).

And we’re also introduced to Bryn’slong-time love affair with bugs, alsofrom 2007. All of her favorites are

his is not so much a retrospectiveas it is a reunion, where we’re rein-troduced to old friends and

creatures we no longer get to see on aregular basis. All of our favorite char-acters come to life once again, liber-ated from the cobwebs of Bryn’s attic,cleaned up, a bit of polish here andthere, and put on display again for ourenjoyment. You won’t want to missthis unique opportunity to view aunique, original SL talent, our veryown Bryn Oh.

The first thing my eyes land on as I ar-rive at Bryn’s Retrospective is a sculp-ture entitled Duradent Tooth Spray,promising protection against tooth de-cay. And so we drop into the unpre-dictable, sometimes wacky, but alwaysentertaining world of Bryn Oh,Toronto-based oil painter in real life,and one of SL’s most beloved and cel-ebrated installation artists while she’shere with us inworld.

In an introductory row of early works(2007) created for the Swedish Em-bassy, which had just opened inSecond Life, we encounter advertise-ments for Zinger, the Rocket Dog (“Thefirst PowerPet in a line of Clone-bots”), Test Monkey #4683 (‘”Back in1999, we tied 5000 monkeys to antiquetypewriters”), Retelevise (“Why super-vise when you can ‘Retelevise’?), SlinksShelterball (“When the bombs pop, I’mnot sticking around”), and Slinks

Breathing Accessories (“Slinks brand gasmasks are not just superior function-ally, they are also fashionable!”).

And we’re also introduced to Bryn’slong-time love affair with bugs, alsofrom 2007. All of her favorites are

here: Jethopper, Whirlygigs, Whirly-gogs, my favorite, Butterflycycle,Arachinobot, Rhinobot, Steamdragon(a look back at Bryn’s early fascinationwith steampunk and gears), and anoth-er favorite (I have some flying aroundmy own pond at home), Mayflies.

If we stop right here and go no fur-ther, we can already see the seeds ofBryn’s later works germinating. En-gines, gears, steam-driven flying ma-chines, satirical jabs at popular culture,whimsy, and deadly combat. All in aday’s work. Nearby appears some arte-facts from Bryn’s first full sim installa-tion called The Gashlycrumb Tinies,where we see the beginnings of Bryn’ssing-song love of verse, with a touchof the macabre (“I is for Ida whodrowned in a lake").

The fun of retrospectives is that weget to look back in time, a little likelooking at Bryn’s baby pictures. Yousee that early mischievous glint in hereye, her conspiratorial plotting mind,her love of small things, her celebra-tion of puzzles and intrigue and, ohyes, murder. And so we marvel at allthe workings of her unleashed imagin-ation and mutter about how she’s“complicated.”

An antique digit urges us along down astark white hallway to Condos in Heaven(2008), an examination of humanity'sexploitation of Nature (inspired by thedevastation of the Alberta tar sandsproject) and, ultimately, Heaven itself.A father purchases a set of angelwings at a store counter for his child,oblivious to the suffering that beliesthe transaction. And so we begin tosee a political heart beating, waiting toexpose greed and hypocrisy in all its

his is not so much a retrospectiveas it is a reunion, where we’re rein-troduced to old friends and

creatures we no longer get to see on aregular basis. All of our favorite char-acters come to life once again, liber-ated from the cobwebs of Bryn’s attic,cleaned up, a bit of polish here andthere, and put on display again for ourenjoyment. You won’t want to missthis unique opportunity to view aunique, original SL talent, our veryown Bryn Oh.

The first thing my eyes land on as I ar-rive at Bryn’s Retrospective is a sculp-ture entitled Duradent Tooth Spray,promising protection against tooth de-cay. And so we drop into the unpre-dictable, sometimes wacky, but alwaysentertaining world of Bryn Oh,Toronto-based oil painter in real life,and one of SL’s most beloved and cel-ebrated installation artists while she’shere with us inworld.

In an introductory row of early works(2007) created for the Swedish Em-bassy, which had just opened inSecond Life, we encounter advertise-ments for Zinger, the Rocket Dog (“Thefirst PowerPet in a line of Clone-bots”), Test Monkey #4683 (‘”Back in1999, we tied 5000 monkeys to antiquetypewriters”), Retelevise (“Why super-vise when you can ‘Retelevise’?), SlinksShelterball (“When the bombs pop, I’mnot sticking around”), and Slinks

Breathing Accessories (“Slinks brand gasmasks are not just superior function-ally, they are also fashionable!”).

And we’re also introduced to Bryn’slong-time love affair with bugs, alsofrom 2007. All of her favorites are

here: Jethopper, Whirlygigs, Whirly-gogs, my favorite, Butterflycycle,Arachinobot, Rhinobot, Steamdragon(a look back at Bryn’s early fascinationwith steampunk and gears), and anoth-er favorite (I have some flying aroundmy own pond at home), Mayflies.

If we stop right here and go no fur-ther, we can already see the seeds ofBryn’s later works germinating. En-gines, gears, steam-driven flying ma-chines, satirical jabs at popular culture,whimsy, and deadly combat. All in aday’s work. Nearby appears some arte-facts from Bryn’s first full sim installa-tion called The Gashlycrumb Tinies,where we see the beginnings of Bryn’ssing-song love of verse, with a touchof the macabre (“I is for Ida whodrowned in a lake").

The fun of retrospectives is that weget to look back in time, a little likelooking at Bryn’s baby pictures. Yousee that early mischievous glint in hereye, her conspiratorial plotting mind,her love of small things, her celebra-tion of puzzles and intrigue and, ohyes, murder. And so we marvel at allthe workings of her unleashed imagin-ation and mutter about how she’s“complicated.”

An antique digit urges us along down astark white hallway to Condos in Heaven(2008), an examination of humanity'sexploitation of Nature (inspired by thedevastation of the Alberta tar sandsproject) and, ultimately, Heaven itself.A father purchases a set of angelwings at a store counter for his child,oblivious to the suffering that beliesthe transaction. And so we begin tosee a political heart beating, waiting toexpose greed and hypocrisy in all its

varied shapes and sizes. With a clickon a title board, you link to a machin-ima of the piece (in fact, clicking onany number of pieces yields anothersleek machine).

The digit leads us again into a broadexpanse of what seems like half a sim,where works from 2009 are exhibited.Willow, a work exhibited in the Brook-lyn gallery, Brooklyn is Watching, wona real life award for Bryn. Daughter ofGears first appears in this “era” as well.Each piece includes a detailed descrip-tion not only of the work itself, but ofBryn’s mindset when creating it. It’sthis opening up by Bryn about her

motivation, her challenges, her preoc-cupations, that really gives us a uniqueglimpse into that wonderfully quirkymind of hers. For instance, I wasn’taware that Bryn created Daughter ofGears for Starax/Lightwaves’ Black

Swan, an early region dedicated to ex-ploration and creativity, or that it wasBryn’s first exploration into narratives.And so a continuing storyline span-ning many years really began with thisseminal work, linking to many of herlater works.

I was unfamiliar with Vessel’s Dream,another of Bryn’s 2009 works, origin-ally created for Burning Life. It fea-

tures a weather beaten shanty with acrazed looking seagull called MemoryBird inside. It’s described as a “cam”build, where portions of the piece canonly be explored by “camming” intonooks and crannies where avatars can’tnavigate. Bryn actually gives us a shorttutorial on camming technique, andembellishes the exhibit by so doing.

Like a criminal who wants to becaught, Bryn even gives away some ofher secrets in this exhibition,roadmaps to hidden messages andsongs that hitherto had only been ac-cessible to those hearty souls willing toexpend the extra effort looking forhidden gems inside her work. Bryn hasalways rewarded the careful observer.

Against a nearby wall is a series ofsketches from Bryn’s sketchbook,

where you can see early incarna-tions of Rabbicorn, Robogirland others. On the oppositewalls are pages of stanzas fromWillow, Gretchen and Teddy,Format, 26 Tines, Tesla Dreamsand others.

“Sits forlornThe RabbicornA robot giftSet adriftIn settled dustWith spots of rustA once treasured toyOf a boy”

The more you explore the exhibition,to deeper will be your understandingof Bryn’s work, helped along by mes-sages from the artist that both elabor-ate and elucidate. Whatever you knewabout her work from earlier visits toher installations will only be deepened,as Bryn pulls back the curtain a bit onher creative processes.

2010 introduces us to The RabbicornStory, Lady Carmagnolle, Angler Girl, 26Tines and Bryn’s machinima entry forthe World Expo in Shanghai. If youhaven’t yet met the Rabbicorn, thenyou’re in for a treat. Half rabbit, halfunicorn, this child’s toy, a machine cre-ated with the ability to love, is thecentral character in one of my favoriteworks. The Rabbicorn intersects with theDaughter of Gears (a young girl’s mind

varied shapes and sizes. With a clickon a title board, you link to a machin-ima of the piece (in fact, clicking onany number of pieces yields anothersleek machine).

The digit leads us again into a broadexpanse of what seems like half a sim,where works from 2009 are exhibited.Willow, a work exhibited in the Brook-lyn gallery, Brooklyn is Watching, wona real life award for Bryn. Daughter ofGears first appears in this “era” as well.Each piece includes a detailed descrip-tion not only of the work itself, but ofBryn’s mindset when creating it. It’sthis opening up by Bryn about her

motivation, her challenges, her preoc-cupations, that really gives us a uniqueglimpse into that wonderfully quirkymind of hers. For instance, I wasn’taware that Bryn created Daughter ofGears for Starax/Lightwaves’ Black

Swan, an early region dedicated to ex-ploration and creativity, or that it wasBryn’s first exploration into narratives.And so a continuing storyline span-ning many years really began with thisseminal work, linking to many of herlater works.

