An abstract sculpture I created on a whim. It’s 8 prims, created it in Blender in about 1 hour.

You can view it at my friend Skitty’s flower shop in Second Life. The sculpture is not for sale (but the pretty flowers are!).

I commissioned this sketch from Jun Kuroda (SL name), aka rotemu on Plurk, starving artist extraordinaire. She also made a semi-nude of CodeBastard Redgrave and other cool commisioned sketches!

If you want to commission a sketch to call your own, check out her Livejournal page or IM her (Jun Kuroda) in-world. They’re awesome, not at all expensive, and you’ll be helping out a really cool artist! ^_^

I’ve created an image. I hope you find it amusing. If you so desire, you may download it in your choice of image format (listed at the bottom).

They are copyrighted, but permission to use the images (and any derivatives thereof) is granted to you under the Creative Commons Attribution-Share Alike license. The images are not trademarks, and you won’t be sued or legally threatened for displaying them on your blogs, web pages, in virtual worlds, or in other places. You can even make good-natured parodies of them with absolutely no fear of retribution.

Enjoy.

• Mouth in Foot (JPG, small)
• Mouth in Foot (PNG, small)
• Mouth in Foot (PNG, large)
• Mouth in Foot (Inkscape SVG) with ‘fancy’, black-on-white, and white-on-black versions.

Two takes on it. I’m partial to the cutout version on top, myself.

P.S. The B may, or may not, stand for (or look like) Bootah.

I’m not totally convinced. Photographs, after all, are created by exposed light hitting a film or data strip. That doesn’t happen in Second Life. And while I think it’s fair to say that an image which is captured “raw” from SL is very similar to a real world photograph (I discuss that here), it’s also possible to subjectively manipulate the world’s appearance in a way that’s totally different. (When an RL photographer needs more light, he can’t just move the sun where he wants it.)

What’s more, many SL images are drastically altered in programs like Photoshop. A lot of real world artists use photographs as their medium, staging them in fictional narrative scenes, say, or even painting on top the actual photo, and because of that very process, they’re not called photographers– they’re called artists.

I consider Hamlet’s view here to be somewhat narrow.

There is no significant difference in the amount of scene-manipulation in RL photographs versus SL photographs. RL photographers may not be able to move the sun on a whim, but they can and do carefully schedule the time of day of their shoots, and use bounce cards and/or studio lights to manipulate the lighting of the scene. You can bet that they’d move the sun if they could. (And I bet some SL photographers would die for the ability to have light bounce off cards in SL — both realities have their challenges.)

Nor is the amount of post-processing (Photoshopping) significantly different between RL and SL photographs. We’ve seen the Dove Evolution film that demonstrates how much manipulation goes on before, during, and after a RL photo shoot.

Both RL photographs and SL photographs run the gamut from casual snapshots (“This is us having a good time at Jack’s bachelor party”), to careful attempts at capturing reality (“Behold the natural beauty of a majestic waterfall”), to highly manipulated digital imagery (“I cloned in the crowd of a thousand cheering fans later”), to strange and beautiful photo-collage and mixed-media imagery (“I think you’ve been sniffing too much rubber cement, Marcel”), and so much more.

The compositional skills — framing, balance, depth, contrast, and so on — apply equally to RL and SL photography.

So we’re left with one distinction. RL photographs are created by photons bouncing off physical objects, passing through the lens and aperture of a physical camera, and stimulating photosensitive materials. SL photographs are created by careful mathematical projection of virtual objects, rendered as polygons onto a framebuffer in a computer. In both cases, the result is a 3D scene being projected onto a 2D image plane.

It’s just that one of the scenes exists inside the computer.

I’ll leave off with one last thought: Photography has long been about capturing the vision of the artist. That’s not always the same as an accurate representation of the physical world.

Tinkering with Windlight settings at 4AM. Check out the rest of the set, too!

Funny how the tiniest little remarks can inspire the most interesting ideas. I was chatting with Chrysocolla Rau in SL yesterday, and the conversation turned to the topic of tentacles, as conversations with me are wont to do.

Chrysocolla (perhaps prompted by my last name, Antonelli) mused that the Italian word for ‘tentacle’ is probably quite wonderful. Despite my name, I am neither Italian nor fluent in the language, so I looked up the translation: tentacolo (pl. tentacoli).

One tiny mental connection later, the concept of “Tentacolor” was born! I worked feverishly lazily into the night to produce something to show this remarkable Tentacolor. The image above is one frame out of a psychodelic, hypnotic, tentacolored animation. When finished, I’ll put the movie up on YouTube or similar, for the enjoyment of all!