I was unfamiliar with Vessel’s Dream,another of Bryn’s 2009 works, origin-ally created for Burning Life. It fea-

tures a weather beaten shanty with acrazed looking seagull called MemoryBird inside. It’s described as a “cam”build, where portions of the piece canonly be explored by “camming” intonooks and crannies where avatars can’tnavigate. Bryn actually gives us a shorttutorial on camming technique, andembellishes the exhibit by so doing.

Like a criminal who wants to becaught, Bryn even gives away some ofher secrets in this exhibition,roadmaps to hidden messages andsongs that hitherto had only been ac-cessible to those hearty souls willing toexpend the extra effort looking forhidden gems inside her work. Bryn hasalways rewarded the careful observer.

Against a nearby wall is a series ofsketches from Bryn’s sketchbook,

where you can see early incarna-tions of Rabbicorn, Robogirland others. On the oppositewalls are pages of stanzas fromWillow, Gretchen and Teddy,Format, 26 Tines, Tesla Dreamsand others.

“Sits forlornThe RabbicornA robot giftSet adriftIn settled dustWith spots of rustA once treasured toyOf a boy”

The more you explore the exhibition,to deeper will be your understandingof Bryn’s work, helped along by mes-sages from the artist that both elabor-ate and elucidate. Whatever you knewabout her work from earlier visits toher installations will only be deepened,as Bryn pulls back the curtain a bit onher creative processes.

2010 introduces us to The RabbicornStory, Lady Carmagnolle, Angler Girl, 26Tines and Bryn’s machinima entry forthe World Expo in Shanghai. If youhaven’t yet met the Rabbicorn, thenyou’re in for a treat. Half rabbit, halfunicorn, this child’s toy, a machine cre-ated with the ability to love, is thecentral character in one of my favoriteworks. The Rabbicorn intersects with theDaughter of Gears (a young girl’s mind

housed in a machine) at the end of thestory. This exemplifies the continuityfrom one story to another across theyears.

2011 was one of Bryn’s most product-ive years, when in rapid succession shecreated Anna’s Many Murders, RustedGears, Avatar Games, and Gretchen andTeddy. If you weren’t quite sure if Brynhad a dark sense of humor, you werequickly set right with Anna’s ManyMurders, the story of a lonely, meek girlwho, as Bryn says, “copes in her ownway” with the inhumanity of society,by dispatching friends, relatives andacquaintances during murderous boutsof her own madness.

Anna’s Many Murders really was the firstwork of Bryn’s that totally immersedme into her world. I don’t knowwhether it was the episodic quality ofthe narrative cels, or the juxtapositionof innocent nursery rhymes with hom-icidal themes. It just worked….andcontinues to work….as Bryn doublesdown on the success of that formatwith later works like Standby and TheSingularity of Kumiko. Bringing charac-ters along from earlier works for acameo in later works is particularly ef-fective.

Somewhere along the line, Bryn de-cided to challenge our physical dexter-

ity as well as ourimaginations, by creatingbuilds from which it wasall too easy to fall, andincredibly difficult tosuccessfully navigate. Sheevidently believes thatperseverance is a virtue. Isuppose that’s one of theelements of her workthat particularly endearsherself to her many fol-lowers: don’t make iteasy. It’s the surmountingof obstacles that Brynseems to tell us bringstrue satisfaction. Look alittle harder. Don’t takethings at face value. Al-ways delve deeper….lookcloser. If at first you

tures a weather beaten shanty with acrazed looking seagull called MemoryBird inside. It’s described as a “cam”build, where portions of the piece canonly be explored by “camming” intonooks and crannies where avatars can’tnavigate. Bryn actually gives us a shorttutorial on camming technique, andembellishes the exhibit by so doing.

Like a criminal who wants to becaught, Bryn even gives away some ofher secrets in this exhibition,roadmaps to hidden messages andsongs that hitherto had only been ac-cessible to those hearty souls willing toexpend the extra effort looking forhidden gems inside her work. Bryn hasalways rewarded the careful observer.

Against a nearby wall is a series ofsketches from Bryn’s sketchbook,

where you can see early incarna-tions of Rabbicorn, Robogirland others. On the oppositewalls are pages of stanzas fromWillow, Gretchen and Teddy,Format, 26 Tines, Tesla Dreamsand others.

“Sits forlornThe RabbicornA robot giftSet adriftIn settled dustWith spots of rustA once treasured toyOf a boy”

The more you explore the exhibition,to deeper will be your understandingof Bryn’s work, helped along by mes-sages from the artist that both elabor-ate and elucidate. Whatever you knewabout her work from earlier visits toher installations will only be deepened,as Bryn pulls back the curtain a bit onher creative processes.

2010 introduces us to The RabbicornStory, Lady Carmagnolle, Angler Girl, 26Tines and Bryn’s machinima entry forthe World Expo in Shanghai. If youhaven’t yet met the Rabbicorn, thenyou’re in for a treat. Half rabbit, halfunicorn, this child’s toy, a machine cre-ated with the ability to love, is thecentral character in one of my favoriteworks. The Rabbicorn intersects with theDaughter of Gears (a young girl’s mind

housed in a machine) at the end of thestory. This exemplifies the continuityfrom one story to another across theyears.

2011 was one of Bryn’s most product-ive years, when in rapid succession shecreated Anna’s Many Murders, RustedGears, Avatar Games, and Gretchen andTeddy. If you weren’t quite sure if Brynhad a dark sense of humor, you werequickly set right with Anna’s ManyMurders, the story of a lonely, meek girlwho, as Bryn says, “copes in her ownway” with the inhumanity of society,by dispatching friends, relatives andacquaintances during murderous boutsof her own madness.

Anna’s Many Murders really was the firstwork of Bryn’s that totally immersedme into her world. I don’t knowwhether it was the episodic quality ofthe narrative cels, or the juxtapositionof innocent nursery rhymes with hom-icidal themes. It just worked….andcontinues to work….as Bryn doublesdown on the success of that formatwith later works like Standby and TheSingularity of Kumiko. Bringing charac-ters along from earlier works for acameo in later works is particularly ef-fective.

Somewhere along the line, Bryn de-cided to challenge our physical dexter-

ity as well as ourimaginations, by creatingbuilds from which it wasall too easy to fall, andincredibly difficult tosuccessfully navigate. Sheevidently believes thatperseverance is a virtue. Isuppose that’s one of theelements of her workthat particularly endearsherself to her many fol-lowers: don’t make iteasy. It’s the surmountingof obstacles that Brynseems to tell us bringstrue satisfaction. Look alittle harder. Don’t takethings at face value. Al-ways delve deeper….lookcloser. If at first you

don’t succeed, etc., etc.

The mood of the Retrospective is re-miniscent of her sim, Immersiva. Hercharacteristic undulating checkerboardis ubiquitous, half-submerged in water,with black walls creating a sense ofdrama and foreboding. The exhibit hasthe same sense of decadence one feelsin Venice. This is not the Four Sea-sons. And Bryn is not Norman Rock-well.

In 2012, Bryn tries something she’snever tried before in The Path, the Sur-realist “Exquisite Corpse” concept

with eight other prominent SL artists:Colin Fizgig, Marcus Inkpen, Desde-mona Enfeld/Douglas Story, MayaParis, claudia222 Jewel, Scotius Polke,and Rose Borchovski. The first artist(randomly chosen Bryn in this case)starts off the piece and hands if off tothe next artist, who continues thethread and, in turn, hands it off to thenext artist, and so on. The Path bringsher into a collaboration so wonderfuland successful, that she did a sequelthe following year. I’m referring, of

course, to Further Along thePath (featuring Glyph Graves,Paramparamm Papp, AlphaAuer, Oberon Onmura, Eu-palinos Ugajin, UxHax/Romy Nayar, and UbYifu).

Next, we’re led into anotherof my favorite Bryn builds,Standby - - the third of a tri-logy, following The Daughterof Gears and The Rabbicorn.Standby is an impressive build,with a rickety old abandonedroller coaster amid thick lushgrass. I will not give away anyplot details, as you can stilldiscover these wonderfulstories on various machini-mas posted to YouTube, butsuffice it to say that Bryn

doesn’t shy away from the sadness ofthe world. Rather, she allows herselfto indulge that bittersweet tooth.

housed in a machine) at the end of thestory. This exemplifies the continuityfrom one story to another across theyears.

2011 was one of Bryn’s most product-ive years, when in rapid succession shecreated Anna’s Many Murders, RustedGears, Avatar Games, and Gretchen andTeddy. If you weren’t quite sure if Brynhad a dark sense of humor, you werequickly set right with Anna’s ManyMurders, the story of a lonely, meek girlwho, as Bryn says, “copes in her ownway” with the inhumanity of society,by dispatching friends, relatives andacquaintances during murderous boutsof her own madness.

Anna’s Many Murders really was the firstwork of Bryn’s that totally immersedme into her world. I don’t knowwhether it was the episodic quality ofthe narrative cels, or the juxtapositionof innocent nursery rhymes with hom-icidal themes. It just worked….andcontinues to work….as Bryn doublesdown on the success of that formatwith later works like Standby and TheSingularity of Kumiko. Bringing charac-ters along from earlier works for acameo in later works is particularly ef-fective.

Somewhere along the line, Bryn de-cided to challenge our physical dexter-

ity as well as ourimaginations, by creatingbuilds from which it wasall too easy to fall, andincredibly difficult tosuccessfully navigate. Sheevidently believes thatperseverance is a virtue. Isuppose that’s one of theelements of her workthat particularly endearsherself to her many fol-lowers: don’t make iteasy. It’s the surmountingof obstacles that Brynseems to tell us bringstrue satisfaction. Look alittle harder. Don’t takethings at face value. Al-ways delve deeper….lookcloser. If at first you

don’t succeed, etc., etc.

The mood of the Retrospective is re-miniscent of her sim, Immersiva. Hercharacteristic undulating checkerboardis ubiquitous, half-submerged in water,with black walls creating a sense ofdrama and foreboding. The exhibit hasthe same sense of decadence one feelsin Venice. This is not the Four Sea-sons. And Bryn is not Norman Rock-well.

In 2012, Bryn tries something she’snever tried before in The Path, the Sur-realist “Exquisite Corpse” concept

with eight other prominent SL artists:Colin Fizgig, Marcus Inkpen, Desde-mona Enfeld/Douglas Story, MayaParis, claudia222 Jewel, Scotius Polke,and Rose Borchovski. The first artist(randomly chosen Bryn in this case)starts off the piece and hands if off tothe next artist, who continues thethread and, in turn, hands it off to thenext artist, and so on. The Path bringsher into a collaboration so wonderfuland successful, that she did a sequelthe following year. I’m referring, of

course, to Further Along thePath (featuring Glyph Graves,Paramparamm Papp, AlphaAuer, Oberon Onmura, Eu-palinos Ugajin, UxHax/Romy Nayar, and UbYifu).

Next, we’re led into anotherof my favorite Bryn builds,Standby - - the third of a tri-logy, following The Daughterof Gears and The Rabbicorn.Standby is an impressive build,with a rickety old abandonedroller coaster amid thick lushgrass. I will not give away anyplot details, as you can stilldiscover these wonderfulstories on various machini-mas posted to YouTube, butsuffice it to say that Bryn

doesn’t shy away from the sadness ofthe world. Rather, she allows herselfto indulge that bittersweet tooth.

Virginia Alone is an altogether new dir-ection for Bryn, who brings us thestory of a 83-year old schizophrenicblind woman who lives alone, copingas best she can. RL Virginia recordedhundreds of cassette tapes over a peri-od of years and Bryn brings us herstory as only she can. And Imogenand the Pigeons is next, where Brynbegins to explore themes about digitaleternity. What if we can distill our es-sence into bits and bytes and populatesome machine to achieve a kind of im-mortality? The wonderful thing aboutBryn’s work is that she ruminates onthese themes and, as if she hasn’t fullyexhausted them, they appear in hernext work and her next, until shemakes sense of them.

Which brings us to endof the exhibit with Bryn’smost recent large-scaleinstallation, The Singularityof Kumiko, which in manyways is her most ambi-tious. At the Retrospect-ive, Bryn tells us that shewill not describe Kumikoin detail because it is stillopen for viewing at Im-mersiva. So I, too, will re-main mum about thispiece for this article. Iwas less successful atkeeping it a secret in theMarch 2014 issue of rez,which featured The Singu-larity of Kumiko (and the

“little guy” on the cover).

So, is it too soon for a Bryn Oh retro-spective? What happens to all thesepieces when the Retrospective comesdown? What other colors are on herpalette at the moment? Bryn was kindenough to have a short chat with me.

JM: Bryn, thank you for taking the timefrom your whirlwind schedule to chat for a bitabout your work. I think of retrospectivescoming closer to the end of an artist’s career.Why have you chosen to exhibit your earlierwork at this time? Nostalgia?

BO: I agree and I too generally see aretrospective as something you do al-most as a curtain call. In this case, the

Retrospective was something workedout with a first life digital festivalcalled Art & Algorithms in Florida,whose interest was to show my workas a retrospective (along with The Sin-gularity of Kumiko) at their first lifeevent in conjunction with a SecondLife exhibit. Having said that though, Iwill at some point burn out, however Idon't think it has happened just yet.

The exhibit ranges in work createdfrom 2007 to present. From my firststumblings in a new medium to mymost recent work from The Singularityof Kumiko. It was not so much nostal-gia which influenced my choices ofwork to exhibit, though there was def-initely some of that as Irooted through my in-ventory, but it was moreassociated with at-tempting to create analmost chronologicalhistory of my workwhich also was rootedin the technologicalprogression of SecondLife as a medium. Sowhen I show the firstprim works that I cre-ated, it also time travelsback to when the earlyartists had just a fewsimple shapes withwhich to fashion art.Mesh and sculpties didnot exist at that time, so

the challenge and aesthetic were quitedifferent from now. The tools for theartist at that time almost guided thestyle. So, for example, at that time,prims were not really sufficient to cre-ate a near photo-realistic environmentwhich mesh can potentially fashionnow. You used to see quite a bit moreabstract conceptual work than you dotoday. Often now, you will see a nicerealistic looking sim that is pleasant tohang out in, and perhaps good to takesome photos in.

In the past, with artists like Selavy Oh,Seifert Surface, Adam Ramona andothers, you would find a focus moreon creating work that was not mimick-

Virginia Alone is an altogether new dir-ection for Bryn, who brings us thestory of a 83-year old schizophrenicblind woman who lives alone, copingas best she can. RL Virginia recordedhundreds of cassette tapes over a peri-od of years and Bryn brings us herstory as only she can. And Imogenand the Pigeons is next, where Brynbegins to explore themes about digitaleternity. What if we can distill our es-sence into bits and bytes and populatesome machine to achieve a kind of im-mortality? The wonderful thing aboutBryn’s work is that she ruminates onthese themes and, as if she hasn’t fullyexhausted them, they appear in hernext work and her next, until shemakes sense of them.

Which brings us to endof the exhibit with Bryn’smost recent large-scaleinstallation, The Singularityof Kumiko, which in manyways is her most ambi-tious. At the Retrospect-ive, Bryn tells us that shewill not describe Kumikoin detail because it is stillopen for viewing at Im-mersiva. So I, too, will re-main mum about thispiece for this article. Iwas less successful atkeeping it a secret in theMarch 2014 issue of rez,which featured The Singu-larity of Kumiko (and the

“little guy” on the cover).

So, is it too soon for a Bryn Oh retro-spective? What happens to all thesepieces when the Retrospective comesdown? What other colors are on herpalette at the moment? Bryn was kindenough to have a short chat with me.

JM: Bryn, thank you for taking the timefrom your whirlwind schedule to chat for a bitabout your work. I think of retrospectivescoming closer to the end of an artist’s career.Why have you chosen to exhibit your earlierwork at this time? Nostalgia?

BO: I agree and I too generally see aretrospective as something you do al-most as a curtain call. In this case, the

Retrospective was something workedout with a first life digital festivalcalled Art & Algorithms in Florida,whose interest was to show my workas a retrospective (along with The Sin-gularity of Kumiko) at their first lifeevent in conjunction with a SecondLife exhibit. Having said that though, Iwill at some point burn out, however Idon't think it has happened just yet.

The exhibit ranges in work createdfrom 2007 to present. From my firststumblings in a new medium to mymost recent work from The Singularityof Kumiko. It was not so much nostal-gia which influenced my choices ofwork to exhibit, though there was def-initely some of that as Irooted through my in-ventory, but it was moreassociated with at-tempting to create analmost chronologicalhistory of my workwhich also was rootedin the technologicalprogression of SecondLife as a medium. Sowhen I show the firstprim works that I cre-ated, it also time travelsback to when the earlyartists had just a fewsimple shapes withwhich to fashion art.Mesh and sculpties didnot exist at that time, so

the challenge and aesthetic were quitedifferent from now. The tools for theartist at that time almost guided thestyle. So, for example, at that time,prims were not really sufficient to cre-ate a near photo-realistic environmentwhich mesh can potentially fashionnow. You used to see quite a bit moreabstract conceptual work than you dotoday. Often now, you will see a nicerealistic looking sim that is pleasant tohang out in, and perhaps good to takesome photos in.

In the past, with artists like Selavy Oh,Seifert Surface, Adam Ramona andothers, you would find a focus moreon creating work that was not mimick-

ing real life environments in any way,gravity the use of steps in buildingsand so on, but rather fashioning art-works that tried to envision the virtualspace we explore as something newand different, rather than somethingrecognizable from our real life envir-onment. It is an interesting shift, andnot a negative one, but it is somethingwhich I wanted to include historicallyby exhibiting some of my own workthat focused on the Not Possible inReal Life school of thought which wasprevalent at that time. I essentially justwanted to show the stages in creationand thought which I passed throughto get to where I am now, because thatis what I find interesting when looking

at someone else’s retro-spective. Hopefully, thatis what others find inter-esting too.

JM: Supposedly, Second Life2.0 is scheduled to launchsometime in 2016 after betatesting in 2015. What haveyou heard about the newplatform and are you con-cerned about it, excited, orboth?

BO: I am predominantlyexcited about the pro-spect of having a newtoolset to play withwhen creating art. Itwould be great if there

were a whole new range of possibilit-ies when building artwork which arepresently unavailable in Second Lifedue to its age and basic limitations. Iam hopeful that Linden Labs will havealso devised a new monetary systemthat does not require a region to cost$300 USD a month to rent. It is a veryoutdated model and they must changeit if they want Second Life or SL 2.0to again thrive in people’s imaginationas it once did. You see, they recentlysaid how they will offer new tools forthe user to track engagement on theirregion. How long people stay, whatthey interact with, and so on. Thingsuseful mainly for the business owner,which could be Linden Labs’ focus.

Retrospective was something workedout with a first life digital festivalcalled Art & Algorithms in Florida,whose interest was to show my workas a retrospective (along with The Sin-gularity of Kumiko) at their first lifeevent in conjunction with a SecondLife exhibit. Having said that though, Iwill at some point burn out, however Idon't think it has happened just yet.

The exhibit ranges in work createdfrom 2007 to present. From my firststumblings in a new medium to mymost recent work from The Singularityof Kumiko. It was not so much nostal-gia which influenced my choices ofwork to exhibit, though there was def-initely some of that as Irooted through my in-ventory, but it was moreassociated with at-tempting to create analmost chronologicalhistory of my workwhich also was rootedin the technologicalprogression of SecondLife as a medium. Sowhen I show the firstprim works that I cre-ated, it also time travelsback to when the earlyartists had just a fewsimple shapes withwhich to fashion art.Mesh and sculpties didnot exist at that time, so

the challenge and aesthetic were quitedifferent from now. The tools for theartist at that time almost guided thestyle. So, for example, at that time,prims were not really sufficient to cre-ate a near photo-realistic environmentwhich mesh can potentially fashionnow. You used to see quite a bit moreabstract conceptual work than you dotoday. Often now, you will see a nicerealistic looking sim that is pleasant tohang out in, and perhaps good to takesome photos in.

In the past, with artists like Selavy Oh,Seifert Surface, Adam Ramona andothers, you would find a focus moreon creating work that was not mimick-

ing real life environments in any way,gravity the use of steps in buildingsand so on, but rather fashioning art-works that tried to envision the virtualspace we explore as something newand different, rather than somethingrecognizable from our real life envir-onment. It is an interesting shift, andnot a negative one, but it is somethingwhich I wanted to include historicallyby exhibiting some of my own workthat focused on the Not Possible inReal Life school of thought which wasprevalent at that time. I essentially justwanted to show the stages in creationand thought which I passed throughto get to where I am now, because thatis what I find interesting when looking

at someone else’s retro-spective. Hopefully, thatis what others find inter-esting too.

JM: Supposedly, Second Life2.0 is scheduled to launchsometime in 2016 after betatesting in 2015. What haveyou heard about the newplatform and are you con-cerned about it, excited, orboth?

BO: I am predominantlyexcited about the pro-spect of having a newtoolset to play withwhen creating art. Itwould be great if there

were a whole new range of possibilit-ies when building artwork which arepresently unavailable in Second Lifedue to its age and basic limitations. Iam hopeful that Linden Labs will havealso devised a new monetary systemthat does not require a region to cost$300 USD a month to rent. It is a veryoutdated model and they must changeit if they want Second Life or SL 2.0to again thrive in people’s imaginationas it once did. You see, they recentlysaid how they will offer new tools forthe user to track engagement on theirregion. How long people stay, whatthey interact with, and so on. Thingsuseful mainly for the business owner,which could be Linden Labs’ focus.

An artist can make useof it as well, thoughknowing artists myself,I expect they won’t usethe tools too often.But having said that,the artists tend to bethe ones who creatememorable experi-ences which are con-tent for the visitor, butalso content forLinden Labs to usewhich they didn't needto hire people to cre-ate. Free contentwhich enriches theirproduct. A multi-uservirtual world such asWorld of Warcraft hasthe parent companycreating the content for the users, andthat is their main expense. LindenLabs does not create content, so theyhad best make sure the communitythat does are well taken care of, orthey will have a new world filled withmalls and products and nothing of in-terest for people to do which will helpmaintain retention of its users.

People love the creative process ofbuilding their avatars, dressing themand making them unique. But that isjust the start. They must also have ex-periences which they can share withfriends or even alone. Artists make ex-periences for the user, but they tend to

not make much money while doing it.$300 USD a month for tier is a lot ofmoney to spend for the average artist.Thus, that cost directly drives awaythose who enrich the virtual worldwith the content which Linden Labsdoes not provide, but is essential to itssuccess. I can only imagine how enga-ging Second Life would be if all thebrilliant creations from far in the pastto now were all available for anyone tovisit; it would be endless entertainmentfor the users, yet that scenario cannotexist when the cost to show it is sohigh.

JM: Some people are seeking to preserve primworks of art from this world (Art Blue is

ing real life environments in any way,gravity the use of steps in buildingsand so on, but rather fashioning art-works that tried to envision the virtualspace we explore as something newand different, rather than somethingrecognizable from our real life envir-onment. It is an interesting shift, andnot a negative one, but it is somethingwhich I wanted to include historicallyby exhibiting some of my own workthat focused on the Not Possible inReal Life school of thought which wasprevalent at that time. I essentially justwanted to show the stages in creationand thought which I passed throughto get to where I am now, because thatis what I find interesting when looking

at someone else’s retro-spective. Hopefully, thatis what others find inter-esting too.

JM: Supposedly, Second Life2.0 is scheduled to launchsometime in 2016 after betatesting in 2015. What haveyou heard about the newplatform and are you con-cerned about it, excited, orboth?

BO: I am predominantlyexcited about the pro-spect of having a newtoolset to play withwhen creating art. Itwould be great if there

were a whole new range of possibilit-ies when building artwork which arepresently unavailable in Second Lifedue to its age and basic limitations. Iam hopeful that Linden Labs will havealso devised a new monetary systemthat does not require a region to cost$300 USD a month to rent. It is a veryoutdated model and they must changeit if they want Second Life or SL 2.0to again thrive in people’s imaginationas it once did. You see, they recentlysaid how they will offer new tools forthe user to track engagement on theirregion. How long people stay, whatthey interact with, and so on. Thingsuseful mainly for the business owner,which could be Linden Labs’ focus.

An artist can make useof it as well, thoughknowing artists myself,I expect they won’t usethe tools too often.But having said that,the artists tend to bethe ones who creatememorable experi-ences which are con-tent for the visitor, butalso content forLinden Labs to usewhich they didn't needto hire people to cre-ate. Free contentwhich enriches theirproduct. A multi-uservirtual world such asWorld of Warcraft hasthe parent companycreating the content for the users, andthat is their main expense. LindenLabs does not create content, so theyhad best make sure the communitythat does are well taken care of, orthey will have a new world filled withmalls and products and nothing of in-terest for people to do which will helpmaintain retention of its users.

People love the creative process ofbuilding their avatars, dressing themand making them unique. But that isjust the start. They must also have ex-periences which they can share withfriends or even alone. Artists make ex-periences for the user, but they tend to

not make much money while doing it.$300 USD a month for tier is a lot ofmoney to spend for the average artist.Thus, that cost directly drives awaythose who enrich the virtual worldwith the content which Linden Labsdoes not provide, but is essential to itssuccess. I can only imagine how enga-ging Second Life would be if all thebrilliant creations from far in the pastto now were all available for anyone tovisit; it would be endless entertainmentfor the users, yet that scenario cannotexist when the cost to show it is sohigh.

JM: Some people are seeking to preserve primworks of art from this world (Art Blue is

preserving many of your prim works at ARoom for Ferrisquito at the Rift HorizonGallery), lest they be lost and forgotten in thenew age. What will become of your olderworks? Do you have the ability to archivethem, or will they drift off into the ether, nev-er to be seen again?

BO: I think portions might be able tobe brought over to SL 2.0, or whateverit’s called. Prims should be fine thereas well as mesh; however, I don't ex-pect scripts will work as the languagewill probably be quite different. I thinkLinden Labs will try to allow users tobring over everything that is compat-ible with the new SL 2.0. Anotherhope of mine is that after SL 2.0opens, they will connect Second Lifeto the hypergrid alongside OpenSimand others. They will change their rev-enue model to make money mostlyfrom marketplace transactions andother things rather than land. As a res-ult, the world would be cheaper, largerwith more using marketplace to fill outnew worlds on the hypergrid, and in-cidentally it would also allow me tokeep my work somewhere. Eventuallythough, my artwork will fade away tothe ether at some point. I have cata-logued most of my work as machin-ima, yet that doesn't really accuratelyportray what the experience is like tobe in a virtual space, but it'ssomething. I really do appreciate theeffort of people like Art Blue andChance Acoustic who do wish to pre-

serve my work.

JM: Speaking of preservation,when you take down an installa-tion at the end of its run (likeThe Singularity of Kumiko, forinstance), is it really gone, or doyou have the means to preserveit, capable of being recreated inthe future?

BO: I delete it, yet I dohave all the parts in my in-ventory; however, it is ex-hausting to think aboutplacing it all again, as it is ahuge amount of work todo. I actually asked aLinden not long ago if theywould consider offering aservice which would allowusers to save their regionsfrom a particular point intime. They already do thisactually; it is a rollbackwhich sim owners can useto revert their regions to astate from a previous point.They generally use this fea-ture when some type ofcatastrophe has occurredon a sim. This could easilybe converted to a service,and I would even pay for it.A few dollars a month forsomething they already dowould allow me to changemy region Immersiva into

preserving many of your prim works at ARoom for Ferrisquito at the Rift HorizonGallery), lest they be lost and forgotten in thenew age. What will become of your olderworks? Do you have the ability to archivethem, or will they drift off into the ether, nev-er to be seen again?

BO: I think portions might be able tobe brought over to SL 2.0, or whateverit’s called. Prims should be fine thereas well as mesh; however, I don't ex-pect scripts will work as the languagewill probably be quite different. I thinkLinden Labs will try to allow users tobring over everything that is compat-ible with the new SL 2.0. Anotherhope of mine is that after SL 2.0opens, they will connect Second Lifeto the hypergrid alongside OpenSimand others. They will change their rev-enue model to make money mostlyfrom marketplace transactions andother things rather than land. As a res-ult, the world would be cheaper, largerwith more using marketplace to fill outnew worlds on the hypergrid, and in-cidentally it would also allow me tokeep my work somewhere. Eventuallythough, my artwork will fade away tothe ether at some point. I have cata-logued most of my work as machin-ima, yet that doesn't really accuratelyportray what the experience is like tobe in a virtual space, but it'ssomething. I really do appreciate theeffort of people like Art Blue andChance Acoustic who do wish to pre-

serve my work.

JM: Speaking of preservation,when you take down an installa-tion at the end of its run (likeThe Singularity of Kumiko, forinstance), is it really gone, or doyou have the means to preserveit, capable of being recreated inthe future?

BO: I delete it, yet I dohave all the parts in my in-ventory; however, it is ex-hausting to think aboutplacing it all again, as it is ahuge amount of work todo. I actually asked aLinden not long ago if theywould consider offering aservice which would allowusers to save their regionsfrom a particular point intime. They already do thisactually; it is a rollbackwhich sim owners can useto revert their regions to astate from a previous point.They generally use this fea-ture when some type ofcatastrophe has occurredon a sim. This could easilybe converted to a service,and I would even pay for it.A few dollars a month forsomething they already dowould allow me to changemy region Immersiva into

one of dozens of artworks whichwould be good for both me andLinden Labs. The Linden I askedabout this never got back to methough.

JM: In your Retrospective, you’ve broughtback some of your “children” from yearsgone by. When setting up your retrospective,did you see anything new in your older workthat you might not have focused on the firsttime around?

BO: When looking back at some ofmy older works, such as Vessel's Dream,26 Tines, Willow and even smallerworks like Irrevocably, I was remindedhow focused I was, for a time, on hav-ing the user really perfect their use ofthe cam. In many of those creations,the user was not able to bring theiravatar into the build due to doors be-ing too small or other reasons, andthey were required to detach theircamera and enter the build withouttheir avatar. Kind of an out of bodyexperience where they leave the avatarbehind. I seem to create artworkwhich challenges the viewer as part ofthe experience.

JM: What are you working on currently?

BO: I have a few things on the goright now. I have a huge project which,sadly, I signed a nondisclosure agree-ment for, so all I can say is it is relatedto mental health support. I have

chosen a new project for Immersivawhich is tentatively called Lobby Cameraand I am currently writing it and tryingto figure out how to portray it prop-erly. Still have to build it though. Alsomight be working on a creation for theJewish Museum in Berlin, thoughthere is no contract yet, so will have towait and see what transpires there.

JM: A “huge” new Bryn Oh project is cer-tainly tantalizing, and music to the ears ofall your devoted followers. Having peeredbackward in time at your Retrospective, it’snice to look forward in time as well. I can’tthank you enough for taking the time to shareyour thoughts about your art with our read-ers.

If you’re a long-time devotee of BrynOh’s unique talent and vision, thenyou’ll want to reacquaint yourself withsome old favorites. And if you are notyet familiar with this pioneer of im-mersive art, I hope this article willcoax you into visiting her Retrospect-ive, and by all means, please visit hersim, Immersiva, to see a full installa-tion of one of her finest works, TheSingularity of Kumiko, in its full glory.

I’m penciling in another retrospectivein another seven years so we can seeassembled in one sim all of the won-derful works Bryn will be bringing us,circa 2014-2021.

serve my work.

JM: Speaking of preservation,when you take down an installa-tion at the end of its run (likeThe Singularity of Kumiko, forinstance), is it really gone, or doyou have the means to preserveit, capable of being recreated inthe future?

BO: I delete it, yet I dohave all the parts in my in-ventory; however, it is ex-hausting to think aboutplacing it all again, as it is ahuge amount of work todo. I actually asked aLinden not long ago if theywould consider offering aservice which would allowusers to save their regionsfrom a particular point intime. They already do thisactually; it is a rollbackwhich sim owners can useto revert their regions to astate from a previous point.They generally use this fea-ture when some type ofcatastrophe has occurredon a sim. This could easilybe converted to a service,and I would even pay for it.A few dollars a month forsomething they already dowould allow me to changemy region Immersiva into

one of dozens of artworks whichwould be good for both me andLinden Labs. The Linden I askedabout this never got back to methough.

JM: In your Retrospective, you’ve broughtback some of your “children” from yearsgone by. When setting up your retrospective,did you see anything new in your older workthat you might not have focused on the firsttime around?

BO: When looking back at some ofmy older works, such as Vessel's Dream,26 Tines, Willow and even smallerworks like Irrevocably, I was remindedhow focused I was, for a time, on hav-ing the user really perfect their use ofthe cam. In many of those creations,the user was not able to bring theiravatar into the build due to doors be-ing too small or other reasons, andthey were required to detach theircamera and enter the build withouttheir avatar. Kind of an out of bodyexperience where they leave the avatarbehind. I seem to create artworkwhich challenges the viewer as part ofthe experience.

JM: What are you working on currently?

BO: I have a few things on the goright now. I have a huge project which,sadly, I signed a nondisclosure agree-ment for, so all I can say is it is relatedto mental health support. I have

chosen a new project for Immersivawhich is tentatively called Lobby Cameraand I am currently writing it and tryingto figure out how to portray it prop-erly. Still have to build it though. Alsomight be working on a creation for theJewish Museum in Berlin, thoughthere is no contract yet, so will have towait and see what transpires there.

JM: A “huge” new Bryn Oh project is cer-tainly tantalizing, and music to the ears ofall your devoted followers. Having peeredbackward in time at your Retrospective, it’snice to look forward in time as well. I can’tthank you enough for taking the time to shareyour thoughts about your art with our read-ers.

If you’re a long-time devotee of BrynOh’s unique talent and vision, thenyou’ll want to reacquaint yourself withsome old favorites. And if you are notyet familiar with this pioneer of im-mersive art, I hope this article willcoax you into visiting her Retrospect-ive, and by all means, please visit hersim, Immersiva, to see a full installa-tion of one of her finest works, TheSingularity of Kumiko, in its full glory.

I’m penciling in another retrospectivein another seven years so we can seeassembled in one sim all of the won-derful works Bryn will be bringing us,circa 2014-2021.

one of dozens of artworks whichwould be good for both me andLinden Labs. The Linden I askedabout this never got back to methough.

JM: In your Retrospective, you’ve broughtback some of your “children” from yearsgone by. When setting up your retrospective,did you see anything new in your older workthat you might not have focused on the firsttime around?

BO: When looking back at some ofmy older works, such as Vessel's Dream,26 Tines, Willow and even smallerworks like Irrevocably, I was remindedhow focused I was, for a time, on hav-ing the user really perfect their use ofthe cam. In many of those creations,the user was not able to bring theiravatar into the build due to doors be-ing too small or other reasons, andthey were required to detach theircamera and enter the build withouttheir avatar. Kind of an out of bodyexperience where they leave the avatarbehind. I seem to create artworkwhich challenges the viewer as part ofthe experience.

JM: What are you working on currently?

BO: I have a few things on the goright now. I have a huge project which,sadly, I signed a nondisclosure agree-ment for, so all I can say is it is relatedto mental health support. I have

chosen a new project for Immersivawhich is tentatively called Lobby Cameraand I am currently writing it and tryingto figure out how to portray it prop-erly. Still have to build it though. Alsomight be working on a creation for theJewish Museum in Berlin, thoughthere is no contract yet, so will have towait and see what transpires there.

JM: A “huge” new Bryn Oh project is cer-tainly tantalizing, and music to the ears ofall your devoted followers. Having peeredbackward in time at your Retrospective, it’snice to look forward in time as well. I can’tthank you enough for taking the time to shareyour thoughts about your art with our read-ers.

If you’re a long-time devotee of BrynOh’s unique talent and vision, thenyou’ll want to reacquaint yourself withsome old favorites. And if you are notyet familiar with this pioneer of im-mersive art, I hope this article willcoax you into visiting her Retrospect-ive, and by all means, please visit hersim, Immersiva, to see a full installa-tion of one of her finest works, TheSingularity of Kumiko, in its full glory.

I’m penciling in another retrospectivein another seven years so we can seeassembled in one sim all of the won-derful works Bryn will be bringing us,circa 2014-2021.

Art Blue Presents Insanity, an art installation by CherryManga. Insanity.rifthorizon.com

Invisible Art Meets Banksy (The Artist is Invisible But Present) by Art Blue. Art Blue leaves nostone unturned in his search for artistic nothingness. Avatar Paul Horner by Robin Banksy. “Outof Bed Rat” Banksy 2002

Invisible Art Meets Banksy (The Artist is Invisible But Present) by Art Blue. ArtBlue leaves no stone unturned in his search for artistic nothingness. Avatar PaulHorner by Robin Banksy. “Out of Bed Rat” Banksy 2002

“ ust because you can´t see anything,doesn´t mean I didn´t put hours ofwork into a particular piece.”

Lana Newstrom, artist, featured atCBC artnet

I read in the news about invisible art,an artist who shows “nothing” at NewYork’s prestigious Schonburg Galler-ies. Walls empty, painted in usual beigewhite, that´s it. Walls illuminated byspots focused at positions where oneexpects something to see. You mighthave experienced such a situationwhen the current exhibition has justclosed and the curator is now unpack-ing the new arrivals. You then mayhear “Sorry, you are too late. We willreopen next month.” I could say theidea of invisible art was stolen andshow you proof. In the talk of thethree curators, Gurgelwasser, Enwezorand Herzogenrath, that came alongwith the Cathedral of Fractals, publishedin rez Magazine, there was a live per-formance where all the art shrankdown to a scale where nothing was leftto go to the exhibit. It was a questionto solve in the nature of the art offractals. Beauty is still there even on amicroscopic scale, but not visible on agreater scale. On the other hand, I amsure the idea to show nothing and toclaim there is something is really not anew one. What if one writes a breath-taking storyboard for a movie and thedirector invites us to a Grand Opening

in an IMAX cinema where we just getpresented a Bluescreen to be enjoyedby the audience? Yeah, the idea of theNext Bluescreen gets a kick! Let´s pub-lish 10 empty pages in rez and call thisan interview with … of course … theworld famous artist, the “Still NotKnown One.”

I hear Neruval, the owl at myshoulder, “Let´s do it! Yes, let´s do it!This play I love! There is nothing. Justemptiness. And on a mouse click,there is …. Yeah, food! There comethe nuts, my nuts, sesame seeds. Youknow the type I love the most, Art!And for you and others, a piece ofcake."

Teeny Mini Moe, reprinted by permis-sion of Miss FD, http://missfd.com/

“ ust because you can´t see anything,doesn´t mean I didn´t put hours ofwork into a particular piece.”

Lana Newstrom, artist, featured atCBC artnet

I read in the news about invisible art,an artist who shows “nothing” at NewYork’s prestigious Schonburg Galler-ies. Walls empty, painted in usual beigewhite, that´s it. Walls illuminated byspots focused at positions where oneexpects something to see. You mighthave experienced such a situationwhen the current exhibition has justclosed and the curator is now unpack-ing the new arrivals. You then mayhear “Sorry, you are too late. We willreopen next month.” I could say theidea of invisible art was stolen andshow you proof. In the talk of thethree curators, Gurgelwasser, Enwezorand Herzogenrath, that came alongwith the Cathedral of Fractals, publishedin rez Magazine, there was a live per-formance where all the art shrankdown to a scale where nothing was leftto go to the exhibit. It was a questionto solve in the nature of the art offractals. Beauty is still there even on amicroscopic scale, but not visible on agreater scale. On the other hand, I amsure the idea to show nothing and toclaim there is something is really not anew one. What if one writes a breath-taking storyboard for a movie and thedirector invites us to a Grand Opening

in an IMAX cinema where we just getpresented a Bluescreen to be enjoyedby the audience? Yeah, the idea of theNext Bluescreen gets a kick! Let´s pub-lish 10 empty pages in rez and call thisan interview with … of course … theworld famous artist, the “Still NotKnown One.”

I hear Neruval, the owl at myshoulder, “Let´s do it! Yes, let´s do it!This play I love! There is nothing. Justemptiness. And on a mouse click,there is …. Yeah, food! There comethe nuts, my nuts, sesame seeds. Youknow the type I love the most, Art!And for you and others, a piece ofcake."

Teeny Mini Moe, reprinted by permis-sion of Miss FD, http://missfd.com/

I gifted this picture to my editor a fewdays ago and I think it is time to gift itto everyone. Just assume it is yourbirthday. Assume you are a child ... asmart one. Then your smile might be-come big. We all need food. What kindof food I don’t outline. It is on you todo so. Want to get more stunningwords from this philosopher to en-lighten your day? Here they are: “My

unfulfilled fantasies these days consistof connections created through mindexchanges cleverly coded in talks ofquantum physics and gravity.” Googleto get the tunes of Miss FD. Just Enterthe Void and enjoy her song. Then it istime to get back to Invisible Art.

Paying 35,000 USD for something youdon’t see in a gallery as there is noth-ing. But you are The First doing this!Is this what you need? What you want?Thirty seconds to Mars – to Art - to“The Breaking News.” Is our societyso sick? Neruval nods as he eats somenuts made out of the emptiness. Hecan do this, as he is an AI. He writesand rewrites his own code. A codeonly some very smart ones understandwell enough to decipher.

Have you ever seen a line printed onan empty sheet of paper, “This page isintentionally left blank”? WOW - - itall comes back. 40 years ago I saw it inIBM manuals. One could be sure tomiss nothing. Now in art you have toeat this information and reduce thepage to emptiness. Art moves to socialevents. To be seen or not to be seen - -to be noticed or not. Group Zero put

its ideas into a manifest in the year1963: 4 3 2 1 Zero. Gold and Silver,Smoke and Mirrors, Travelling Circus, Zerois Silence, Zero is the Beginning, Zero isRound, Zero is Zero. And a paintingmade it to one of my favourites, ZeroBlue, patented as IKB 191. All thefounding artists of Group Zero be-long now to the elite of modern art.But nowadays not even a try to findthe ultimate Blue shall be needed? Oris this artist genuinely gifted?

Time to have an interview. rez shall beon the cutting edge of the world, likethe magazine interview was in AndyWarhol´s time, or like Wolkenkratzerin Germany. Since The Artefact hasbeen printed, rez is on the frontier ofDigital Art. I must find the artist. But

“ ust because you can´t see anything,doesn´t mean I didn´t put hours ofwork into a particular piece.”

Lana Newstrom, artist, featured atCBC artnet

I read in the news about invisible art,an artist who shows “nothing” at NewYork’s prestigious Schonburg Galler-ies. Walls empty, painted in usual beigewhite, that´s it. Walls illuminated byspots focused at positions where oneexpects something to see. You mighthave experienced such a situationwhen the current exhibition has justclosed and the curator is now unpack-ing the new arrivals. You then mayhear “Sorry, you are too late. We willreopen next month.” I could say theidea of invisible art was stolen andshow you proof. In the talk of thethree curators, Gurgelwasser, Enwezorand Herzogenrath, that came alongwith the Cathedral of Fractals, publishedin rez Magazine, there was a live per-formance where all the art shrankdown to a scale where nothing was leftto go to the exhibit. It was a questionto solve in the nature of the art offractals. Beauty is still there even on amicroscopic scale, but not visible on agreater scale. On the other hand, I amsure the idea to show nothing and toclaim there is something is really not anew one. What if one writes a breath-taking storyboard for a movie and thedirector invites us to a Grand Opening

in an IMAX cinema where we just getpresented a Bluescreen to be enjoyedby the audience? Yeah, the idea of theNext Bluescreen gets a kick! Let´s pub-lish 10 empty pages in rez and call thisan interview with … of course … theworld famous artist, the “Still NotKnown One.”

I hear Neruval, the owl at myshoulder, “Let´s do it! Yes, let´s do it!This play I love! There is nothing. Justemptiness. And on a mouse click,there is …. Yeah, food! There comethe nuts, my nuts, sesame seeds. Youknow the type I love the most, Art!And for you and others, a piece ofcake."

Teeny Mini Moe, reprinted by permis-sion of Miss FD, http://missfd.com/

I gifted this picture to my editor a fewdays ago and I think it is time to gift itto everyone. Just assume it is yourbirthday. Assume you are a child ... asmart one. Then your smile might be-come big. We all need food. What kindof food I don’t outline. It is on you todo so. Want to get more stunningwords from this philosopher to en-lighten your day? Here they are: “My

unfulfilled fantasies these days consistof connections created through mindexchanges cleverly coded in talks ofquantum physics and gravity.” Googleto get the tunes of Miss FD. Just Enterthe Void and enjoy her song. Then it istime to get back to Invisible Art.

Paying 35,000 USD for something youdon’t see in a gallery as there is noth-ing. But you are The First doing this!Is this what you need? What you want?Thirty seconds to Mars – to Art - to“The Breaking News.” Is our societyso sick? Neruval nods as he eats somenuts made out of the emptiness. Hecan do this, as he is an AI. He writesand rewrites his own code. A codeonly some very smart ones understandwell enough to decipher.

Have you ever seen a line printed onan empty sheet of paper, “This page isintentionally left blank”? WOW - - itall comes back. 40 years ago I saw it inIBM manuals. One could be sure tomiss nothing. Now in art you have toeat this information and reduce thepage to emptiness. Art moves to socialevents. To be seen or not to be seen - -to be noticed or not. Group Zero put

its ideas into a manifest in the year1963: 4 3 2 1 Zero. Gold and Silver,Smoke and Mirrors, Travelling Circus, Zerois Silence, Zero is the Beginning, Zero isRound, Zero is Zero. And a paintingmade it to one of my favourites, ZeroBlue, patented as IKB 191. All thefounding artists of Group Zero be-long now to the elite of modern art.But nowadays not even a try to findthe ultimate Blue shall be needed? Oris this artist genuinely gifted?

Time to have an interview. rez shall beon the cutting edge of the world, likethe magazine interview was in AndyWarhol´s time, or like Wolkenkratzerin Germany. Since The Artefact hasbeen printed, rez is on the frontier ofDigital Art. I must find the artist. But

it seems to be impossible. Lara News-trom a virtual identity? I need to do aworkaround. I have to send Neruval,my AI, on a mission to New York.Luckily he did not need to catch thenext plane, he has hypergrid enabled.

The interview:

Neruval: I am the messenger of ArtBlue, who sends me to you for an in-terview. I have to thank you on firstline for joining the grid.

Lana: I have heard of you, owl. Youhave stolen the diamonds of Patri-ciaAnne Daviau and cracked them tonuts. Then you have eaten them. Luck-ily my art is safe from your devilishmind.

Neruval: I see the jokester in youreyes, so I could easily come to the nextpoint and ignore this, but for the read-ers of rez Magazine, I have to stateclearly: I was ordered to do so by ArtBlue in a play called The Annoying Light.

Lana: The Annoying Light? The Preludefor Bryn Oh´s retrospective inopensim? I saw recently the diamonds,named Sailing to Byzantium, on exhibitnext to Bryn Oh´s Room Ferrisquito. Myfriend Belle Roussel, the maker ofthem, was with me. She told me shemade the diamonds for the Feed aSmile campaign and she was so proudthat they have been presented in The

Annoying Light.

Neruval: I set the diamonds on invis-ible state by an alpha on the linksetand the sound of the cracking nutswas a faked soundfile provoked by ArtBlue. So the eating was easy.

Lana: Laughs. You are not Neruval,you are Art Blue! You must be. That’sso typical for him.

Neruval: This time I am just a relay. Iwill change my head tag, also calleddisplay name.

Art Blue: I am sorry Lana. What awaste of lines in rez until we come tothe point. Lana you said in an inter-

view you offered your paintings andsculptures in New York to be shownand no one wanted to exhibit yourwork.

Lana: That´s true, Art. I studied artand painting and got really scared atthe age of 27 that my career mightnever get to run.

Art: So you decided to show yourworks just as mental images.

Lana: Exactly. I see you are one of thevery few getting the idea.

Art: … and you added names on themso the payment question could be sor-ted out?

Lana: Yes, another direct hit. They payfor the naming of a spot filled with myart.

Art: 35,000 USD, I read at CBC.

Lana: It was for four works. Threepainting and one sculpture.

Art: Oh, I see. The media overshot themark. So I have to correct for thereaders - you made less than 10,000USD for each. A bargain, as you star-ted just your career. I missed the op-portunity. The sculpture you sold isnow going to MoMa?

Lana: It seems so. I have heard there issome fight on the insurance questionbehind the scene.

Art: What if the bulb lamp burns outand no one sees the emptiness any

it seems to be impossible. Lara News-trom a virtual identity? I need to do aworkaround. I have to send Neruval,my AI, on a mission to New York.Luckily he did not need to catch thenext plane, he has hypergrid enabled.

The interview:

Neruval: I am the messenger of ArtBlue, who sends me to you for an in-terview. I have to thank you on firstline for joining the grid.

Lana: I have heard of you, owl. Youhave stolen the diamonds of Patri-ciaAnne Daviau and cracked them tonuts. Then you have eaten them. Luck-ily my art is safe from your devilishmind.

Neruval: I see the jokester in youreyes, so I could easily come to the nextpoint and ignore this, but for the read-ers of rez Magazine, I have to stateclearly: I was ordered to do so by ArtBlue in a play called The Annoying Light.

Lana: The Annoying Light? The Preludefor Bryn Oh´s retrospective inopensim? I saw recently the diamonds,named Sailing to Byzantium, on exhibitnext to Bryn Oh´s Room Ferrisquito. Myfriend Belle Roussel, the maker ofthem, was with me. She told me shemade the diamonds for the Feed aSmile campaign and she was so proudthat they have been presented in The

Annoying Light.

Neruval: I set the diamonds on invis-ible state by an alpha on the linksetand the sound of the cracking nutswas a faked soundfile provoked by ArtBlue. So the eating was easy.

Lana: Laughs. You are not Neruval,you are Art Blue! You must be. That’sso typical for him.

Neruval: This time I am just a relay. Iwill change my head tag, also calleddisplay name.

Art Blue: I am sorry Lana. What awaste of lines in rez until we come tothe point. Lana you said in an inter-

view you offered your paintings andsculptures in New York to be shownand no one wanted to exhibit yourwork.

Lana: That´s true, Art. I studied artand painting and got really scared atthe age of 27 that my career mightnever get to run.

Art: So you decided to show yourworks just as mental images.

Lana: Exactly. I see you are one of thevery few getting the idea.

Art: … and you added names on themso the payment question could be sor-ted out?

Lana: Yes, another direct hit. They payfor the naming of a spot filled with myart.

Art: 35,000 USD, I read at CBC.

Lana: It was for four works. Threepainting and one sculpture.

Art: Oh, I see. The media overshot themark. So I have to correct for thereaders - you made less than 10,000USD for each. A bargain, as you star-ted just your career. I missed the op-portunity. The sculpture you sold isnow going to MoMa?

Lana: It seems so. I have heard there issome fight on the insurance questionbehind the scene.

Art: What if the bulb lamp burns outand no one sees the emptiness any

longer?

Lana: My sculpture you mean. It has aname The Annoying Frog. This interviewgets boring. No wonder your own artrots in the archives of MoMa. Namingis claiming! It shall ring a bell in you.

Art: I know well that I am a completefailure. My art is collected but nevershown. No one will ever feel the sen-sation that Henri-Marie Beyle hadwhen he visited the Volcano of Artwhere the Moon and the Sun ofNexuno Thespian are buried. Whenhe slipped in Cherry Manga´s AvatarInsanity for the first time, he was over-come with emotion. He wrote in hisdiary, "I was in a sort of ecstasy, fromthe idea of being in Simulacron-1,close to the great men whose tombs Ihad seen. Absorbed in the contempla-tion of sublime beauty ... I reached thepoint where one encounters celestialsensations ... Everything spoke sovividly to my soul. Ah, if I could onlyforget. I had palpitations of the heart,what in Berlin they call “nerves.” Lifewas drained from me. I walked withthe fear of falling."

Lana: C’mon, Art. When you are 90,then there will be a retrospective ofyour work and they will feel what youprogrammed even if there is nothing.No need to steal words widely known.In the year 2047, the sensations will bedirectly implanted in the brains of the

visitors. You can create a thrilling drug,call it the Stendhal pill.

Art: Yeah, and the owl will keep me ina med chair. What a stunning life!

Lana: You looked good in the X-Men

chair with the mesh head made byCherry Manga supporting you with theessential code of life. But you stole myidea in your theatrical play at Metro-

Neruval: This time I am just a relay. Iwill change my head tag, also calleddisplay name.

Art Blue: I am sorry Lana. What awaste of lines in rez until we come tothe point. Lana you said in an inter-

view you offered your paintings andsculptures in New York to be shownand no one wanted to exhibit yourwork.

Lana: That´s true, Art. I studied artand painting and got really scared atthe age of 27 that my career mightnever get to run.

Art: So you decided to show yourworks just as mental images.

Lana: Exactly. I see you are one of thevery few getting the idea.

Art: … and you added names on themso the payment question could be sor-ted out?

Lana: Yes, another direct hit. They payfor the naming of a spot filled with myart.

Art: 35,000 USD, I read at CBC.

Lana: It was for four works. Threepainting and one sculpture.

Art: Oh, I see. The media overshot themark. So I have to correct for thereaders - you made less than 10,000USD for each. A bargain, as you star-ted just your career. I missed the op-portunity. The sculpture you sold isnow going to MoMa?

Lana: It seems so. I have heard there issome fight on the insurance questionbehind the scene.

Art: What if the bulb lamp burns outand no one sees the emptiness any

longer?

Lana: My sculpture you mean. It has aname The Annoying Frog. This interviewgets boring. No wonder your own artrots in the archives of MoMa. Namingis claiming! It shall ring a bell in you.

Art: I know well that I am a completefailure. My art is collected but nevershown. No one will ever feel the sen-sation that Henri-Marie Beyle hadwhen he visited the Volcano of Artwhere the Moon and the Sun ofNexuno Thespian are buried. Whenhe slipped in Cherry Manga´s AvatarInsanity for the first time, he was over-come with emotion. He wrote in hisdiary, "I was in a sort of ecstasy, fromthe idea of being in Simulacron-1,close to the great men whose tombs Ihad seen. Absorbed in the contempla-tion of sublime beauty ... I reached thepoint where one encounters celestialsensations ... Everything spoke sovividly to my soul. Ah, if I could onlyforget. I had palpitations of the heart,what in Berlin they call “nerves.” Lifewas drained from me. I walked withthe fear of falling."

Lana: C’mon, Art. When you are 90,then there will be a retrospective ofyour work and they will feel what youprogrammed even if there is nothing.No need to steal words widely known.In the year 2047, the sensations will bedirectly implanted in the brains of the

visitors. You can create a thrilling drug,call it the Stendhal pill.

Art: Yeah, and the owl will keep me ina med chair. What a stunning life!

Lana: You looked good in the X-Men

chair with the mesh head made byCherry Manga supporting you with theessential code of life. But you stole myidea in your theatrical play at Metro-

polis grid! The Annoying Light cameout of nothing. You just put a script inan empty canister.

Art: You claim now that you inventedthat just a light is all you need to be-come world famous? But I say you

don’t even need a light!

Lana: Hey, how is this? No light, noArt!

Art: The absence of the artist is thelight, the absence of the work is coldcoffee. The absence of the artist shallbe the future of art. But of course theartist must claim to be there, just beinginvisible.

Lana: You mean, I just place my train-ers there and then the audience maystep closer to smell my stinking feetleft in the shoes?

Art: Much easier, but the idea of theshoes I like. You know I’m a minimal-ist. What is the ultimate art? Thisquestion triggers me.

Lana: Just a PayPal, a Bitcoin or an art-a-coin account is the art?

Art: I shall partner you! You are thesmartest one I ever met!

Neruval shouts: Don’t partner Lana!Don’t do it! I can hack a PayPal ac-count if you run out of money. Staytrue to your destiny, Art!

Lana: Your owl is smart. Rules aremade for Breaking. Wasn’t this yourfirst exhibition in virtual worlds in2008? Mentioned in The Avastar. Youshowed avatars looking at art and evenseeing themselves in the pictures as areflection of their existence, as bodiesof art.

Art: Yeah, but it did not work. Noth-

longer?

Lana: My sculpture you mean. It has aname The Annoying Frog. This interviewgets boring. No wonder your own artrots in the archives of MoMa. Namingis claiming! It shall ring a bell in you.

Art: I know well that I am a completefailure. My art is collected but nevershown. No one will ever feel the sen-sation that Henri-Marie Beyle hadwhen he visited the Volcano of Artwhere the Moon and the Sun ofNexuno Thespian are buried. Whenhe slipped in Cherry Manga´s AvatarInsanity for the first time, he was over-come with emotion. He wrote in hisdiary, "I was in a sort of ecstasy, fromthe idea of being in Simulacron-1,close to the great men whose tombs Ihad seen. Absorbed in the contempla-tion of sublime beauty ... I reached thepoint where one encounters celestialsensations ... Everything spoke sovividly to my soul. Ah, if I could onlyforget. I had palpitations of the heart,what in Berlin they call “nerves.” Lifewas drained from me. I walked withthe fear of falling."

Lana: C’mon, Art. When you are 90,then there will be a retrospective ofyour work and they will feel what youprogrammed even if there is nothing.No need to steal words widely known.In the year 2047, the sensations will bedirectly implanted in the brains of the

visitors. You can create a thrilling drug,call it the Stendhal pill.

Art: Yeah, and the owl will keep me ina med chair. What a stunning life!

Lana: You looked good in the X-Men

chair with the mesh head made byCherry Manga supporting you with theessential code of life. But you stole myidea in your theatrical play at Metro-

polis grid! The Annoying Light cameout of nothing. You just put a script inan empty canister.

Art: You claim now that you inventedthat just a light is all you need to be-come world famous? But I say you

don’t even need a light!

Lana: Hey, how is this? No light, noArt!

Art: The absence of the artist is thelight, the absence of the work is coldcoffee. The absence of the artist shallbe the future of art. But of course theartist must claim to be there, just beinginvisible.

Lana: You mean, I just place my train-ers there and then the audience maystep closer to smell my stinking feetleft in the shoes?

Art: Much easier, but the idea of theshoes I like. You know I’m a minimal-ist. What is the ultimate art? Thisquestion triggers me.

Lana: Just a PayPal, a Bitcoin or an art-a-coin account is the art?

Art: I shall partner you! You are thesmartest one I ever met!

Neruval shouts: Don’t partner Lana!Don’t do it! I can hack a PayPal ac-count if you run out of money. Staytrue to your destiny, Art!

Lana: Your owl is smart. Rules aremade for Breaking. Wasn’t this yourfirst exhibition in virtual worlds in2008? Mentioned in The Avastar. Youshowed avatars looking at art and evenseeing themselves in the pictures as areflection of their existence, as bodiesof art.

Art: Yeah, but it did not work. Noth-

ing sold.

Neruval: The Still Not Known Onewill also not work if you don’t bring afamous one on the scene with a Bangin the open sky.

Art: Banksy? You mean I shall claimBanksy is “The Still Not KnownOne”? Shall I exhibit some works“Made by Robin Banksy” and call theexhibit - - let´s say “The Blue Edition– Banksy Blue”?

Neruval: Shall I ask Banksy? I knowyou love to push rez into the firstleague and Banksy would perfectly fit.I can do it on a hidden channel. Or, ifyou like to make it public, I can sendan email and Banksy may post the an-swer on the website robinbanksy.com:unofficially on legal terms, of course,as the officials of Clacton-on-Sea arebehind him. The department of keep-ing the streets clean from art holds afine in hand. Now the UK Independ-ence Party rules there! Bansky mightbe a foreigner! In New York, the may-or made a statement that he shall leavethe city, as so many tourists are com-ing to search for Banksy.

Lana: And what about me? I am theone you interview! How it comes tospeak now about Banksy? He nevermakes money on his own. The lostbird from Africa and the fat doves inClacton-on-Sea are history. They are

whitewashed graffiti. I am the present.I am the light.

Art: C’mon! You are Banksy. Why elsewould the owl say not to partner you?

Neruval: What? Does no one get itwho is the really Banksy? How could

he escape prison? Ted Cruz and SarahPalin of National Report published hisarrest just two days ago, showed a pic-ture of him and revealed his identity asPaul Horner! CNN, BBC -- all had thisin Breaking News!

Art: Banksy went to prison and es-caped sitting now here in an interviewwith me? Maybe all that’s left of him ishis Second Life? Let´s see if Paul

Horner responds in virtual. I will seethe typing. If he steers an Alt, I’ll seeit. If no response, it might be a deadaccount or he is really arrested and willstay invisible behind the curtains ofjustice. I just sent an IM. There was abusy response. I have to wait for ananswer.

Neruval: I just sent you an answer.They’ll never get Banksy. It´s Me, Me!I escaped from the prison. Read thenews that corrected the mistake oneday later! I am the laughing one. Letthe readers of rez get proof! I will an-swer all IMs.

Art: OMG - so true. Paul Horner re-sponded and he is Banksy. Hey, Ner-

uval. Want some sesame seeds, theones from Santorini, the best?

Neruval: Not from you! Not from you!I did it just for the magazine, as youpromised the editor you’d always tellthe truth. I had to correct your words.What else is the job of an AI to keepyou out of trouble?

http://i.imgur.com/ZJeNVir.jpghttp://i.imgur.com/PflnvyM.jpghttp://i.imgur.com/tXgudIc.jpgBanksy Blue – series of 3: Who isBansky?

Art Blue, Alias Piek, Aneli Abeyante,Emma Portilo, Mona Eberhardt, NeoGurgelwasser, PatriciaAnne Daviau,SR Hadden, Ziki Questi have beenthere as Robin Banksy was present onOctober 15, 2014, between 11:42 and11:51 grid time.ttp://is.gd/banksyarrested

Ziki saw a shadow – it was Banksy!

Ziki Questi: I'm not publishing this,but with advanced lighting turned on Idid see a shadow, probably not yourintention?

Ziki Questi: The way the shadows in-teract reminds me of Bob Rauschen-berg's white paintings.

ing sold.

Neruval: The Still Not Known Onewill also not work if you don’t bring afamous one on the scene with a Bangin the open sky.

Art: Banksy? You mean I shall claimBanksy is “The Still Not KnownOne”? Shall I exhibit some works“Made by Robin Banksy” and call theexhibit - - let´s say “The Blue Edition– Banksy Blue”?

Neruval: Shall I ask Banksy? I knowyou love to push rez into the firstleague and Banksy would perfectly fit.I can do it on a hidden channel. Or, ifyou like to make it public, I can sendan email and Banksy may post the an-swer on the website robinbanksy.com:unofficially on legal terms, of course,as the officials of Clacton-on-Sea arebehind him. The department of keep-ing the streets clean from art holds afine in hand. Now the UK Independ-ence Party rules there! Bansky mightbe a foreigner! In New York, the may-or made a statement that he shall leavethe city, as so many tourists are com-ing to search for Banksy.

Lana: And what about me? I am theone you interview! How it comes tospeak now about Banksy? He nevermakes money on his own. The lostbird from Africa and the fat doves inClacton-on-Sea are history. They are

whitewashed graffiti. I am the present.I am the light.

Art: C’mon! You are Banksy. Why elsewould the owl say not to partner you?

Neruval: What? Does no one get itwho is the really Banksy? How could

he escape prison? Ted Cruz and SarahPalin of National Report published hisarrest just two days ago, showed a pic-ture of him and revealed his identity asPaul Horner! CNN, BBC -- all had thisin Breaking News!

Art: Banksy went to prison and es-caped sitting now here in an interviewwith me? Maybe all that’s left of him ishis Second Life? Let´s see if Paul

Horner responds in virtual. I will seethe typing. If he steers an Alt, I’ll seeit. If no response, it might be a deadaccount or he is really arrested and willstay invisible behind the curtains ofjustice. I just sent an IM. There was abusy response. I have to wait for ananswer.

Neruval: I just sent you an answer.They’ll never get Banksy. It´s Me, Me!I escaped from the prison. Read thenews that corrected the mistake oneday later! I am the laughing one. Letthe readers of rez get proof! I will an-swer all IMs.

Art: OMG - so true. Paul Horner re-sponded and he is Banksy. Hey, Ner-

uval. Want some sesame seeds, theones from Santorini, the best?

Neruval: Not from you! Not from you!I did it just for the magazine, as youpromised the editor you’d always tellthe truth. I had to correct your words.What else is the job of an AI to keepyou out of trouble?

http://i.imgur.com/ZJeNVir.jpghttp://i.imgur.com/PflnvyM.jpghttp://i.imgur.com/tXgudIc.jpgBanksy Blue – series of 3: Who isBansky?

Art Blue, Alias Piek, Aneli Abeyante,Emma Portilo, Mona Eberhardt, NeoGurgelwasser, PatriciaAnne Daviau,SR Hadden, Ziki Questi have beenthere as Robin Banksy was present onOctober 15, 2014, between 11:42 and11:51 grid time.ttp://is.gd/banksyarrested

Ziki saw a shadow – it was Banksy!

Ziki Questi: I'm not publishing this,but with advanced lighting turned on Idid see a shadow, probably not yourintention?

Ziki Questi: The way the shadows in-teract reminds me of Bob Rauschen-berg's white paintings.

Rhi’s Poem. Rent at Rhi’s Poem at the Mai Tai sim. Come explore our sim with live musicshows on Sundays and Tuesdays. Contact Meegan Danitz or Corialote Dougall.

Drag the Kids Around by Crap Mariner. Halloween is a scary concept, especially in thehands of someone like Crap Mariner.

Senior Editor Friday Blaisdale.